“While Artaud cannot be called a shaman, there is a shamanic matrix binding his life and work. This presence contributes significantly to the way his image strikes us. Although there is nothing in Artaud’s materials, to my knowledge, that would indicate that he consciously made use of shamanic lore or stance, such a lack makes the matrix even more pertinent. When I hold up Artaud’s image, I see shamanic elements in it like a black rootwork suspended, coagulated yet unstable, in liquid.”
All posts tagged The Fiend
Posted by Paul Stubbs on April 20, 2011
Paul Stubbs review ANTICLINE by Clayton Eshleman (Black Widow Press) in The Fiend magazine.
“Clayton Eshleman is one of America’s most pivotal visionary poets writing today, a word-creator and a language inventor whose work has delved deeper than nearly anyone else into the strata of the poetical core of this planet. He wasan editor of the influential literary magazine Caterpillar which survived, exploded and prospered for 20 issues between 1967 and 1973, and of the magazine Sulfur, published for 46 issues from 1981 to 2000. He is also recognized now as the leading translator of the poetry of Peruvian writer César Vallejo, the fruit of forty years work which culminated with the publication of The Complete Poetry of César Vallejo (California Press, 2007), shortlisted for the 2008 Griffin International poetry prize. Besides, he is the translator of Aimé Césaire, Antonin Artaud and Pablo Neruda, among others.”
Posted by Paul Stubbs on March 15, 2011
The Unleashment: a review of Clarities (Blandine Longre) & Ex Nihilo (Paul Stubbs) by Andrew O’Donnell in The Fiend magazine
“There is a great optimistic verve to the poem, here, in that there are certain mental terrains conjured that I don’t think we have seen anywhere else, meaning; in as much as a semblance of narrative is retained, and a tradition implied (perhaps something more resolutely Francophile/European… particularly in Stubbs’s using Valery in his introduction) Ex Nihilo seems simply to be creating its own rules, its own concerns, its own self and selves, and is unlike anything in British poetry right now.”
Posted by Paul Stubbs on March 14, 2011
The Fiend is edited by Andrew O’Donnell, and is a journal whose main emphasis is on poetry and translation. It was conceived in 2008 as an avenue for new talented writers to find their feet, become more acknowledged, or to find new audiences.
It accepts submissions of original poetry or translations from any corner of the globe, as well as critical prose, visual art of all kinds, philosophy, journalism with an international emphasis, plus essays and articles on a large number of themes relating to the politics of being alive, creative and open-minded in the 21st century.
Posted by Paul Stubbs on November 7, 2010
a review by Paul Stubbs, published in The Fiend,
When reading the poems of Eeva-Liisa Manner, and discovering the landscapes that gave birth to them, I am reminded of these lines by the great Finnish/Swedish poet Edith Sodergran, lines in fact inscribed upon her gravestone, ‘See, here is eternity’s shore, here the stream murmurs by, and death plays in the bushes his same monotonous melody’, for amid the surrounding cacophony of nothingness, the ice-empires and snow-creatures that dominate the psychological terrain of this poet’s imagination, we sense the always pervading presence of conscience and creation combined, in poems that seem to de-personalize and tether the ‘I’ of the poet to a frozen post in the mind of the reader for the poem’s duration.
‘I thought, but was not.
I said animals were machines.
I had lost everything apart from reason.
Give my regards to all those
Whose knowledge is secret…
Tell them that philosophy is loneliness and a dead body
Which copulates with reason’
Posted by Paul Stubbs on November 6, 2010