Friday at 12:30! Thanks to the Office of Recuperative Strategies….
Passwords: Jennifer Scappettone on Amelia Rosselli Poets House, New York City April 25, 2013 – 7:00PM Kray Hall $10, $7 for students and seniors, free to Poets House Members Poet, translator and scholar Jennifer Scappettone discusses the work of the Italian poet and musicologist Amelia Rosselli (1930-1996) — whose first book was introduced by Pier [...]
In which I chat with Cris Mattison about the cube as poetic constraint and Pentecostal space of all possible rhythms—presented in tandem with relevant translations of Amelia Rosselli and my own experiments in the cube form, courtesy of Zoland Poetry.
A Roma, sabato 5 maggio, alle ore 22:00 presso l’EX CINEMA PALAZZO – Sala VITTORIO ARRIGONI (Piazza dei Sanniti, a San Lorenzo) Jennifer Scappettone e Difforme Ensemble in USCITA 43 Un’archeologia della discarica e operetta di finestre “pop-up”: Uscita 43 è un lirico punto di fuga dall’incubo della tossicità della vita odierna periferica, da Roma [...]
C’è più onore in tradire che in essere fedeli a metà. (There is more honor in betrayal than in being half faithful.) -from Una Sera Come Tante / An Evening Like So Many Others by Giovanni Guidici (1924-2011) A two-day series of readings and conversations at the American Academy in Rome, intended to explore [...]
Book Presentation and Panel Discussion: “Where the I is the Public”: Amelia Rosselli in Translation New York University, Casa Italiana Zerilli-Marimò 24 West 12th Street New York, NY 10011 Thursday, 5 April, 6:30 pm A musician, musicologist, and self-defined “poet of research,” Amelia Rosselli (Paris 1930– Rome 1996) was one of the most important poets [...]
The book as thing in grayscale stands out against the images that presided over its pixels for the past twelvemonth. The anxiety of the thing—it’s not a book, Randy says, until it’s fixed and open to errancy….
And the seasons begin to cycle as each day brings another spur for vulnerability, another adieu and another resolution to self vis-a-vis composer Paul of the bidirectionality of time in circles.
Is another man’s mortar: from Hadrian to Maxentius along the Appian Way, frescoed sea-horse becomes filler for an unfinished throne room wall. Our archaeological Virgil through it all (drawings, lacunae-riddled plans, 3D scanners, holes full of dirt and equivocal chunks) enjoying his job exactly as much as one reckons he oughta.
At the Villa Medici: from Paris to the Pincio, perfect coherence of voluptuousness in stone embraced otherwise, alive.
The history of Rome traced through food and its conduits, followed by Fritz’s gorgeous installations of aperitifs & dinner in roof tiles moving the crowd from orto to cortile, lit by a chandelier of twig & leaf, Mona finally sitting down to eat with us: and having through it all to come face to face [...]
Eggplant and mint, we taste, so much more exquisite than is photographable—overseen by as-ever enthralling epitaphs glimpsed anew in this quotidian dream that taunt us with the desire to know more and more language, and with the need for time, insatiable.
Scoping it out at a press conference overlooking the whole city: the space we’ll perform in (Exit 43 with the Difforme Ensemble) before bidding goodbye to the site of Rome’s preGothic sustenance and our ravishment.
In the lurid purple apparition of the Ponte Rotto and cherished summer passeggiata schmaltz, resisting the surreptitious yet certain sense of possibilities clamping down with the passage of the weeks and the neighbors, even if the morning, recall pixelessly, among the myriad possible pixeless lessons of the year of explosive potential in love with the [...]
In the new departing friend’s studio full at his facture of charcoal and bodies and blinking streaking green otherworldly light made grainy by lack in the archive machine.
Odescalchi, host of hushed stories of past horribleness, with dashboard, to be precise.
Unakin to the dogged determination of research leading in obedient step to professionalization, the navigation of cities and the production of poetry will always repay the errant seekings of curiosity off the Corso: look further, a second and a third time, for patterns, stances. Especially in Rome….
A fancied word so unfortunate in animation: in the woods punctuated by grazing fields for horses lined by modern sewers, the farthest reaches of the Aqua Paola (e Traiana), great outmoded infrastructural gift, at a tilt, leaking sporadic showers, and in expected picturesque disrepair: contemporary Ruskins our hunters from England hastening to capture the destruction [...]
Among the only feasible options in the historical center: just outside the Borgo, or the area of the Vatican, adjacent to the hospital set up for pilgrims: bright & with a view for as long as they’ll allow it (law banning mobile homes on the Janiculum in momentum).
Paul Rudy and Aparna Keshaviah’s “Kinetic Play” tapping into the ground I can’t see for the crowd through a sensing of native American beats plus Bharatanatyam gestures and bells as poetic text: a double language that’s not European, though born of six months’ back-and-forth in the heart of European civilization, our revised Rome. So expressive [...]
Henry James ardently to the friend (lover?) Hendrik Christian Andersen, coaxing his companion toward specific lived experiences and places, expressing doubt regarding “any use on all the made earth … for a ready-made city, made-while-one-waits, as they say, & which is the more preposterous & the more delirious, the more elaborate & the more ‘complete’ [...]
Oh, immortal verbiage, lasting specters of romance in the face of ephemeral objectual us: Peace, peace! he is not dead, he doth not sleep, He hath awaken’d from the dream of life; ‘Tis we, who lost in stormy visions, keep With phantoms an unprofitable strife, And in mad trance, strike with our spirit’s knife Invulnerable [...]
Round two: for comrades & neighbors. 6 minutes per space: good thing we eat together! Hollows of Trajan (Radical Craft); refusal of time (Kentridge); hole logics and languages (Oppenheimer); synthetic fragment of the quotidian, syncretic reflection in passing windows (Blair); dilation and rupture of narrative poetry (Yasinsky); anatomy of cultural salvage (Rush); cinematic paintings of [...]
“For those who submitted to disorientation, it was a success.” “Submit,” says Tom: “that’s the perfect word.” An old archaeologist friend, alongside whom I worked at my first and only dig, two decades ago, veering over the hole listening for voices. Hearing the unconscious, seeing the strata of history in the strata of bricks above [...]