Though that preposition may no longer hold—at Rutgers, I’ll be presenting a draft from a book project in progress, From Babel to Pentecost: Wireless Imaginations in Postwar Literary Arts and the Dream (or Nightmare) of a Transnational Language. The piece being presented is titled “To Whistle in the Fasces of Uniform Graphemes: Babel After Fascism.” […]
Tomorrow evening, April 29, at the Graham Foundation in Chicago, I’ll present work in progress on the gnarled histories of architecture, poetry, and nation-building that converge in the construction of a great museum on the part of a group of Italian immigrants/émigrés between Rome and São Paulo—and try to sketch out how public space, poetic […]
Please join Ignacio Infante and I for a seminar surrounding the translation of avant-garde poetics across national and oceanic bounds, and the political convolutions that arise from this contact and transmutation—at the American Comparative Literature Association Conference in New York City (New York University). I’ll be speaking about the collaboration between poets, architects, and ex-Fascists […]
Phoenixlike, and I am thrilled to be launching the Xs in this venerable fracas of a tome with a new entry on “xenoglossia” and the dream of a common language. To order, click to The Princeton Encyclopedia of Poetry and Poetics….
And this flight away, not toward (this being a recollection predated after the flood), the exquisitely hammered-away granite isle of perfect crossings will give rise to a conversation about compression: the constraint of the cube, on the one hand, producing energy by compression, and the infinite permutations of the grid.
“Stanza as Prison, Homicile, Cube, Sphere: Emilio Villa, Amelia Rosselli, and the Spaces of Post-Fascist Ytalyan Poetry” is the name of the talk I delivered tonight at the American Academy in Rome. Such rare pleasure to present, incommensurately perhaps given the material of dislocation, to a room full of neighbors, however hailing from the strange. […]
in phonemic translation from translation out of a notebook running circles round the “past”‘s totem and taboo by Emilio Villa, taking inspiration from the delirium of the book et ab hic et ab hoc: batabìk batabòk patabot babeek babohk betock, betel & from the “here & from this re” lied book, The narrative Hoo— Hook
Why shouldn’t poems roll across the floor? From Emilio Villa’s The Rolling Balls: Hydrological Antistructures, With 6 Silkscreens (Rome: Edar, 1969), in collaboration with Silvio Craia and Giorgio Cegna….
And the breathless dust of realization that obsession with the language of Emilio Villa and his precursors so deep down and far (hyperpast) really could drive a reader madly into the underbelly of the moment, delightsomely.
“I do not know what meaning classical studies could have for our time if they were not untimely – that is to say, acting counter to our time and thereby acting on our time and, let us hope, for the benefit of a time to come.” —Nietzsche, Unzeitgemässe Betrachtungen Betrachtungen=observation: consideration: speculation. As to translation […]
“Evening and the everest/ist vers la poetry learning”: Giulia Niccolai’s 1975 homage to Emilio Villa, “E.V. Ballad,” from her Russky Salad Ballads, performed, glossed, translated and recorded at the Romapoesia PoEtiche festival in October 2010. Beyond poetic delightsomeness unto itself, this piece functions as a ludic gloss of an underrecognized virtuoso of “Ytalyan” & beyond, […]
En route to hear various actors & Andrea Cortellessa, in a painted theater off the Via del Paradiso (“c’è solo la via; non c’è il paradiso,” reports a waiter whom we’ve asked for help from a nearby stoop), strapieno, vocalize Emilio Villa’s plurality of origins, Homers, Bibles (progeny of Vico): spectacular flock ruckus, uploaded here […]
Emilio Villa, in a typical flight from Ytalyan spelled with two whys: the palimpsestic Brunt H (1968). Its punctum: CYCLOFLESH in all caps toward the center. John the structural engineer asks about the meaning of this term after my 5-minute spiel, “Stanza as Homicile.” Focus of this project on post-WWII dispersion brings to mind immediately […]
Fritz, who studied at the Architectural Institute of Venice a long time ago, asks an excellent question: is it Venice’s incapacity (I’d say disinclination?) to be imprinted by the current moment in any [infra]structural way that makes it so open to contemporary art, architecture, film? So that it becomes a better cipher for what’s new? […]