@inajumble / inajumble.tumblr.com
LA VIE DE L'HOMME EST CETTE VIANDE David GASCOYNE à paraître / forthcoming recueil bilingue Traduit de l’anglais par Blandine Longre Avec des autotraductions de David Gascoyne Postface de Will Stone Man’s Life Is This Meat bilingual book Afterword by Will Stone Black Herald Press, janvier 2016 144 pages - 15 € - isbn 978-2-919582-03-6…
« On comprendra aisément pourquoi, après trente-trois ans, un être si attachant est singulièrement présent à mon esprit et pourquoi aussi je ne passe jamais devant le 6 de la rue Rollin sans un serrement de cœur. » Cioran, Exercices d’admiration, « Benjamin Fondane, 6, rue Rollin », 1978. (David Gascoyne's translation of Cioran's essay -- unrevised draft --- : "It will be easily understood why, after thirty-three years, so attractive a being is singularly present in my mind and why also, I never pass by the number 6 of the rue Rollin without a wringing of the heart.")
"Yet in their own strange ways, imaginary musical instruments exist. What’s more, they have not merely shadowed or paralleled musical life; they have formed a vital part of it, participating in ways that show the fragility of the distinction between imaginary and real. No less than instruments you hold in your hand, imaginary instruments act as interfaces between mind and world, limning the edges of what we may think and do."
“This is an ongoing attempt at an algorithmically-generated, readability-adjusted scatter-plot of the musical genre-space, based on data tracked and analyzed for 1385 genres by The Echo Nest. The calibration is fuzzy, but in general down is more organic, up is more mechanical and electric; left is denser and more atmospheric, right is spikier and bouncier.”
"Renting in London is bad enough in 2015, but in 1666 tenants’ contracts made them liable for repairs to their houses, as well as for rent while they were being rebuilt..."
"Brown explained that the Greek word gnomon (“one that knows or examines”) is used to refer the pin or rod of a sundial, the part whose shadow falls upon the dial to tell an observer what time of day it is. For Brown, marks of punctuation were knowing gnomons too — “index marks”, as he described them, that pointed out something of interest in the surrounding words just like a shadow on a dial, and his new terminology was loaded with coincidence."
The End of the Trial of Man Paul Stubbs Arc Publications, 2015 ISBN 9781908376015
To order the book
ALICE OSWALD REVIEWS Paul Stubbs’ THE END OF THE TRIAL OF MAN
“For nearly two decades (or perhaps millennia) Paul Stubbs has been engaged in the task of imagining what lies beyond the imagination. (…) There is no guardrail to this kind of project, no literary guide or physical limit, only exploration. The extraordinary thing about the poems in The End of the Trial of Man, his fifth collection, is that they never obey the so-called rules of creative writing. They never speak politely from the visible realm to the invisible, but, like X-rays, they get straight under the surface and make images of insides: “as along the wrought mental-wires of my brain vibrates now the voice of no God”. We’ve grown used to a different kind of poetry. To enjoy this book you have to perform something like a backward roll of Descartes, who pointed out that the mind is much more clearly and distinctly known to us than the world. Once you’ve dropped the idea that poets ought to write sensuous, sensible poems about sensuous, sensible things, then the Stubbs picture-show can start. (…) Everything about the verse is transgressive and brand-new and seemingly home-made. It’s no good tutting over its metrical or grammatical misbehaviour – you must watch the visions and let the rules remake themselves”.
Alice Oswald, The Poetry Review (Volume 105:2 Summer 2015, pages 46-48).
“As a ‘saint’, Weil, untypical in this role, pursued always a piety and grace unfit for such a sceptical and non-Christian believer, turning faith back into a dialogue between Genesis and Apocalypse, the void and gravity. Unlike Thomas Aquinas who, amid the theological barbarism of Franciscans and Dominicans, wrote in his Summa Contra Gentiles as one who never embodied his knowledge of sin without prior knowledge of it via the Biblical ‘message’, Weil, being such an independent bulwark against too many philosophical questions, refused to fall back on revelation, or the Bible in general, as an answer to any theological problem that she herself could not resolve.”
from A Search for the Cosmological Cross, by Paul Stubbs (via ofresonance)
Artist: Marshall, William, printmaker
Vous trouvez la vie ennuyeuse ? Votre femme vous lasse avec « son seul et unique visage » et vous en changeriez bien comme de chemise ? Vous vous dites qu’un enfant vert égayerait la famille ? Vous vous sentez étriqué dans votre identité sexuée ? Vous aimeriez traverser le corps de ceux...
THE RETURN TO SILENCE — AN ESSAY ON FRIEDRICH HÖLDERLIN by Paul Stubbs http://paulstubbspoet.wordpress.com/2014/08/17/the-return-to-silence-an-essay-on-friedrich-holderlin/
You cities of Euphrates,
You streets at Palmyra,
You forests of pillars in the desert plain,
What are you?
...
Black Herald Press & Paul Stubbs at Berkeley Books of Paris.
Berkeley Books of Paris 8, rue Casimir Delavigne 75006 Paris
The Memoirs & Correspondence Frieda Lawrence Ed. E.W. Tedlock (Heinemann, 1961)
