BY KEVIN MAGEE
Printing the Written Word
Overtook them in Rome
reading that represents 'external accretions'
to the two books of poems
Gloss on Coolidge's saint litany:
(Marx) The tragedy of the French
They dressed themselves up as
ROME reading ROME writing
poems the POEM in Rome
& the Gracchi follow Solon and Peisistratus
more radical measures than those enacted in Athens
"Below them were the proletarii, propertyless,
whose service to the State was to raise children."
Roman military expansionism, Tiberius Gracchus
tribunal champion of a Lex Agraria
'share the air and light and nothing else'
He was lynched by an urban mob
have not a cloud of earth that is their own
incapable of extension without loss of identity
the 'proletarianization' which overtook them
unitary Roman order
the so-called Social War
"The proud potent titles clanged over Stephen's memory the triumph of their brazen bells: et unam sanctum catholicam et apotolicam ecclesiam: the slow growth and charge of rite and dogma like his own rare thoughts, a chemistry of stars. Symbol of the apostles in the mass for pope Marcellus, the voices blended, singing alone loud in affirmation: and behind their chant the vigilant angel of the church militant disarmed and menaced her heresiachs. A horde of heresies fleeing with mitres awry:
the Church that is Art (Hope not Faith
"I stole the book at Amiens"
(the Ruskin in Kathleen)
Mauriac reading Proust's Sur la lecture
to the translation of Ruskin's Sesame and Lilies
"on the frontier of an unknown country"
the translators: Sur la lecture may be said
to represent the first announcement of Proust
writing it in 1905 for the Renaissance latine
'that illuminating moment of certainty
and creative action'
his own man this other man
who must therefore turn books to his
quickened to write his.
There where I recognize nothing of my
conscious thought where he thought
he knew for certain now seemed to him
never alone in a stranger room without walls
had to begin thinking again from scratch
honestly to know anything true
way of writing as a transposition
may be able to move further into
the two books of poems
Overtook them in Rome.
Reading as external accretion
that forced to lift my eyes from the page
and finish the interrupted chapter
than what is read then with such love
in their pages the city and song
where I would have them as companions
two long hours Still
windows of the church seen between roofs of the
give it the intimation of an answer
give it an appearance of ordinary life
He and She who having to write had stayed
the sweet dish
"Come, shut your book. It's time for lunch."
Only the end of the meal was missing
food prepared with the experience
of a colorist (or colonist)
the taste of dishes
where the taste of a single person
cannot settle the truth
on the way to prepare certain dishes
simplicity in the means
he knew too little about
cooking ever to know
as though it resembled the Lord's
Table (what is that passage
about until all sit down in the
table - Benjamin?)
that there might have been
several copies of what I thought
was a person
masterpieces they admire
sound only to make the silence appear
by displacing it
direct address - the nakedness of that
the apse of the church whose sculptures
the tolling of the bells for high mass
then the last page was read, and the book
closed. A stop put to the eyes' headlong
rush headlong. This book, it was nothing
is nothing now ("Come, shut your book")
haveing been given more tenderness
than to real life, that finds itself in reading
is found in reading, for the book to continue
all through that year 
he remained at home, except
with the historian, the scholar, the truth
they go to find far away in a book
is less the truth itself than its sign
as proof the book is not the angel
that opened the doors in favor of
a given custom described in Virgil
at the threshold of friendship
that reading is
and their native force stand out
like the sight of certain marbles
unused today, which the workers
of the past used
to go to the work as to an ancient city
which has remained in not-remained
intact and experience the emotion
as in the presence of forms of architecture
"But interposed between them, the columns push them aside, reserving with all their slender impenetrability the inviolate place of the Past: of the Past familiarly risen in the midst of the present, with that rather unreal complexion of things which a kind of illusion makes us see a few steps ahead, and which are actually situated back many centuries; appealing in its whole aspect a little too positively in the mind, overexciting it a little, as should not be surprising on the part of a ghost from a buried past; yet there, in our midst, approach, pressed against, touched, motionless, in the sun."
dreamed of social upheaval and chose England as
the place for it [Landschaflen, July 1840]
a purely imaginary England
Engels saw the English industrial situation
as did Melville, through the eyes of Carlyle
Rome for them is a place. A place on the map
a person can travel to.
as I have nothing to remember - never having
been there, and Rome is far away (and he never
did love Rome
Travel is a class prerogative. My travels.
The travels of a young educated man to Italy
in the Renaissance. The rise of Rome marked.
Archaic monarchy overthrown at the end of
the 6th century B.C. by the nobility
no secure small and medium agriculture
and no durable or substantial agrarian
nobility of birth
"The decisive innovation of Roman
expansionism: the introduction of
large scale slave latifundium for the
first time in Antiquity
Greek civilization precariously
coastal and insular in character
wars that was Rome its domination
of the Mediterranean world
"From 200 to 167 BC 10 per cent
or more of all Roman adult males
were permanently conscripted
The major single advance in the agrarian
technology of classical Antiquity: discovery
of the rotary mill for grinding corn, first attested
in Italy and Spain in mid-2nd century BC
It was in the Loire region that the great Bacqudae
rebellions were to break out in the later Empire
(described by contemporary accounts as risings
of rural slaves)
even after the rout of the last great Seleucid
army at Magnesia in 198
The language frontier - from Illyricum
to Cyrenaica -
it was once again the popular uproar
in the streets of Rome
the architectural discovery by Rome
of the arch and the vault
Recorded under the Principate: the water-mill
(Palestine at the turn of the 1st century AD)
and the reaping machine
(Gaul in the 1st century AD)
"The laborer here is, to use a striking expression of the ancients, distinguishable only as instrumentum vocale, from an animal as instrumentum semi-vocale, and from an instrument as instrumentum mutum. But he himself takes care to let both beast and implement feel that he is none of them, but is a man. He convinces himself with immense satisfaction, that he is a different being, by treating the one unmercifully and damaging the other con amore." (Capital, Moscow 1961, I. p. 196)
13 aug 38
"benjamin maintains freud thinks that sexuality will one day die out completely. our bourgeoisie thinks it is mankind. when the heads of the aristocracy fell, at least their pricks remained erect [insert Sade here]. the bourgeoisie has contrived to ruin even sexuality. i am helping R[uth] to put together a volume of short stories entitled EVERY ANIMAL CAN DO IT. 70% of all women are supposed to be frigid. we have good titles (HASTE IS THE WIND that beings down the wooden scaffolding. ALL THE KING'S HORSES AND ALL THE KING'S MEN. then SERVICE etc.) the unproductivity of technology. orgasm as a rare fluke."
"The great watershed of the mid 3rd century remains the most obscure phase of Roman imperial history, incomparably less documented and studied than the fall of the 4th or 5th centuries."
Who was the Emperor Elagabalus (218)?
i.e., his "religious and sexual exoticism"
the appearance of the colonus
- dependent peasant tenant
"The noblewoman Melania, turning to religion in the early 5th century, may have owned 25,000 slaves in 62 villages on her local estate near Rome alone. (She possessed lands in Campania, Apulia, Sicily, Tunisia, Numidia, Mauretania, Spain and Britain; and yet her income was for contemporaries merely that of a senatorial family of medium wealth." (See Jones, The Later Roman Empire).
Engels: "This was the blind alley
in which the Roman world was caught"
"the irreducibly catastrophic
character of the fall of the West"
"Autobiography can be conceived 'politically.' One knows that one's life is similar to that of a thousand others, but through 'chance' it has had opportunities that the thousand others in reality could not or did not have. By narrating it, one creates this possibility, suggests the process, indicates the opening.
Q 14 : 59
"Yet history, in its broad outlines, is based on written law: and when new facts arise, which overturn the situation, a lot of vacuous questions get thrown up, or at least documentation is found to be lacking on the 'molecular' way in which the change was prepared up to the moment when it actually exploded.
Q 14 : 64
Dante's Inferno, Canto X
Farinata explains that the Epicureans in Hell are like long-sighted people - they see well at distances but not close to. In their lives they fixed their gaze on material things close to them. Their mental punishment therefore consists in having this immediate vision taken away from them.
'expressive figure of Farinata'
Farinata's doctrinal address/speech
moral and theological doctrine
a kind of writing like Dante's
The ones lying in the tombs, can they be seen?
There is an open sky between these two books
in front of the window in my room. They gather
the entire shadow.
I know it is called departure or return.
Literature? I don't know. This is
what water is. Distant miraculous
destiny: hope awakens on the infinity
of the sea. The water flows slowly
into the millstream
a many colored comment on the arches
I have come across two poets
Up from the pages a dead world in the
shadow of the lampshade revived.
The sound is mother to the word
the flooding Po the Arno
It is from Italy
"An Italian sensibility born in Egypt"
proof of theories and Imagination
- "the excited, combative, dreamlike, improvising,
utopian stage in the formation of the proto-Fascist
and Fascist mentalities."
"The equation A=Action is as much in question
today as it was in 1909"
Rimbaud: "Il faut être absolument moderne"
will arrive from far away
"Futurism thought art was the only history
Duncan: "It is the language of experience
words immediate to our [senses] sentences"
"It is by the faculty of imagination that we come to the significance of the world and of man, imagining what is in order to involve ourselves more deeply in what is"
"And the immediate actual world of the poem
a world of language"
(Those demands that lend themselves to
immersion in the crowd
appeal to irrationality (violence)
the abolition of the past
destruction of monuments,
Hatred of women
glorification of the militaristic
head-over-heels with Hindustan
the Indian Ocean
the gulfs of Bengal and Oman
the sound of the two texts
the one consonated and the other vowels
their ears, the 'ear' Ear
rhyming that is not melliflous but music
or a music all the same -
hard, clipped sound
KF : hard, sharp, clipped or cut (sharp,
CC : open, even comic, repeating rhymes
"The city of Paralysis with its henhouse cackle"
"the Madhouse high on the ridge of an elegant hill"
"limitless madness of the Milky Way"
"see the furious coitus of war, gigantic vulva stirred
by the function of courage, shapeless vulva that spreads
to offer itself to the terrific spasm of final victory!"
"The sound, mother to the word, is so pure a thing of poetry that even in language we do not understand we recognize when we hear the presence of poetic grace and are sure then of the poet's art and vocation."
"not that I am a good workman, but that I aspire
after as much"
The ruins of Europe (Odes of Roba)
No self to light.
That's outside, a pall. A mute and weighted note
classical Greece and Rome, India and Arabia
He brought all the passionate contemplation
of a germanic nature to the things of mind and soul
He could be as madly obsessed by a male friend
as by a woman, and could love a woman as he loved
"le vrai public du dix-neuvième siècle est les femmes"
each equally emphatic and prolonged
to restore her book
that not time be lost to carry on the vast work
the dream of a vast work
"the poet's vanity in which he no longer aspires
to be a good workman but admires what he has done . . .
lost in the gratifications of his own voice."
Dante's courage is his ever-present consciousness
of the greatness demanded.
"Un poudreux déterreur de chroniques!"
eyes as wide as cows awakening in a fire
She was fond of materials which make themselves
a neck as firm as some Roman proconsuls
"la tête inclinée par une mélancolie gracieuse"
His language, which could be as abrupt
as an arithmetical figure or as delicate,
as aromatic as a flower or a scented sachet
The operations and mysteries of Poetry itself
The vault of blue Italian sky
trace extreme way
"passion-winged Ministers of thought"
"or go to Rome
that ages, empires, and religions there
lie buried in the ravage they have wrought"
"or go to Rome - at once the Paradise,
the grave, the city, and the wilderness;
and where its wrecks like shattered mountains
the bones of Desolations nakedness
rise to that bright station"
something liturgical, with repetitions
of a consecrated form of words
partly puritanic awe, the power
Wordsworth noted and valued so
the northern peasantry
at the appointed time all work ceases
pagan blood sacrifice
(must think about blood)
illuminated roll, kept in the painted
chest in the hall
Cuba who keeps him quiet in
seemed still to be moving in procession
Ad Vigilias Albas
in whose house the auspices were still
carefully consulted before every
Rome in Britain
that head of Medusa
"His religion, its gloom, confined
to the walls of Etruscan tombs."
Salus, salvation, for the Romans
had come to mean bodily sanity.
Medical art, mineral or herb
caught a lesson from what was then
said intervals of - was the precept
of a diligent promotion of the capacity
of the eye
Dante 'made perfect by the love of
Vision as of a new city coming down
'like a bride out of heaven'
guide pointing out the Houses of Birth and Death
volumes oddly rhythmical
the opening of an unsuspected window
on the one level space on the horizon,
in a long dark line, were towers and a dome:
and that was Pisa - or Rome?
going into the Forum for that purpose
the soft golden stuff
I who was the author of this thing also.
vessel of crystal
'authority of her task'
nature of her task
"The popular speech was gradually departing
from the form and rule of literary language,
a language always and increasingly artificial."
'the rights of the proletariate of speech'
Latin literature and the Latin tongue
at the threshold of the work
the mediational function of the poem
the languor - the languor that for one
'It was one of the first hot days of March -
'the sacred day' - on which, from Pisa,
as from many another harbor on the
Mediterranean, the Ship of Isis went to sea
the Goddess that new rival or 'double'
of ancient Venus, and like her a favorite
patroness of soldiers'
the Ship of Isis: an Egyptian deity,
Isis was worshipped in Italy,
at her March festival, Isidis navigium,
a sacred ship, was launched
poetic temper, tempo,
the flesh whose force and color
had made him a materialist
but with something of the temper
ROME CAN BE KNOWN
the Rhetoric of Rome
somber study of structure
an authority for a philosophy of the
despair of knowledge Lyric Rome
Goethe: America is here and now - here,
It was the age of the rhetoricians
apt to say words were things
And it was just at this moment
that a summons to Rome arrived
The rumor of Rome
visits to the tomb
along the Cassian Way where the figures
and incidents of the high-road seemed
already to tell of the capital to which they
were hastening that way
through the heart of the visionary country
of Etruria, and what he knew of its strange
religion of the dead - the longing to produce
exact and literal transcript of what was
passing on around
in the time of their coming to Rome
material Rome, modern Rome
Eyes of the golden youth of Rome
palatial dignity - absence of all that was casual
The condition of censorship - the struggle
not to find euphemisms but terms that will carry
the desired (and loved, the dearly loved)
doctrine, without calling attention to that doctrine:
the philosophy of praxis, 'Critical Theory,' etc.
Is this one of my attractions to Rome?
- parvolam nostram melius valere et intra cubiculum
discurrere - (You will be glad to hear that our little one
is better, and running about the room) Judaic unction
in flight to Rome on the eve of disaster
on my first day in Rome
through Rome and under
the Taurian goddess - Deity of Slaughter -
who demands the sacrifice of the shipwrecked
what was needed was the heart that would
make it impossible to witness all this
CHRISTIANITY IS A SLAVE'S RELIGION
MARXISM IS A SLAVE'S PHILOSOPHY
coarse woolen cloak of the common soldier
a vocabulary which rejected every expression
a graceless 'antinomianism' perceptible,
a dissidence, a revolt against accustomed modes,
the actual impression of which might rebound . . .
though we may not call them by that name
remained behind in Rome
what really were its claims as a theory of practice
It had been a theory, avowedly, of (so to call it)
What did it lose, or cause one to lose?
must be masters of nothing
in that New Rome taken up
that circle whose center is everywhere
the circumference nowhere - a series
of necessities had evolved the form
at the beginning of the year 173
not as a spectator in the Streets of Rome
something more in the way of a sacrifice
after the ancient pattern
light of doctrine cum dis communis
a kind of magnificence (in the Greek sense)
as are the footsteps of those who move about
the house where a dead body is lying
melancholy - Tristitia -
the temper of the suicide
patient bearing of burden
It amounted to tolerance of evil
"It was nothing less than the joy
which Dante saw in the perfect, the outward
semblance, a reflex of physical light
on human faces from 'the land very far off'
from Giotto onwards in its consummation
forced into the privacy of grief
"Was it not characteristic of the true kings
in Plato that they had in their houses
nothing they could call their own?"
Rome in the country air
susceptibility to influence
the perfection of its capacity
quickening of capacity
in the dawning of this doctrine
It was like the break of day
over some vast prospect
Was it in Rome,
or in one of the villages
in the country?
The voice of Dante, the hand of Giotto
Roman harmonies, the Roman army
for a richer and more varied field of sound
the Field of Sound
from Greek into Latin - broken Latin,
She watched the woman take, watched
as the woman took, was taking, taken
back. She was gone back.
The first word she had understood
for so long
"Monumental, eternal, these women
as they swung past with rhythmic sway
the red clay jars motionless on their heads
in single file whole families moved along
graded from the tallest in front to the one
not more than five years old, her miniature
jar tilted perilously on her little head or hugged
safely in her arms . . . the women's hour."
Rome had been no less
the pleasure ground
Horace gazing out from the Bay of Baia,
a belated eye
and the conquered path unwound
for in her case it did not
seem to be nature
She was not one of those who can question
and answer to her advantage
She had no such consolation
"cold white grief"
turned all white of a morning, mourning
Rome, a flowering and boundless
a city whose terraces
are the color of stars
and the immolation
of men to machinery
by the way of bindings
the dance, the readings, the distant fire
in that hard world of Rome
the two were returning to Rome
and free born
the western harbors
are solidly for Rome
five black olives on a saucer
a mass of fallen stones
Syrian balm would soothe
I did some reading for this writing
in the libraries at Yale.
In any case, I was too young.
The lapse into despair of a writer
who does not write.
In the worst hours of apathy
The temper of a writer
prevented from writing.
The Pantheon standing brown and gold
against the blue sky of a late afternoon in summer.
Tremendous repercussion of external events.
The red or green cloth-bound volumes
of the Loeb-Heinemann editions, a country of my own.
I had only to imagine the swollen hands
of a sick man holding the half-rolled manuscripts.
Balzac: Girl with the Golden Eyes
after a death, after death.
and that I had in hand a fragment
of the lost manuscript.
I had thought of the traveller, poet,
closed inside my room as if in a cubicle
of some Egyptian tomb, I worked late
into the night between New York and Cleveland
errs more or less lineament
"What's Hecuba to him?" Hamlet asks.
(of one who was loved)
survival and repetition in stone
of a countenance
this book is the condensation of
a vast work between two blocks
of Roman cement and the ashes
of a fire not yet cold
an error seldom committed in Italy
something of the air of a studio set
Today I went to see my physician Hermogenes
I went to see my physician Hermogenes
to see my physician Hermogenes
my physician Hermogenes
It is difficult to remain an emperor
in the presence of a physician
and have no faith in the miraculour virtues
of herbs he went to the Orient to get.
with hope to see the morning
"He was in Naples writing letters home"
the deer in the Etrurian mountains
then verge on dream and metapmorphosis
It was in Rome
nailed to the Beloved
the slightest contacts prove even too much
meaning as overpowering as that of the face
that rest that is reflected in two bodies
the written word has taught me to listen
to the human voice much as statues
have taught me to follow dance
they have reproached me for liking to read
the police reports of Rome
add to my store of documents
I have a chronology of my own wholly
unrelated to anything on the founding
of Rome, the foundling of Rome
Planes in space overlap
Egypt and Libya
are near, nor am I always in Tibur
when I am here
Provincial that he was, he never learned Greek,
and spoke Latin with a harsh English accent,
for which I was later ridiculed in Rome.
The stern Rome of the Republic.
I used to fall asleep in the furrow, counting meteors.
I never saw her again from the day that I set out
the brutality of all childhood
(It was Trajan on the Rhine frontier)
The emperor had lost hold on the city,
where he could no longer maintain himself
except by resorting to executions. I set out
with exultation, and passed some months
of a rainy autumn on the banks of the Danube,
with no other companion than a new volume, snow
blocked the roads and kept me from travelling
and in a constant state of excited expectency
written with no belief (iilusion) in the beneficence
of authority nor in the mission of Rome
to govern the world Roman
nationalism assumed brutal forms
exactions of labor and requisitions in land
at least for those of us born on the shores
of the Interior Sea
in the form of a reclining woman
where ever I went I was away from Rome
weird heaps of dead
like Venus from the foam of Greek seas
from the exciting stir of mornings in Rome
from the famous names their authors bore
She would speak with total candor
of her loves and I was drawn to her
intensity and detachment in loving,
her exacting taste in pleasure, and how
consuming passion harrowing her I have
known her to take lovers more than she
could keep count of as I am only a passerby
who makes no demands, without demands
whose incursions reached Rome
every year a new enemy on the frontier
the knowledge of medicine
who had need of the knowledge of medicine
It was an excursion for pleasure and study
my life was more moving to me than history
at Sparta, some shepherds taught me an ancient air
on the flute, a strange birdsong
aptitude for the immediate had led to a total
refusal to think
resting on ever more trembling hand on the page
the simple plan of total extermination
a province more for Rome
Beyond the Euphrates began the land
of mirage, and roads which ended in sand.
I thought with horror of the head tossed
from hand to hand in a performance of the Bacchantes.
She leaned toward Epicurean philosophy
that narrow but clean bed whereon
I have sometimes rested my thought.
Friendship was a choice to which she devoted
her whole being
and she gives herself to it
dispensed with explanations and avowals
or who had just come from Rome
Babylon fallen, the Tigris crossed
the Prince of Arabia declared his allegience
to the Roman barges
the Emperor embarked
a port at the head of the Persian Gulf
He was nearing the fabled shores
Persia's mailed battalions
Oriental element of the city
flame in the eyes of beggars
Israel a world and the intransigence of its god
colonnades in ruins and rows of broken statues
adjacent islands interrupted work
This obsession with the possibility of a life
prevented immobilized my thinking
at every point
or as a criminal intended for crucifixion
for the first time the immensity of that world
sent to Rome in safe hands traced
in Greek in a firm, feminine hand
those series of events impossible
to reconstruct the Nile
and I am unable to pronounce
either for or against the authenticity
of the last dictation of a sick man
The body was burned on the shore
solemnized in Rome
Rome continued unrebuked
these two personable poets
Ionic and decrying
all that he was of Roman, too much Roman
and in my Roman I
coverlet of the couch
At the root is the question of
Rome divested of its Western robe
the globe (globe)
the circulation of gold and the passage
of ideas, the triumph of Rome, triumph
in Rome, protest against a policy of conquest
abruptly to Rome
A wave of terror.
legend of tyranny
I was again among my own people.
that garden and those light rooms every day
becoming more the enclosure of a Muse
I rearranged Rome
a wealthy patrician of Etruscan origin
But I was impatient to leave Rome
Rome is no longer confirmed in Rome
"Rome is no longer confined in Rome"
terraced roofs of tile
Each time that I have looked
at the bend of some road
its perfect city fixed to the hill
like a flower
point in space
segment of time
Rome, less light and less
a life less vast
I would have wished
the State away,
once the modest city of the Seven Hills.
whose cities are born of encounters
incidents of personal life
other Romes will come, forms of Rome
sacred but wholly dead
accidents of geography
the words that grace the coins of my region
reduced to a single head
or condemned to the mines
and put an end to the scandal
of untilled fields
pavilion huts and farms
architecture of canvas and chords
Life at sea luxury is speed
But my greatest strength of all was perfect
a night without sleep is no more than a chance
to think, the roads Rome's greatest gift
Now for the first time the traveller
was also free both to see and
who have never had the feeling
of belonging any one place
not even Rome
like the weight of a shield on the left arm
or the post of curator of archives
hardly to be imagined outside a library
cook spoke Greek
the marvel of a native land
and an aquaduct for Carthage could not atone
Brick returns more slowly to the earth
and marble, once cut, retains proportions
and the palm of an entire temple survives
in each fragment of a broken column
I turned to Etruria
She turned to Etruria
has turned to Etruria peristyle
round Ionic forms
vastness opposed to perfection
terraces and towers
for the memory of a friend forever mourned
the tomb of her travel
jasper, porphyry, basalt and obsidian
a city: that framework
and the paintings of a portico
the site of sorrow
confined to a narrow
palm trees spaced regularly
have I walked in thought
cut parallel and divided in two
between theater and tomb
and tried these variations
which consist in transcribing
transposing to pallor idol
within this sphere
numberless new constructions
latent strength and agility of bodies
pine cone a vase with doves
tends merely to glance at likeness
a source, a form of succor (succor)
that god who every boy dying is
for those who have loved him
the slightly swollen curve of a lip
emperors who desperately
counted on the eternity of stone
the error of too soft a line
the error in a line
grave profile of an obedient child
body tenderly nude
Trahit sua quemane voluptas
sustaining and increasing
hope that the poorest traveller might
wander from one country or continent
to another without danger, encountering
everywhere protection and culture
"defining in three words the Spartan ideal
(that perfect mode of life to which Lacedamon
aspired without ever attaining it): strength,
Justice, the Muses,
In Germany new construction or renovation
crossed to Britain in a flat ship
imaginary accounts without practical value
the northern tribes
she saw my death
the first Roman money to pass through my hands
some grave incidents occurring on the Euphrates
and set forth at once for the East, a journey
which had above all to be made with speed
[The only proof one has is the writing]
Wealth and luxury had left me, the meeting
took place on the left bank of the Euphrates
a confusion of acrobats and dancers
a page of paper the tissue of illusion
the ocean of forms
conceptions not unlike those of
the whispering slaves at my door
the slow torment of gravel
Even in the West,
and even in Rome,
my motives for this impression
are in part, political
that first emotion in common
with the least of them
my own the least practiced
conceive of a globe
theorems, ritual outcry
whom I enjoy for his juxtapositions
Seated on the edge of the water he trailed a hand
over the placid surface disposed to reflection
whose Greek had the accent of Asia
a Platonist with leanings towards
I am not opposed to voluntary
and only at last towards Italy
as far as Africa
what is the act of love
itself if not a moment of
Roma, Amor: the divinity of the Eternal City
now identified with the Mother of Love
from a text of more than a century ago
the round temples of Etruria
Disposed that day to see everything without shadow
Rome the furnace, the boiling metal,
the hammer and the anvil, visible
proof of history
the struggle to see what the error is
expiatory (contrition) - admission
For a long time an Ethiopian
beat upon some African drums
my respect for the invisible world
He went back to the house of the
The truth being not of a kind to cry
in the streets
that the soul of the dead
incarnate some portion of
The two books are
itself inside the forms
I had made an exception for Rome
outcome of a correlation between a sound (or word)
Shadows or shallows
many of the issues of direct metal working
that would theoretically prohibit translation
an event that has not yet happened
objects of art and industry
(approaches the question with money in his mind)
the right of production
the rite of reproduction
the concept of the original edition
Perhaps part of the fascination with the condition of the 'originality' of ED's books are their resolute and implacable removal from circulation - commodification - from the 19th century's conditions of reception (which are our own, but we have lost the inflection of disease): consumption (another disease) and killer of poets. (I wonder what the history of that word is for the disease that 'defined' that century, and when and how it began to be used in connection with providing large amounts of commodities to a large population). Doesn't Melville explicitly identify whale-oil as a commodity? Unlike Hawthorne or Whitman, that he could think as far as he did has to reflect on what was possible for Dickinson to perceive about the 'fall' into print.
mystery of voyages and horizons
I am outlived (outlined) a rather
ambitious work, a sort of Satyricon
the surface was like a wax tablet from which an
instruction has been erased
no more than appease
street by street and ruin by ruin
the Palestine campaign
a sulking slave
the right to come to weep
in front of a
Thetis is supposed
(her son Achilles)
each evening she would rise from the depths
of the sea and would come to talk with her child
on the strand
Work, conversations prolonged until dawn, caresses,
like life, a secondary affliction.
in the palace archives
prince of senses whose
ships rides the Red Sea
its will to silence
(hostility to literature, narrative, discourse)
the intrusion of speech (phonemes - diachrony)
the depicted world
Art is not a secular
form of faith but is
about - has to - with
Goethe, Farbenlehre (1810)
Myths represent the cultured
attempt to explain contradiction
the contradiction is a powerful one,
one that will not go away, but can
only go on, or wil go underground
Error of Locating Events in Time
(History implies the connection of events
through time) psychoanalysis
"where the story of a life is seen
as an attempt to resolve primal
contradictions that remain
(and are sustained) in the structure
of the unconscious, they function
to promote endless repetitions
of the same conflict."
LIKE A TRAUMA THAT MUST BE REPRESSED
analysis of light and its physical
properties, motion, refractive
the way the light passed through
or the physiology of the perceiving
"The grid as an emblem of the infra
structure of vision"
flow of birth - amniotic fluid, the
"For Mallarmé . . . the window
functioned as this complex,
polysemic sign by which he
could also project the
'crystalization of reality into art.'"
the bars on the window - the grid -
succession - does one event lead
to the next?
Etiology: an investigation into the conditions
for one specific change - the
acquisition of a disease -
"For the etiology of neuroses, we may take
a 'history' of the individual, to explore what
went into (what went on in) the formation of
the neurotic structure, but once the neurosis
is formed, we are specifically enjoined from
thinking in terms of 'development,' and instead
we speak of repetition."
And instead we speak of repetition
'surrealizing notion of metamorphosis'
determinants bone balloon
a set of predicates by which to grasp
verticality or roundness
as in an allegory in which a linked
and burgeoning series of names
produces an open-ended set of analogies
"This grounding of the terms of representation
on absence - the making of absence
the condition of the representability
of the sign . . . "
"Time and again their inscription
involves a vast disparity between two letters . . .
rotation into depth
" . . . the insistence of figure/ground
reversal and continual transportation
between negative and positive form . . .
[or] "no positive sign without the eclipse
or negation of its material referent."
of luminosity and of closure and edge
"this eradication of the original
surface and reconstitution of it through the figure
of its own absence"
THE CONDITION OF COLLAGE
ground masked and riven
collage - the system inaugerated
on the indeterminacy of the referent
and acknowledge what is cruel
("The bottom of the sea is cruel")
Look for Bataille's review G.H. Luquet
flesh assimilated to the (private) printed
page viz. the experience of each element as a separate
unit which, like a word, is conditioned by its
placement within a syntagmatic chain of the
sentence - controlled by the condition of syntax
By preserving the body of the print intact
"The double of the simulacrum, the second,
the representative of the original. It comes
after the first, and in this following, it can only exist
as figure, or image. But in being seen in con-
junction with the original, the double destroys
the pure singularity of the first." [in the margin]:
"camera-seeing as an extraordinary extension
of normal vision, one that supplements the deficiencies
of the naked eye. The camera covers and arms
this nakedness, it acts as a kind of prosthesis, enlarging
the capacity of the human body" (Rosalind Krauss)
"To draw with the stars is to constellate . . . to employ
a technique that is neither abstract nor mimetic."
"a new kind of drawing: the sculptural inscription
Picasso: "Try to draw by hand a perfect circle -
a useless task."
Argot levels of legibility
"its grasp on the conventions of
separation forever relaxed"
Meaning elided 'the way
inept renderings of idiomatic
phrases in a foreign language
create a chaos of literalness
in place of smooth fields of sense.'
and the point at which abstraction
coded vehicles of
The question of copying
(Drawing in Space)
'With this strange indifference to the look of things'
A FUNCTION OF THE POET'S AGE AND EXPERIENCE
- renewal of the poem as knowledge,
abstraction and tool INTELLECTION
the mathematics of militant abstraction
the circle the visual mime of Perfection
in this case of the process to progress
by copying by making a copy
- the procedures of copying -
The interpretation of the meaning of various forms,
at this second remove from the original
relations lose the certainty of their original hold on space
- visual, aural, textual -
that involves the translation to copies
FREEING (conceptual freeings)
'we are taught not to relegate copying
to an accidental or marginal part of the making of art'
"[O]ne's feeling that ritual or other kinds of repeated forms have their source of meaning in some long since forgotten referent from which the forms derived but which they no longer in any way resemble, only adds to the suggestive resonance of these forms. Their quality as coded vehicles of repetition is what gives them their aesthetic authority. They have a purely formulaic rather than a mimetic relation to their referents. In this sense the emblematic is a function of the world of the copy rather than the world of nature."
THE PHYSICAL AND THE CONCEPTUAL
a duality that may [not] be translated as
mind/body ("body divide up / why")
This is not an opposition as the 'conceptual'
carries 'conception' which carries the Physical
Reproduction, K.F.'s CIRCLE is CONCEPTUAL
(the Perfection : the wish to make an artwork
a release into artifice
(The new neo-surrealism and its further
attempts to mystify cultural production)
Must explore further this thing I keep thinking about viz. Blau du Plessis' 'biologism' that has to do with her 'vulgar feminism' (?) that conflates biological gender with the imagination - not to mystify the latter but to insist on its relation (dialectical) to the individual circumstance and situation of a gendered body in time. She subordinates imagination to gender in a way eerily reminiscent of a once subordinated imagination to class. Not that the two are 'separate but equal.' She subordinated imagination to biology. The work of the imagination can only be measured by the readers it includes - this is the way it rids itself of gender. The Beyond.
(To go along with this stricture would be to once more relinquish writing to Nature - whether that Nature is biological or socio-historical or both).
Her writing on the bounded surface of a purely cultural object
COPYING EXISTS IN A DIFFERENT PLACE
The problem may be with assigning to patriarchal forms
a transversal (?) power, or universalizing it - w/out
allowing the disturbance of the question of CLASS
(A.S.) The abstract pole: pure projection of imagination
The copy as a combination of exclusions
not mimetic and not abstract
a mimetic/abstract axis
N.C. and her pull toward indecipherability
not by profession a theorist or critic, her
stars which draw cursive figures to which
names are given and from whose abstract
spines whole figures are imaginatively
projected: the constellations
'the procedural space of transcription,
sketch and construction
'an abstraction that feels uncanny
because the buried memory of the original
model seems still to be active within
the newly coded terms
product of method
'chains of metaphors
TRANSLATION IS NOT COLLAGE
what are the 'metaphoric
conditions of assemblage'?
her claim to CURSIVENESS
reclaiming Dickinson's CURSIVENESS
the production of multiples
landscape's retreating trajectory
THE POEM and POLITICAL WRITING
two distinct discursive spaces
answering, the continuous surface of a work
The book has become a space for exhibition, an occasion for self-display, constituted in part by the continuous surface of print on a page structured solely for the even display of print.
ON THIS GROUND OF A WRITTEN RESPONSE
TO THE WORK'S FIRST APPEARANCE
implicit ground of choice
- inclusion or exclusion -
multilayered, a steep gradient of different
Fantasia of the Library
The readjustment of the eyes from plane to plane
is the function of one part of the body as is that
of another part of the body (the feet) would do
in passing through real space (were they moving)
View: perspectivally organized depth
The experience of the singular, isolating
the object of that view, the Heliographic Mission
"The concept ARTIST implies more than the mere fact of authorship; it suggests that one must go through certain steps to earn the right to claim the condition of being an author, the word artist being somehow semantically connected with the notion of vocation. Generally, 'vocation' implies an apprenticeship, a juvenilia, a learning of the tradition of one's craft and the gaining of an individuated view of that tradition through a process that includes both success and failure. If this, or at least some part of it, is what is necessarily included in the term artist, can we then imagine someone being an artist for just one year? Would this not be a logical (some would say, grammatical) contradiction, which repeats Wittgenstein's question: 'could someone have a feeling of love or hope for the space of one second - no matter what preceded or followed this second?'"
"for the space of one second"
"the work of an instant" prying eyes
work in the service of an issue larger than self expression
pictures that show the tree and complete and discrete,
an object against a ground
the vast archive of a continuing pre-history
of capitalism (class
the vast archive of the continuing pre-history
of a class-divided society and culture
[whose work is the function of a catalogue
that he had no hand in inventing and for which authorship
is an irrelevant term] Foucault:
" . . . to show that to speak is to do something -
something other than to express what one thinks"
- all the rights of reproduction -
[once we leave the lawyer's office]
What we have learned from WB's "Work of Art in the Age":
'authenticity empties out as a notion as one approaches
those mediums which are inherently multiple.'
figural repetitions: repositioned, recoupled, recombined
towards an art of reproduction, multiples
The problem of a 'period style'
that point at which the work ceases
to develop and becomes involved in
viz. the gridded overlays on cartoons
used for the mechanical transfer
from drawing to fresco
always already divided and multiple
Pochade is the technical term for a rapidly
made sketch, a shorthand notation
the sketchlike mark
the stretchlike mark
mesh of rough encrustation and swathes
- illusion of the burst of an instantaneous
and originary act
'the issue of their authenticity as products
of the artist's hand'
The return to language and the physical properties of
which is to say, originality: a function of the powers
manipulation of sameness
The revelation of process
it bares the device
The intentional, shocking construction
of a surface
[casting 'error' courted
The strategy by which the material vehicle
of the work is manifested and the sensuous
immediacy of that revealed physicality.
" . . . grounded on a perception of an irrudicible
plurality, the condition of the multiple
without an original."
Multiples are a function of reproduction
and manifest the processes of production.
"a situation of irreducible plurality: a multiple
without an original."
THE WORK OF MORE THAN ONE AUTHOR
the notion of the painting as a function of the frame
to begin to dilate and spread
Foucault: " . . . to conceive of
discontinuity (threshold, rupture, break,
First : frames.
Second: the authorial mark of emotion -
expressionism, psychological depth, sincerity.
Feeling is the mark of the pictorial original
(as though there were nothing problematic
about formulae of feeling and their continual reuse)
CC's 'proliferating strings of terms'
"The shifter is Jakobsen's term for - [ ]"
viz. MP's "This is a book from a book club . . . "
"The shifter is Jakobsen's term for that category
of linguistic sign which is 'filled with signification'
only because it is 'empty.' The word 'this' is such a
sign, waiting each time it is invoked for its referent
to be supplied. 'This chair,' 'this table,' or 'this . . .'
and we point to something lying on a desk. 'Not that,
this,' we say. The personal pronouns 'I' and 'you' are
also shifters. As we speak to one another, both of us
using 'I' and 'you,' the referents of those words keep
changing places across the space of our conversation.
I am the referent of 'I' only when I am the one who is
speaking. When it is your turn, it belongs to you.'"
When it is your turn
When it is your term
"This logic involves the reduction of the conventional sign
to a trace, which then produces the need for a supplemental discourse."
[The impression, the trace]
So, to say impression as well connotes 'the trace'
(must have more full sense/def. of a is a Trace)
as if on the wayside
The two were returning to Rome
when they were still about two miles distant from Rome
a crossroad from the Latin Day
pictures hung on a long low wall
as if free to enter
and rest for a while
He held the door open bland hour
for his companion
as if free to enter
and rest for a while
The house of song
quiet signs of wealth
her early essays
a new world of poetic sound
and special sympathies
in congruity with the precepts
That 'any person may, at their own election,
constitute the place which belongs to him/them
a religious place, by the carrying of their dead
into it': had been a tenet of Roman - customary - law.
The dispersal of their dead by burying instead of burning.
Some with simple tiles of baked clay, some with slabs
of marble, thick with [crossed out] enriched with inscriptions
marble taken, in many cases, from older pagan tombs -
the inscription sometimes a palimpsest, the new epitaph
being woven into the faded letters of an earlier one.
an ordinary Roman
the vision of infants on the floor of hell
phial of blood
the malignant beauty of Medusa
its ascetic, militant character
the church was true for a moment
[the voice of Dante, the hand of Giotto]
the author of evil
more varied field of sound
Turning now, gradually,
from Greek into Latin
(broken Latin) into Italian
the faces of those assembled
a basket of wheat and grapes
oil and bread and wine puffed up
and leave home early in the day
had been bidden
But is is far off: the road to it, and guide
as though you had never held her made trial of that doctrine
it is not clear what the lost object really is
[Lady Philosophy] LEARNED IN AN AFTERNOON
"But this much at least I know of her, that she is by no
means pleasant to those who hear her speak, and discourses
with boldness to all men, who therefore have little love
Then call the little child
to have made progress in a doctrine
"Sunt lacrimae rerum" (Virgil, Aeneid, Book I, l.462
- There are the tears of things . . . -
cf. Baudelaire, Cette vie est un hôpital où chaque malade
est possédé du désir de changer de lit.'
the Emperor's conversations
a percussion that the time was worth remembering
She is not at all afraid to take his rough hand:
and through her, he reaches out to, he makes his own,
something from that strange region, distant from him,
of the world's refinement.
"A group of laborers are at work as one on one of the great brick furnaces, in a cloud of black dust. A thin young child has brought food for one of them, and sits apart, waiting till his father comes - watching the labor, but with sorrow and a distaste for the din and dirt. He is regarding his own place in the world, there before him. His mind, as he watches, is grown up for a moment, as he foresees, in that moment, all the long days, their early awakings, his own coming life of work like this.
Or: a man somes along carrying a bag whose rough work has already begun - the only child - whose presence beside him sweetened the fathers work a little. The boy has been badly injured by a fall of brick, yet, with an effort, he rides on his father's shoulders. It will be the way of affection to keep him alive as long as possible, though with that shattered body and yet not without relief, alike from him and them, when the time comes."
on a rough bed
in a kind of hut
a pitcher of water which stood near
('We are alone and we are alone')
Any effective sympathy for us on the part of others is impossible.
our pain a stupid outrage, like physical violence
THE FACT OF PAIN
when the child was dead, or supposed to be dead
The other children
as if in coming near them he came near the failure of some
home or hope of his own
like a child thinking over the toys it loves, one after
another, that it may fall asleep
(that is the way it falls asleep)
Icons (signs which establish meaning through the effect
To reduce the abstract pictorial object to the status
of a mold or impression or trace
the way the word this accompanied by a painting
gesture isolates a piece of the real world and fills
itself with a real meaning by becoming - for that
moment - the transitory label of a natural event.
Pollack's ambition in 1951-52
to engage with the problems of iconography
that idea of historical method - that events
are to be 'explained' by 'causes' -
or the sudden advent of an iconographic program
studies for a regular architectural element
archeological unpacking of the figuration
see also Picasso's 1930 Crucifixion
scenes of the crucifixion, the descent, and lamentation
or 'cathedral' functions as the metaphor for
a certain experience of space
mere abstraction, abstraction uninformed
by subject, contentless abstraction, is decoration
not to think that the work of art is a picture
and it's that its subject is what it is a picture of
'cause' is not an unproblematic issue for historians
is that of functions as in the algebraic description
of variables and the relations that obtain between terms
or the algebraic expression of the expansion of a given series
particularly if thought is understood as classical expression
of logic (argumentation?)
that mute, still space that separates the viewer
from the work of art, a space traversed only by the gaze . . .
It is this notion of a certain way of looking at distance
"We discovered that two people walking the distance of the field opposite one another, attempting to keep each other in view despite the curvature of the land, would mutually determine a topological definition of space. The boundaries of the work became the maximum distance two people could occupy and still keep each other in view. The horizon of the work was established by the possibilities of maintaining this mutual viewpoint. From the extreme boundaries of the work, a total configuration is always understood. As eye-levels were aligned - across the expanse of the field - elevations were located. The expanse of the valley, unlike the two hills, was flat. What I wanted was a dialectic between one's perception of the place in totality and one's relation to the field as we walked. The result is a way of measuring oneself against the indeterminacy of the land." Richard Serra on Shift (1970-72), quoted by Rosalind Krauss
The rotating plane, now internal, now external horizon
The planes of constructivist sculpture are concerted to create the illusion that they occupy what could be called a diagrammatic space. These sculptures are often made of a transparent material - glass, celluloid, open networks of string - and this material transparency is the signal for a kind of transparency sought for at the level of meaning: the transparency or lucidity of the explanatory model that lays bare the essence of things, exposing their real structures to view. This lucidity is intended wholly to suffuse the constructivist sculpture, rendering it 'transparent' to perception from any given point of view so that it is as though seen from everywhere at once in a moment of complete self-revelation.
TO LOOK AT THE OBJECT IS TO PLUNGE INTO IT
act with two facets
a display of the way a cultural term
can be extended to include just about
a white wing
the truth of the conditions in
the steerage while at sea
the streamings of their fever-flag
LD: " . . . the distinction between a 'being able
to die,' and a 'knowing how to sacrifice
oneself,' is the imperative by which we turn
to speak . . ."
which almost made me doubt
my own existence
a pupil of Robias the Londoner
as for the cockroaches, so warm in the climate
that it is almost impossible to get rid of them
I stood ready to raise a hand
"In many places the trees formed a dense shade,
spreading overhead a dark, rustling vault, groined
with boughs, and studded here and there with the
ripened spheres, like gilded balls. In several places,
the overladen branches were borne to earth, hiding
the trunk in a tent of foliage. Once fairly in the grove,
we could see nothing else; it was oranges all round."
that by their inflammatory harangues they instigated
in Tahiti - "hard times" as the
experience of scarcity
pointing to the place where I lay, as though directing
attention to a sail at sea
whose prospects in life had been blasted
as if impelled, against her will, to send him
into the world, Nature had done all she could
to insure his being taken for what he was
upon the conclusion of the Farce of the Affidavits
bearing all abuse a battered bible
The place is the private property of the Queen
useless burden of bearing them ("Goddess")
Many voices around were of great sweetness
Jack's was not, perhaps, a critical version
of the discourse, and at the time I took no notes
of what he said.
as to losing nothing by a double translation
"An air of softness in their manners, great apparent
ingenouousness and docility, at first misled;
but these were the mere accompaniments of an
indolence, bodily and mental; a constitutional
voluptuousness; and an aversion to the least restraint;
which, however, fitted for the luxurious state
of nature, in the tropics, are the greatest possible
hindrances to the strict moralities of Christianity."
, the inevitable consequence of which is seen
in the present wretched and destitute mode
of life among the common people
stopped at the postern of Pritchard's wicket
"digging and delving"
He clipped the aspirate from every word
well adapted for manual labor
and that was all
from looking like ready-made constructions
to looking like constructions in progress
which require active interpretation
as to their functions
Joint participants in the production of a text
as a preliminary (vorstadium)
The theme of the play is the bourgeois as
gangster, but also the gangster as bourgeois
See John Gay's The Beggar's Opera (1728)
the dogs do bark
the alluring lyric
the epic (das Epische)
the text is the site of production, involving
author, reader, and an Other, which for Brecht
Brecth's essay, 'The Street Scene'
('Die Strassenszene', 1938)
"The 'street scene'
refers to the 'natural scene' which takes place
in the street when there has been an accident,
and various victims and witnesses of this accident
try to reconstruct for bystanders or police
exactly what has happened.
But who will defend us then against the western
Those people tend to stylize their past to make it accord
with what they wish had been said or done.
Since Tolstoy and Dostoevsky have shown us how
literature can be used to condemn an entire system
root and branch
that whole system inhuman as it stands
a transitional work
1917, that third possibility I had been looking for
Huszadik Szazad (The Twentieth Century)
The Hebbel problem . . . Judith's dilemna . . .
I was present at the shooting incident
at the chain bridge
never having felt at all critical of the Jacobins
I can only say that I joined the Party completely
"We were delighted with every arrival from Moscow,
imagining that they could give us valuable information
about what things were like 'over there' and explain
the theoretical significance of everything that had happened."
or the anarchists in Budapest
I accepted him without reservation as a communist writer
The official court poet of communism
and became a writer who had lost his way
I did not allow them to be gagged
whose ambition had always been to be appointed
official poet to the Commune
"At that time Bela Balazs was a much more important poet than is recognized today. It is typical of the distortions that can occur that Gyula Jahasz has been turned into a great poet, even Arpad Toth."
You cannot just sample Marxism. Either you must be converted to it - and I know that is no easy matter - or else it is perfectly possible to view the world from a left-wing bourgois position.
When we crossed the river to Povoszlo I set up a court-martial and had eight men belonging to the battalion that had run away shot in the market-place.
Together we advanced to Rimaszombat against the Czechs, and I was present when we took the town.
Did you also meet Attila József in Vienna?
Did you only know him slightly?
Yes. He only spent a short time in Vienna. If my memory does not deceive me, I met him through Anna Lesznai. I had a high opinion of him from the outset, and I have never concealed my high regard for him in the party.
There is also a document, a letter from Attila to Jolan . . .
About how enthusiastic I was about his poems.
Uj Hang (The New Voice)
Basically he had been brought up in Zinoviev's school.
It was a stupid bureaucratic idea, based on the premise
that a mass party could be brought into being at a stroke,
instead of step by step. (Imposing solutions from above)
I should also add that Lenin also had a poor opinion of me.
His essay can be found in the Grunberg Archive.
I came to understand that the proletarian revolution
is not an isolated occurrence, but the consummation
of an historical process, and submitted completely
to the Party line. (We once met in Moscow).
I always looked Brecht up when I went to Berlin
and we often spent time together.
I had some contact with Bloch.
We did not meet in Moscow.
An American professor wrote to me that he had been examining the manuscript of Death in Venice in the Thomas Mann archive and had found literal extracts from Soul and Form without any quotation marks.
Only very few people were never arrested at all.
His Versohnung mit der Wirklichkeit
(reconciliation w/ established reality)
and the Incomplete Sentence and The Answer
really are communist works
He was not the author of the protest, just one of
Szep Szo (The Beautiful Word)
He claimed that I had no right
to disown my own work.
It is terrible to see how many writers
have been destroyed by events since 1945.
I knew the party better than most,
and never complained that political activity
disrupted my work.
Can you tell me about the circumstances
in which you were invited to return
to Hungary in May 1957?
I returned to Hungary at the end of March or early April.
All that happened was that there was no reply
to the letter in which I applied for party membership.
It was writeen in connection with the events
"For Bartok Hungarian music is not superior to, or more rustic than, Egyptian music. For Bartok, the revival of the world of the peasantry is important in the sense in which Lenin said of Tolstoy that, before the arrival of this count, there had never been a real peasant in Russian literature. Similarly, it could be said that no peasant had ever made his appearance in music, and that is what is so important about Bartok. Not that it was a Hungarian peasant or a Romanian peasant, or whatever, but that it was simply a peasant."
He writes the history of Russia without dates.
To write for the drawer (it cannot be translated).
His creative career: the diary, the drawer lyrics.
For generations to come. You can be safe behind
the image as behind the wall. By the vim of it.
he saw his master looks pallid
just like he was walking in the dirt
they were more concerned about
the weather than history in those
days the last walk of the Commissar
Nobody heard the anthem they played
at the railroad station
The curse words the [illegible]
it was lit clear (it was not clear)
"The very, very probable fascism"
(Nationalism) Poetry a part of living
cultural process, part of the evolution
The refusal to publish.
It even became a kind of prestige not to publish.
NOT TO PUBLISH
They were just poets they were
not these great figures
complete capitulation of intellect to the work
The absence of freedom
When all this hierarchy collapsed
We are happy to accept this false voice
Not related to their life at all - a state of mind.
This new strata - how to learn to live
"Fillings melting in the teeth."
They want to scrutinize and question everything.
They call themselves conceptional
& creating by that anew