‘Death of Utopia’ – Paul Stubbs

tumblr_nbao94bw5x1qzru3oo1_400“in end-times, when Hell is certain, and

Eliot, not Christ, he rots back onto the

grass…”

 Paul Stubbs, ‘Death of Utopia’

(After A Piece of Waste Land, Francis Bacon, 1982)

 

The poem & its French translation:

http://blongre.hautetfort.com/archive/2014/08/25/mort-de-l-utopie-paul-stubbs-5433565.html

Epignosis Quarterly, Spring 2014, Vol. I, Issue 1

Epignosis Quarterly – SPRING 2014 VOLUME I – ISSUE 1

The first issue of Epignosis Quarterly (edited by Ágnes Cserháti, who also runs the independent press Rufus Books) will soon be available on its official website.

In the meantime, the complete pdf file can be downloaded here: 

Epignosis Quarterly_spring_2014

 

Epignosis Quarterly  SPRING 2014, VOLUME I - ISSUE 1

Epignosis Quarterly
SPRING 2014, VOLUME I – ISSUE 1 -All rights reserved. ISSN 2292-9371

 

with: 

Ben Meyerson, Michael Lee Rattigan, Jeremy Clarke, Gordon Meade, Iain Britton, Bethany W. Pope, Dick Jones, Ruth Roach Pierson, Ágnes Cserháti, Matthew Francis, Steven Mayoff, Anthea Simmons, Erin Soros, Georges Rodenbach, Maurice Maeterlinck, Will Stone, Paul Celan, John Reibetanz, Paul Stubbs, Paola Volpato, Jordan B. Peterson.

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CONTENTS

POETRY

1, 14  Ben Meyerson

1, 12  Michael Lee Rattigan

2-9  Jeremy Clarke

2, 14  Gordon Meade

9  Iain Britton

10  Bethany W. Pope

12-13  Dick Jones

13  Ruth Roach Pierson

15-16  Ágnes Cserháti

15  Matthew Francis

15, 22  Steven Mayoff

16  Anthea Simmons

SHORT FICTION

3-9  Erin Soros

Still Water, BC

TRANSLATIONS

11-12  Georges Rodenbach’s prose piece ‘The Graves’ and Maurice Maeterlinck’s poem ‘Night Soul’ translated by Will Stone

15  Paul Celan’s poems ‘Song’ and ‘Strung’ translated by John Reibetan

ESSAY

18-22  ‘The Anti-Author and the Death of Personality’, an essay about Arthur Rimbaud by Paul Stubbs

BOOK REVIEWS

17  Bethany W. Pope on Will Stone’s translation of Poems – Emile Verhaeren (Arc, 2014)

31-32  Ágnes Cserháti on A Ragged Pen: Essays on Poetry & Memory (Gaspereau Press, 2006)

ARTWORK

2, 6, 30  Paola Volpato

INTERVIEW

23-29  Ágnes Cserháti in conversation with Jordan B. Peterson about his artwork, ‘The Meaning of Music’

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‘epignosis’ is a Greek adjective meaning ‘perceptive’ and ‘insightful’ having to do with a personal orspiritual knowledge, ‘in-knowledge’, rather than merely rational or instructional knowledge. This is the kind of writing and art that is of interest to EQ. Submissions of poetry,  short fiction, creative non-fiction, translations, essays,interviews, reviews,artwork and photography are welcome.

If you would like to submit, please limit to 3 poems and/or 1 each of any other kind of writing or artwork and photography, or if you have any ideas you’d like to discuss, please feel free to contact the editor: epignosisquarterly(at)gmail(dot)com.

Editor: Ágnes Cserháti

Assistant Editors: Bethany W. Pope, Caroline Li

© Epignosis Quarterly, 2014

All rights reserved.

ISSN 2292-9371

EQ is published in May, August, November and February.

“Poetry is not verse” – David Gascoyne

4172tmE2H9L“Poetry is not verse, it is not rhetoric, it is not an epigrammatic way of saying something that can be stated in prose, nor is it an argument or reportage. In England, the whole question needs to be cleared up and restated. What I call poetry is not understood in England, but I believe it to be something of far greater value than what is at present understood there. The tradition of modern English poetry is really something quite different from the tradition of Hölderlin, Rimbaud, Rilke, Lorca, Jouve. — I belong to Europe before I belong to England.”

5 August 1938 – David Gascoyne,
Journal 1937-1939
(Preface by Lawrence Durrell, Enitharmon Press, London, 1978) 

Rencontre avec le dramaturge franco-roumain Matéi Visniec

9782330009502Le 28 novembre à 18h30, Bibliothèque municipale de Lyon la Part-Dieu, aura lieu une rencontre avec le dramaturge franco-roumain Matéi Visniec. Il y sera question de littérature francophone et roumaine, de théâtre, de poésie, de roman. L’auteur lira des extraits de ses textes.  Rencontre animée par Jean-Pierre Longre.
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davantage d’informations sur le site de la BM de Lyon
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chez ses éditeurs :
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Jean-Pierre Longre, universitaire et critique, a enseigné la littérature du XXe siècle à l’Université Jean Moulin de Lyon. Collaborateur de diverses revues, il a participé à la publication des romans de Queneau dans la Bibliothèque de la Pléiade, et est l’auteur de plusieurs études sur des écrivains contemporains. Entre autres : Raymond Queneau en scènes (Presses Universitaires de Limoges, 2005) ; Une belle voyageuse. Regard sur la littérature française d’origine roumaine (éditions Calliopées, 2013).
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à propos des Carnets d’Eucharis

1800036803Le premier numéro des Carnets d’Eucharis (dans sa version papier), revue animée par Nathalie Riera, a paru en février 2013.

Le deuxième est à paraître en 2014.

Pour souscrire / s’abonner 

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A propos de la revue, lire également cet article

“L’événement est à marquer d’une pierre blanche. Ces dernières années, on voyait surtout des revues qui passaient – étaient contraintes de passer – de l’état papier à l’état virtuel. On s’est presque habitué à tourner des pages qui n’avaient aucune réalité palpable, même si la machine, par excès de zèle, imite parfois le bruit ! La littérature, l’écrit, en voie de dématérialisation : la chose avait, a toujours, de quoi nous alarmer. Là, c’est l’inverse : le papier a une consistance, une odeur. On respire mieux soudain.”
(Patrick Kéchichian, Ent’revues, octobre 2013)

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Cavales, Jean-Baptiste Monat

tigre-détail-e1377441568159“vous êtes le souvenir ou le fantasme d’un passé légendaire, d’une réalité sans fond, d’un présent sans lien : en musique, tristement, dans l’errance de l’espèce”
Jean-Baptiste Monat (Cavales, 2013)

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Cavales
Jean-Baptiste Monat
Editions Hochroth Paris, 2013

http://www.paris.hochroth.eu/fr/3117/cavales/

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Un article de Jean-Pierre Longre
http://jplongre.hautetfort.com/archive/2013/10/21/mots-en-fuite-5201605.html

L’homme sans réseaux
http://lhommesansreseaux.hautetfort.com/

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About Heller Levinson’s HINGE THEORY

From Stone This Running - heller Levinson, Black Widow Press

From Stone This Running – Heller Levinson, Black Widow Press

An essay by Paul Stubbs.

“So, to become a reconstructor of the universe, ‘Hinge’ must seek to translate into outer music the inner music of words, to silence art and render physics and religion once again into the great early dreams of man; to induce an ongoing and perpetually fecund state of the anathemas that will help Levinson aspire to his new literary role of syntactical demiurge. It will be a quite necessary act of madness, an attempt certainly to achieve what Paul Valery imagined of Mallarmé’s task, i.e. ‘to raise a page to the power of the starry heavens.’ Levinson then assigns himself to the task of realizing the impossible, to conceive of failure as the only captivating success, and to hallucinate himself into the only obsession worth pursuing, that of locating the only true literary fracture at the earth’s crust, i.e. our belonging .To abort the self, in mid-sentence, is for the writer of ‘Hinge’ to celebrate the requirements of abortion, to complete what demands of itself to be undermined by words. ‘Hinge’, a catalogue and impulse of an always unforeseen matrix disengages itself long enough for us to snag ourselves on our own thoughts.” (Paul Stubbs)

To read the essay

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Poems by Paul Stubbs, Spolia issue 3

3 poems by Paul Stubbs have been published in the 3rd issue of SPOLIA magazine

© Paul Stubbs

© Paul Stubbs

(the PDF can be downloaded for 5 $)

spolia 3

“EFROYABL ANGE1” de Iain M. Banks, vu par son éditeur

Feersum Endjiinn

Feersum Endjiinn

“Qu’est-ce que Feersum Endjiinn ? Un grand roman, bien sûr. Une œuvre cruelle autant que ludique pour tout traducteur – rendons ici hommage à Anne-Sylvie Homassel qui s’attela à traduire les étonnants et drolatiques monologues intérieurs de Bascule, enfant têtu et Raconteur de génie.”

(Jean-Luc A. d’Asciano, Directeur des éditions L’Œil d’or , sur D-Fiction)

http://d-fiction.fr/2013/07/feersum-endjinn/

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Découvrir l’ouvrage

EFROYABL ANGE1 
Iain M. BANKS

Traduit de l’anglais par Anne-Sylvie Homassel
Illustrations Frédéric Coché
L’Oeil d’or, 2013

Louis Calaferte’s The Violet Blood of the Amethyst

 The Violet Blood of the Amethyst

The Violet Blood of the Amethyst

Louis Calaferte’s The Violet Blood of the Amethyst (Le Sang violet de l’améthyste) is now available, for the first time in English

Translated from the French and introduced by John Taylor.

bilingual book

Chelsea Editions, 2013

To order the book

http://www.chelseaeditionsbooks.org/Calaferte.htm

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Excerpts were published in the 3rd issue of The Black Herald (Sept. 2012)

More excerpts here

Avance vers tes contraires. Édifie-toi protestataire contre ce qui te porte, te soutient, t’enlève à toi-renême. Fais-toi indivisible subtilité, approfondissement de la connaissance. Entre dans la partie resérvée du monde. Tu n’es admis qu’à la parcellisation. Qu’elle te devienne bien inaliénable. Partie du monde tienne, de ton unique éclairement, à ta seule ressemblance. Instaure-toi découverte et, de la sorte, conçois tes approches, tes encerclements. Consacre-toi à ton isolement. Point tant ne s’agit de grandeur que d’etendue.

Head toward what is contrary to you. Build yourself up by protesting what carries you, supports you, removes you from yourself. Make yourself into indivisible subtlety, deepening knowledge. Enter the private part of the world. You are admitted only to the parceling out. May your part become an inalienable good for you. A part of your own world, of your unique illumination, resembling you alone. Institute yourself as discovery and, in that way, plan your approaches, your encirclements. Devote yourself to your isolation. Greatness is much less the matter than vastness.

Darkscapes – Anne-Sylvie Salzman

Darkscapes

Darkscapes

Darkscapes
by Anne-Sylvie Salzman
Translated by William Charlton
Tartarus Press, 2013

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“Narrative and story can lead us to visions of that which is impossible — that which can drive us mad, or make us feel as if we already are mad. The horror story in particular offers the possibility of a temporary release from sanity and safety. The fifteen stories in ‘Darkscapes‘ by Anne-Sylvie Salzman, translated from the French by William Charlton, offer a literary taste of madness, an intense inversion of reason that is powerful, sometimes unknowable, and almost always unforgettable. Salzman is the perfect 21st-century bride for Edgar Allen Poe. ” (Rick Kleffel)
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Anne-Sylvie Salzman (aka Anne-Sylvie Homassel) is a Paris-based writer and translator. She co-directs Le Visage vert, a literary magazine and small press devoted to supernatural fiction. She is the author of Sommeil (José Corti), Au bord d’un lent fleuve noir (Joëlle Losfeld) and Lamont (Le Visage vert). Amongst other novels and collections, she translated Max Beerbohm’s Seven Men, Lord Dunsany’s The Sword of Welleran, Ernest Bramah’s Max Carrados and Arthur Machen’s Three Impostors—and some of W.S. Graham’s poetry, feats she is inanely proud of. She is currently working on a science-fiction novel.
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An evening of poetry with Rufus books

This poetry reading will be featuring Michael L. Rattigan, Gill Gregory, Will Stone and Matthew Francis at the Senate House Library, London, on 30 May 2013.

http://www.rufusbookspublishing.ca/

rufus books reading

The 37th issue of The Bitter Oleander

The 37th issue of The Bitter Oleander (Volume 19, Number 1, Spring 2013) features a poem by Paul Stubbs, ‘The Ascetic Attempts to Speak’ (this poem is part of his forthcoming third collection, The End of the Trial of Man, to be published by Arc Publications in the UK).

This issue also features the work of the Faroese poet and artist Tóroddur Poulsen (translated, introduced by Randi Ward), translations from the poetry of Karl Krolow (Germany) by Stuart Friebert, Lorenzo Calogero (Italy) by John Taylor, Ernst Halter (Switzerland) by Marc Vincenz, Eugenia Toledo (Chile) by Susan Sosa and Anne Greeott, Sara Uribe (Mexico) by Toshiya Kamei, Carmen Váscones (Ecuador) by Alexis Levitin and Yang Chian (China) by Ye Chun and Gillian Parrish. Original poetry by Alan Britt, Rob Cook, Sean Thomas Dougherty, Rich Ives, Shannon Salter, Anthony Seidman, Patty Dickson Pieczka among others and new short fiction by Nicole Bell, John Robinson, Brandi Wells as well as the Mexican writer Donají Olmedo translated from the Spanish by Toshiya Kamei.

To read an interview with Paul B. Roth, editor of The Bitter Oleander:

http://www.thereviewreview.net/interviews/inside-bitter-oleander

To purchase a copy of the magazine:

 http://www.bitteroleander.com/issues.html

vol19iss1lg

“Une belle voyageuse”, Jean-Pierre Longre

Une belle voyageuse. Regard sur la littérature française d’origine roumaine.
Jean-Pierre Longre
Éditions Calliopées, mars 2013.

une belle voyageuse

Une belle voyageuse

 

Universitaire et critique, Jean-Pierre Longre a enseigné la littérature française et francophone du XXe siècle à l’Université Jean Moulin de Lyon. Collaborateur de diverses revues, il a publié plusieurs études sur des écrivains contemporains. Il s’intéresse aussi bien aux écrivains français d’origine roumaine qu’à la littérature roumaine contemporaine traduite en français.

http://jplongre.hautetfort.com/

Autres parutions de l’auteur : http://jplongre.hautetfort.com/about.html

L’éditeur : http://www.calliopees.fr/

L’auteur dédicacera son ouvrage au Salon du Livre de Paris le samedi 23 mars 2013 de 15h à 16h, stand K 83. 
En marge du Salon du Livre : France-Roumanie : passages, conférence de Jean-Pierre Longre le samedi 23 mars à 18h, Bibliothèque Georges Brassens, 38 rue Gassendi 75014 Paris

 

Emil Botta, aux éditions Hochroth

“Le pendu a porté la nuit sur ses épaules,

il s’est rempli les poches de joyaux froids

et il a détalé comme un lévrier, tirant la langue parmi les cieux.”

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extrait de L’aurore me trouvera les bras croisés, Emil Botta

recueil bilingue, traduction du roumain par Nicolas Cavaillès

(Hochroth, Paris, 2013)

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Chez le même éditeur : Heureuse peine et longue mort,  Pernette du Guillet / Maurice Scève

Pour commander les ouvrages :
http://www.paris.hochroth.eu/fr/commander-nos-livres/
(également disponibles dans certaines librairies : http://www.paris.hochroth.eu/fr/presentation/)

Emil-Botta

‘Tusitala of White Lies’ – Iain Britton

Iain Britton a poet from New Zealand, who had poems published in the 2nd and 3rd issues of The Black Herald, has a new pamphlet out entitled ‘Tusitala of White Lies published by the new independent press LikeThisPress which is based in Manchester (UK) and edited by Nikolai Duffy.

Other publications include Cravings (Oystercatcher Press, 2009) and Punctured Exprimental (Kilmog Press, 2010). Some of his poems have also been published by Red Ceiling Press (2011).

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The future is (flavoured)

hybridised in small transparent segments

to be rationed out every day

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http://www.likethispress.co.uk/publications/iainbritton

http://thepsychologyofariver.blogspot.fr/

http://www.iainbritton.co.nz/

Iain Britton

“Louis Calaferte – Un lieu, une mémoire”

Louis CALAFERTE – Un lieu, une mémoire, n° 0, Editions Tarabuste, 2012

L’essentiel des contributions de ce numéro est le fruit des interventions qui eurent lieu à l’occasion des premières rencontres Louis Calaferte à Blaisy-Bas en 2011.

Avec des essais de Gilbert Lascault, Jérôme de Missolz, André Not, Patrick Pelloquet et John Taylor – ce dernier propose un texte passionnant intitulé “En traduisant Le Sang violet de l’améthyste ; un extrait du Sang violet de l’améthyste, accompagné de sa traduction en anglais (par John Taylor), a paru dans le numéro 3 du Black Herald.

Calaferte

Un lieu, une mémoire

Le Visage Vert, n° 21

Le 21e numéro du Visage Vert est disponible.

Pour le commander et/ou s’abonner à la revue

www.levisagevert.com/edition/commande.html

Pour suivre le blog du Visage Vert
(revue et éditeur) 

leblogduvisagevert.wordpress.com/

Le-Visage-Vert-21

Le Visage Vert, n° 21, novembre 2012

Une chronique en ligne 

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Au Sud de Nulle Part

Les éditions Au Sud de Nulle Part viennent de publier trois ouvrages de poésie.

Angkor, de France Bourgeois

Décompte de fées, d’Adrian Pearron

Sombre et muses, de Thierry Acot-Mirande

“Les poètes reviennent. Ils ont le temps de leur côté. Ils ne se hâtent pas. Laisser faire le poème, puis s’en défaire en écrivant ce qui s’en approche le plus, à défaut de savoir ce que c’est.”  (source)

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à découvrir également, le blog de la maison :

http://ausuddenullepart.net/actualites/blog/

Michael Lee Rattigan’s ‘LIMINAL’

Michael Lee Rattigan‘s poetry collection LIMINAL (Rufus books, October 2012) will be launched on November 3rd in London at the Poetry Café (22 Betterton Street London WC2H 9BX)

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‘Cacophony of tongues’ – Paul Stubbs reviews ‘Liminal

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Before The Inside: a review of ‘Liminal’ by Andrew O’Donnell

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http://www.rufusbookspublishing.ca/titles/index.html

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The Bitter Oleander – latest issue

The Autumn issue of THE BITTER OLEANDER, a journal of contemporary international poetry and short fiction edited by Paul B. Roth, features the Swiss Francophone poet José-Flore Tappy with a selection of her work and an interview with her translator, John Taylor.

This issue also includes short fiction pieces by John Abbott, Nilanjan Bhowmick, Chase Derringer and Kenny Gordon. More contemporary international poetry by Dina Bellrham (Ecuador), Alberto Blanco (Mexico), Erika Burkhart (Switzerland), Martín Camps (Mexico), Anne Perrier (Switzerland), Tóroddur Poulsen (Faroe Islands), Silvia Baron Supervielle (France), Sara Uribe (Mexico), Yang Jian (China) & Yang Zi (China). Among other poets in this issue are Alan Britt, Lara Gularte, Rich Ives, Duane Locke, Elizabeth McLagan, Lisa D. Schmidt, Randi Ward and Anthony Seidman

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http://www.bitteroleander.com/

http://www.bitteroleander.com/issues.html

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“LE TEMPS DES ASSASSINS : ÉLOGE LITTÉRAIRE DE TCHEN” sur D-Fiction

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à découvrir/lire sur D-Fiction

Une ébauche sur l’accointance entre l’espace littéraire et l’espace criminel, le temps propre à l’écriture et la Révolution. Avec en post-scriptum un « J’accuse… » contre la mauvaise équation établie par Richard Millet entre la littérature et le mal.

“Lues et relues vingt fois les premières pages de La Condition humaine de Malraux. Obsessionnel retour sur les lieux du crime par lequel s’ouvre le roman avec cette phrase de Rimbaud en tête : « Voici le temps des assassins », que Henry Miller associe à l’exigence de formes nouvelles en littérature – lesquelles chez le poète ne sont pas étrangères à une refonte politique et morale des âmes et des corps, lui qui vers dix-sept ans écrivit une Constitution qui fasse honneur aux revendications de la commune.” – G. Mar 

 

Paul Stubbs reviews ‘Rilke in Paris’

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RILKE IN PARIS
Maurice Betz (Translated from the French by Will Stone, Hesperus Press, 2012)

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“Rilke, on earth, lived a life akin to a pre-natal being, one whose sensations in existence remained as homogenous and pure as his time spent in the womb. He rejected birth and death as a consequence for existence, determining that this paradox was the reason behind which he would discover the absolute, i.e. through his own modifications of reality. Jean-Paul Sartre writing of Kierkegaard said ‘The beginning of the thinker’s existence is analogous to a birth. This is not a rejection but a displacement of the beginning. Before birth there was non-being; then comes the leap…’. Every morning in Paris, amid the ash-heaps of dreams, Rilke awoke to the metaphysical and limbless stump of his own still absent body. He saw the world as if between the parenthesis of each new death, whether one of his own or that of another human being.” (Paul Stubbs)

read the review

 

Imagination – Gaston Bachelard

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« On veut toujours que l’imagination soit la faculté de former des images. Or elle est plutôt la faculté de déformer les images fournies par la perception, elle est surtout la faculté de nous libérer des images premières, de changer les images. S’il n’y a pas changement d’images, union inattendue des images, il n’y a pas imagination, il n’y a pas d’action imaginante. Si une image présente ne fait pas penser à une image absente, si une image occasionnelle ne détermine pas une prodigalité d’images aberrantes, une explosion d’images, il n’y a pas imagination. »

— Gaston bachelard, L’Air et les Songes, Essai sur l’imagination du mouvement, 1943.

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“We always think of the imagination as the faculty that forms images. On the contrary, it is a faculty that deforms the images that we perceive; it is, above all, the faculty that frees us from immediate images and changes them. If there is no change, or unexpected fusion of images, there is no imagination; there is no imaginative process. If the image that is present does not make us think of one that is absent, if an image does not determine an abundance—an explosion— of atypical images, then there is no imagination.”

—Gaston Bachelard, Air and Dreams: An Essay on the Imagination of Movement, 1943.

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‘Cacophony of tongues’ – Paul Stubbs reviews Michael Lee Rattigan’s ‘Liminal’

LIMINAL
Michael Lee Rattigan
Rufus books, September 2012

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‘Poetry’, wrote Octavio Paz, ‘is the other voice. Not the voice of history or of anti-history, but the voice which, in history, is always saying something different’. He was of course talking of what is re-created in silence, beyond History and of what governs its conversations and logical discourse. Michael Lee Rattigan also is seeking to pinpoint that ‘other’ voice, for everything that he writes it seems exists only to advance silence, or at least our unmediated access to it—while consciousness is no more than a fine vessel of flesh and blood stretched over the diaphanous musculature of each word; for this poet does not produce a merely verbal language, no, rather he is writing the syntax of listening, the anti-aesthetics of un-naming and sucking back into the lungs the protean impulse of a visible mind. In this collection, Rattigan is in many ways attempting to cross what the French poet Philippe Jaccottet described as ‘the unique uncrossable space’, that which constitutes our ‘elsewhere’, the incongruously familiar place that occurs when our reality-horizons are wheeled out of the mind. It is in fact the logocentric destination that a writer like Rattigan would like one day to return from.
Paul Stubbs

To read the review

‘The Eternal Procession’ – Paul Stubbs reviews Yves Bonnefoy’s ‘The Arrière-pays’

The Arrière-pays
Yves Bonnefoy

Translated by Stephen Romer – Seagull Books, 2012

‘Yves Bonnefoy is first an abstract form, then a poet. Therefore a work such as The Arrièrepays is but a shadow giving notice of his shapes still to locate a sundial. He is what Jean-Paul Sartre said of  Baudelaire, that he had the posture of ‘a leaning man’ (‘d’un homme penché’); one acutely adrift of the comet of his own flesh and who, burning up in the drag of his own sentences, holds within his fist only the shredded remains of each exploded space. When Rimbaud wrote ‘To every being, several other lives seemed to me to be due’ he opened up in knowledge and in poetry the first true terror-pores of gnosis, allowing a poet like Bonnefoy to access his own unpurged mind, to conceive of what Yeats revealed in Vision—‘all things dying each other’s life, living each other’s death’. To witness the mirage of this elsewhere in time and space (this place which Bonnefoy names ‘the arrière-pays’ i.e. an imaginary hinterland born of what he calls the ‘unknown feeling’), this poet has first to return to Eden, to locate the one tree in which the fruit is still flesh, and whose bark, if peeled back, reveals only his own still unused bone.’
Paul Stubbs

To read the review

Chaos in Poetry – D.H. Lawrence

“Poetry, they say, is a matter of words. And this is just as much true as that pictures are a matter of paint, and frescoes a matter of water and colour-wash. It is such a long way from being the whole truth that it is slightly silly if uttered sententiously.

Poetry is a matter of words. Poetry is a stringing together of words into a ripple and jingle and a run of colours. Poetry is an interplay of images. Poetry is the iridescent suggestion of an idea. Poetry is all these things, and still it is something else. Given all these ingredients, you have something very like poetry, something for which we might borrow the old romantic name of poesy. And poesy, like bric-à-brac, will for ever be in fashion. But poetry is still another thing.

The essential quality of poetry is that it makes a new effort of attention, and “discovers” a new world within the known world. Man, and the animals, and the flowers, all live within a strange and for ever surging chaos. The chaos which we have got used to we call a cosmos. The unspeakable inner chaos of which we are composed we call consciousness, and mind, and even civilisation. But it is, ultimately, chaos, lit up by visions, or not lit up by visions. Just as the rainbow may or may not light up the storm. And, like the rainbow, the vision perisheth.

(…)

What about the poets, then, at this juncture? They reveal the inward desire of mankind. What do they reveal? They show the desire for chaos, and the fear of chaos. The desire for chaos is the breath of their poetry. The fear of chaos is in their parade of forms and techniques. Poetry is made of words, they say. So they blow bubbles of sound and image, which soon burst with the breath of longing for chaos, which fills them. But the poetasters can make pretty shiny bubbles for the Christmas-tree, which never burst, because there is not breath of poetry in them, but they remain till we drop them.”

DH Lawrence, “Chaos in Poetry, published in Exchanges, December 1929

The Arrière-pays, Yves Bonnefoy / Stephen Romer

The Arrière-pays
Yves Bonnefoy

Translated by Stephen Romer – Seagull Books, 2012

Since the publication of his first book in 1953, Yves Bonnefoy has become one of the most important French poets of the postwar years. At last, we have the long-awaited English translation of Yves Bonnefoy’s celebrated work, L’Arrière-pays, which takes us to the heart of his creative process and to the very core of his poetic spirit.
Enriched by a new preface by the poet, this volume also includes three recent essays in which he returns to his original account of an ethical and aesthetic haunting, one that recounts the struggle between our instinct to idealize—what he deems our eternal Platonism—and the equally strong need to combat this and to be reconciled with our nature as finite beings, made of flesh and blood, in the world of the here and now.

http://www.seagullindia.com/books/detailviewnew.asp?prodid=3832

http://press.uchicago.edu/ucp/books/book/distributed/A/bo13217396.html

about Stephen Romer

http://literature.britishcouncil.org/stephen-romer

http://poezibao.typepad.com/poezibao/2007/05/stefen_romer.html

Absinth & The Song of Synth

Just published

a double novel by Sébastien Doubinsky

PS Publishing, 2012

More information / to order a copy:

http://www.pspublishing.co.uk/absinth–the-song-of-synth-hc-by-sebastien-doubinsky-1268-p.asp

Les Carnets d’Eucharis, projet d’un numéro papier

Les Carnets d’Eucharis
Projet d’un numéro annuel en version papier pour Février 2013

Les Carnets d’Eucharis, créés sur internet depuis 2008, sont un espace numérique sans but lucratif, à vocation de circulation et de valorisation des œuvres littéraires, de langue française et/ou étrangère, inédites ou tombées dans le domaine public. Faire partie d’un vaste projet de recherche et de reconnaissance dans les domaines des écritures contemporaines et des expressions visuelles (photographie, peinture, sculpture…). Publier, diffuser et promouvoir. Telles sont les principales visées des Carnets d’Eucharis, dontle rayonnement et la notoriété sur internet semblent être des éléments favorables à la création d’une revue imprimée : la publication d’un numéro annuel viendrait en complément des 4 carnets saisonniers gratuits et téléchargeables depuis

http://lescarnetsdeucharis.hautetfort.com

Le lancement de cette première édition annuelle est prévu pour février 2013 (pour un tirage de 250 à 300 exemplaires, et un volume d’environ 120 pages).

La création de cette revue papier entend fidéliser et élargir le lectorat internaute, et ainsi permettre une plus large accessibilité, autrement que par la lecture numérique.

Pour en savoir davantage :

http://lescarnetsdeucharis.hautetfort.com/archive/2012/05/31/les-carnets-d-eucharis-communique-de-presse.html

Rilke in Paris

Rilke in Paris
by Maurice Betz, translated from the French by Will Stone, Hesperus Press, 2012

In the summer of 1902, a young unknown German-language poet named Rainer Maria Rilke, arrived in Paris with the intention of writing a monograph on the famous sculptor Auguste Rodin. From then on, Paris proved both a reliable base and an irresistible source of inspiration for Rilke. He was by turns arrested, appalled, tormented and inspired by the raw reality of the Parisian street, and the life he witnessed there gradually entered his writings, prefigured by prodigious letters and notes. These formed the basis of his prose masterpiece The Notebooks of Malte Laurids Brigge, published in 1910. Maurice Betz was Rilke’s foremost translator into French and knew the poet personally. In 1941 he published an insightful essay around Rilke’s artistic relationship with Paris, concentrating on the fascinating and difficult evolution of The Notebooks. Already translated into other European languages, Rilke in Paris is now available in English translation for the first time.

http://www.hesperuspress.com/Web/pages/bookdetails.aspx?bid=673

http://www.europeanbookshop.com/blog/194

Will Stone reviews ‘Ex Nihilo’

Ex Nihilo, by Paul Stubbs
Black Herald Press, 30 september 2010
120×160 – 46 pages – 8 euros
ISBN  978-2-919582-01-3

Order the book / Commander l’ouvrage

To read an excerpt / Pour lire un extrait

¤

Paul Stubbs’s Ex Nihilo is a pocket sized rumble of literary thunder, the first feelers of a language storm that makes the susceptible reader who first opens it, look up at the sky ominously. Holding a copy of Ex Nihilo, the reader is obliged to repeatedly take new bearings, constantly rechecking a mental compass whose needles quiver wildly in all directions, for the long poem within is unlike anything else found on the bookshelf of a smugly stocked Waterstones. In fact it won’t be found on the shelf of Waterstones at all, because it is far too radical and incendiary to sit alongside the bloated dignitaries and carefully positioned courtiers of the Bloodaxe, Faber and Carcanet fiefdoms. The infernal heat given off by Stubbs’s constantly firing cannons means this book must be held in a secure area, away from the carefully tended prize beds and gentle rustling of self assurance inherent to the poetry ‘business’, the poetry ‘society’, the poetry ‘school’, the poetry ‘prom’, poetry ‘please’, the increasingly predictable production line of the poetry ‘industry’ in the United Kingdom. No, it must be held in the head only, and from there a realisation of Ex Nihilo’s importance departs and like a flaming beacon lit from peak to peak, communicates from one reader to another. This is an underground book because it does not seek to flatter tastes already established, rather it seeks to leave a skin even as it grows a new one, to lift the bark suddenly, catastrophically, so the creatures beneath are forced to run madly, blindly into the new light that interrupts their slumber, and that’s the way Stubbs wants it. Stubbs’s is a restless deception-proof poetry that keeps moving on from the page, or indeed off the page, as if this white space is a laughable plot on which to establish a permanent settlement. ‘Only a word thin fragility, this page, bearing again only my own footprints…’ For here passes a tireless vagrant with a weighty sack of religious doubt and existential horror knocking at door after door, where he has been assured a meaningful response will be forthcoming, but behind which only an icy wind blows…

EX NIHILO

The poet Stubbs has two significant previous collections to his name. The Theological Museum, 2006 (Flambard) and The Icon Maker, 2008 (Arc). In these works Stubbs cemented his reputation for unconventional ‘unscripted’ unremittingly challenging forms. These sometimes sublime sometimes disturbing poetic architectures, over which deep space blizzards seem to continually rake, cast a sometimes majestic sometimes bitter beam into a future void of darkness, a beam whose exact trajectory and final target defies any coherent conclusion. Ex Nihilo should be passed from hand to hand and by word of mouth. It should go under cover of the night in which it was born, so as to avoid being stopped and searched by the poetry society police. This book is so far from the habitual workshop ‘facilitated’ fare, with their deathly diamond precision and priestly obedience to nurture a language they know and feel safe in, which in fact screams to be let loose and to turn savagely on its creator. Paul Stubbs states with visionary confidence and an absence of pretension at the outset of his poem, ‘I begin alone, waiting for my eyeball, like a sun, to rise, and cast out my own shadow from the shape of everything…’ and he ends thus ‘And so imagining how my slack breathing it still sways the grass of a world I no longer have access to, I think on…’ For Paul Stubbs is above all else helplessly corporeally integrated with his poetic utterances. His body and his mind are locked in a fusion that has somehow through virtual existential annihilation constructed a fantastic makeshift raft of language, a useful object to support his mind for the duration, with branches felled from the forest of eventual silence, a platform on which to lie exhausted and drift through whatever remains, after the sanctioned insanity and myopia of his epoch finally give way. One can only think of Klaus Kinski as the jungle inexorably closes in during the finale of the Herzog film ‘Aguirre Wrath of God’, staggering about his half drowned raft and holding up a tiny monkey in his gloved hand to heaven. Paul Stubbs is one of the few genuinely original poets operating at the moment, and his work deserves a wider distribution. Stubbs’s next collection of poems concerns the paintings of Francis Bacon as interpreted through Stubbs’s vision. An enthralling prospect indeed.

Will Stone, first published in Agenda, Vol 46 No 3 (April 2012)

¤


“What is Grand is necessarily obscure to Weak men”

‎”You say that I want somebody to Elucidate my Ideas. But you ought to know that What is Grand is necessarily obscure to Weak men. That which can be made Explicit to the Idiot is not worth my care. The wisest of the Ancients consider’d what is not too Explicit as the fittest for Instruction, because it rouzes the faculties to act.”

William Blake, Letter to Dr. Trusler, 23rd Aug 1799

**

http://www.english.uga.edu/nhilton/Blake/blaketxt1/Letters/5.htm

http://www.jose-corti.fr/auteursromantiques/blake.html

http://www.blakearchive.org/blake/main.html

À propos d’un thug – Tabish Khair

à paraître en avril aux Editions du Sonneur

À propos d’un thug
un roman de Tabish Khair
traduit de l’anglais (Inde) par Blandine Longre
(avec le concours du CNL)
(The Thing about ThugsHarper Collins 2010)

THUGS : secte active en Inde du XIIIe au XIXe siècle, dont les membres pratiquaient le vol et le meurtre par strangulation en l’honneur de la déesse Kali. Amir Ali, l’un d’eux, a quitté l’Inde pour accompagner le capitaine William Meadows dans la grisaille du Londres victorien. Ce dernier a en effet pour projet d’écrire un ouvrage sur cette confrérie meurtrière. Dans le même temps, lord Batterstone, un célèbre phrénologue qui cherche à prouver les différences séparant les hommes et les races, charge un certain John May de lui trouver des crânes et de les lui apprêter. La quête de John May le pousse peu à peu à commettre des crimes abominables qui provoquent sensation et terreur dans tout Londres. Bientôt, les soupçons se portent sur Amir Ali – car qui d’autre qu’un thug, même repenti, aurait pu commettre de tels meurtres ?

Le roman a été retenu dans les dernières sélections des prix suivants :

Man Asian Literary Prize 2011
DSC Prize for South Asian Literature, 2012
Hindu Best Fiction Prize, 2010

du même auteur

Apaiser la Poussière
(Editions du Sonneur, 2010, traduit de l’anglais par B. Longre)

voir aussi

http://blongre.hautetfort.com/tag/tabish+khair

http://www.tabishkhair.co.uk/

Forêts noires de Romain Verger

“Troisième roman de Romain Verger, après Zones sensibles(2006) et Grande Ourse (2007), l’auteur poursuit ici un travail de prose poétique qui interroge les rapports entre la névrose psychique et l’osmose avec la nature. Païenne, animiste, la vision de l’auteur sillonne paysages mental et sylvestre et creuse un vaste jeu de correspondances où le minéral, le végétal et l’animal se mêlent de façon inextricable, se transformant l’un dans l’autre en un incessant et troublant cycle de métamorphoses.” Alessandro Mercuri.

Pour lire l’article 

Romain Verger, Forêts noires, Quidam Editeur, 96 pages, 12 euros  (ISBN : 978-2-915018-53-0)

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