Nathanaël and I are writing together about lagoons and/as archives—that “each book occupies, for me, the place of a memory loss….” makes for the initial traces of that conversation, here and in the print version of MAKE Magazine #16:
If you are in Boise, Idaho later this week, please join us for the following festivities surrounding the poetry of Ezra Pound: Wednesday April 9th 7:00 pm Marjorie Perloff will open the conference with her paper “Recharging the Ideogram: Poundian Reverberations in Brazilian Concrete Poetry” Thursday April 10th 10:00 am – 10:55 am Discussion group […]
And then went back to the book, into confrontation with styles of cognition fading, past?
On the way to Santa Prassede, following the detour of buses, running into a truck whose emblem is a head inside a gear marked “San Precario” or “Saint Precarious”: A spirited, nearing joyous, parade against (re)becoming minds in flight: the demonstrations of precari, workers, researchers without security, enact their part of the “manifestazione continua” rising […]
“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 […]
In thinking through the title of Ezra Pound’s A Lume Spento, which cites Dante’s imagination of the unlit transmission of a heretic’s bones to the Verde River, the past days have been full of tides, startled by Lila’s dream of San Clemente full of water: the river Tevere, its eels and desecreated bodies, its healing […]
The measured, fatigued ol Ez sez, syllables, as they’d say in Italian, to Pier Paolo Pasolini’s legible amusement & faint stupefaction: “Lei dice nazioni industrializzate e quindi culturalmente avanzate. È questo quindi che non mi va. Difficile per me rispondere a questa sola domanda perché non è solamente in Italia industrializzata dove ci sono nuovamente […]
Discussion over lunch about abstraction and concretion in translation one day and about translation of mental illness the next: learning from Anne Carson not to remove from words the objects lodged inside them in favor of a clearer semantic “point”; learning from one’s brother not to dismiss the phantoms inside another’s head. Discussion of Zukofsky’s […]
“Hurry up slowly”—motto of Aldus Manutius, Venetian typographer, grammarian and humanist, turn of the sixteenth century. “City of Aldus”: it’s this figure that’s cited by the puerile author of A Lume Spento who wants to boast about where he’s self-published his first 72 pages of verse.