the muse apprentice guild
--expanding the canon into the 21st century




WORK
BY KEVIN MAGEE

MEDALLIONS

Printing the Written Word
12.2.93

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

Romans
writing Rome
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

peninsular
incapable of extension without loss of identity

the 'proletarianization' which overtook them
in Rome

*

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:

creative
intellect

*

the Church that is Art (Hope not Faith
                Bloch's anticipatory
        illumination
"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.
                Hers. Yours.

There where I recognize nothing of my
conscious thought where he thought
he knew for certain now seemed to him
uncertain

*

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

them

*

two long hours Still

windows of the church seen between roofs of the
village

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 [1864]
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

compile
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
                        anyway).

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
reform ever

nobility of birth
Social War

*

gang-slavery
scattered municipal

"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

Fact:
        "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"

*

Gramsci
24 [i]
"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

25 [ii]
"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

portico

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

that

*

"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
worth knowing"

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"

*

Fascist writing
(Those demands that lend themselves to
Fascist use:
                        immersion in the crowd
                        appeal to irrationality (violence)
                        the abolition of the past
                        destruction of monuments,
                        libraries, academies
                        Hatred of women
                        glorification of the militaristic

Persian plateaus
head-over-heels with Hindustan
the Indian Ocean
the gulfs of Bengal and Oman
Himalayan

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!"

RD:
"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."

Dante:
"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
passing unweighed.

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
a comrade.

"le vrai public du dix-neuvième siècle est les femmes"
                Baudelaire

*

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
heard

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

*

Adonais

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"

*

villagers religion
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
                frieze
Cuba who keeps him quiet in
        his cot.

*

ROAM
seemed still to be moving in procession
through fields

Ad Vigilias Albas
                inkling
white nights

in whose house the auspices were still
carefully consulted before every
undertaking

Rome in Britain
                laminae
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
physical
beauty'

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

archaism anarchism

        Aurum intextum

                gold fiber

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."

vernacular Latin

        'the rights of the proletariate of speech'

Latin literature and the Latin tongue
at the threshold of the work
                        matutinal

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,

Epicurean theory
the flesh whose force and color

had made him a materialist
but with something of the temper
        of devotion

ROME CAN BE KNOWN

the Rhetoric of Rome
somber study of structure
an authority for a philosophy of the
despair of knowledge Lyric Rome

Roman discipline
Goethe: America is here and now - here,
                or nowhere

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

intellectual museum

Field-of-Mars

Etruria

*

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
                        threshold
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 . . .

in loss
though we may not call them by that name

expound Humanity
                commonwealth
        usages

*

visible Rome

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)

        economy. Commerce.

What did it lose, or cause one to lose?

must be masters of nothing
in that New Rome taken up

        UNIVERSALITY
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?"

*

all Rome

Rome in the country air

maturing work

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,
        into Italian

*

She watched the woman take, watched
as the woman took, was taking, taken
back. She was gone back.

Saracen
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

stammers
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

alterable task

Rome, a flowering and boundless
Paternal estate

a city whose terraces
                The terraces
are the color of stars

and the immolation
of men to machinery

by the way of bindings

illuminist

*

the dance, the readings, the distant fire
in that hard world of Rome

the two were returning to Rome
and free born

        Fortune
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

intermediary

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

itself
that rest that is reflected in two bodies
reclining repose

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
for Rome
                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

imperial vapor

weird heaps of dead

a Queen
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

Orient burst
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

*

Roman rock

ruthless Rome

stone stairs

Rome's authority

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

variance

*

At the root is the question of

        culture

Rome divested of its Western robe

        trade routes

                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
grim Rome
calm Rome

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's bounds
inaugeration
milleniums
incarnations
                        of Mars

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.

Their Rome
Our Rome
Her Rome
His Rome

        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

*

imprudent

hygiene

humanity

reduced to a single head

under axe

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
health

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

obelisk
                concretion

cenotaph

for the memory of a friend forever mourned

the tomb of her travel

jasper, porphyry, basalt and obsidian

a city: that framework

constructed exchange

and the paintings of a portico

the site of sorrow
                arrow

confined to a narrow
fountain

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
                        ghost

within this sphere
numberless new constructions

        bracelet bracelet

latent strength and agility of bodies
in repose

pine cone a vase with doves

                                medallions

tends merely to glance at likeness
a source, a form of succor (succor)

*

voluptas

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

        roads resounding

"defining in three words the Spartan ideal
(that perfect mode of life to which Lacedamon
aspired without ever attaining it): strength,
Justice, the Muses,
                                incumbent
                basilica

*

In Germany new construction or renovation
of camps

crossed to Britain in a flat ship

imaginary accounts without practical value

the northern tribes

                she saw my death

an earthwork

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

        elusive intellect
a confusion of acrobats and dancers

a page of paper the tissue of illusion
                and error

        the ocean of forms
conceptions not unlike those of
philosophers

the whispering slaves at my door

the slow torment of gravel

convolutions, extensions

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
eye

conceive of a globe

theorems, ritual outcry

and dance

whom I enjoy for his juxtapositions
of sounds

strophes

neither tablet
nor style

fresco

*

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

as discoursed
a Platonist with leanings towards
Orphic teachings

I am not opposed to voluntary
departure
from life

and only at last towards Italy

hydraulics

as far as Africa

what is the act of love
itself if not a moment of
passionate attention?

Roma, Amor: the divinity of the Eternal City
now identified with the Mother of Love

from a text of more than a century ago

*

(afternoon)
the round temples of Etruria
quadrant

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

austere conception
expiatory (contrition) - admission
of guilt

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
magician

The truth being not of a kind to cry
in the streets

that the soul of the dead
incarnate some portion of

        ORIGINALS

The two books are
editions counterparts

itself inside the forms
I had made an exception for Rome

(morning)
outcome of a correlation between a sound (or word)

The shallows
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
        only harsher.
                Harsher
the surface was like a wax tablet from which an
instruction has been erased

        more deteriorated

        than saved

        no more than appease
        
        (or deceive)

street by street and ruin by ruin

the Palestine campaign

        a sulking slave

the right to come to weep
in front of a
ruined wall

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,
my books.

like life, a secondary affliction.

in the palace archives

prince of senses whose

ships rides the Red Sea

*

the grid

its will to silence

(hostility to literature, narrative, discourse)

the intrusion of speech (phonemes - diachrony)

walling
        coordinates

the depicted world
de-sacralized space

Art is not a secular
form of faith but is
about - has to - with

Hope

*

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."

OPTICS
LIKE A TRAUMA THAT MUST BE REPRESSED

analysis of light and its physical
properties, motion, refractive
the way the light passed through
lenses

The eye
or the physiology of the perceiving
mechanism
particles

"The grid as an emblem of the infra
structure of vision"

transmitted

duplicated glow

flow of birth - amniotic fluid, the
                'source' -

"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
transpersonal
                
terms dedicated
        dessicated

a set of predicates by which to grasp
the concept
        
        verticality or roundness

plurality

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]:
                                                                        plow

continuum

"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
of space."

Picasso: "Try to draw by hand a perfect circle -
                a useless task."

Argot levels of legibility

"its grasp on the conventions of
        figure/ground
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.'

inprovisatory assemblage
and the point at which abstraction
threatens intelligibility

coded vehicles of
        repetition -
        a formulaic
        relation to
        their referents

*

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

                PRINTMAKING
- 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, textual]
        - 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

        abbreviated abbreviations

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

substantive collage

'chains of metaphors

fantastically agglutinated'

TRANSLATION IS NOT COLLAGE

what are the 'metaphoric
conditions of assemblage'?

her claim to CURSIVENESS
reclaiming Dickinson's CURSIVENESS

*

display
the production of multiples

landscape's retreating trajectory

        CHATTY DETAIL

THE POEM and POLITICAL WRITING
two distinct discursive spaces

The domains
of culture

or in
as in
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
planes
                SCANNED
        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
without originals

*

The problem of a 'period style'

that point at which the work ceases
to develop and becomes involved in
repetition

viz. the gridded overlays on cartoons
used for the mechanical transfer
from drawing to fresco

always already divided and multiple

the doublet

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

reworking

'the issue of their authenticity as products
of the artist's hand'

*

The return to language and the physical properties of
that material

which is to say, originality: a function of the powers
of imagination

On 'error':
manipulation of sameness
        (multiplication)
        The revelation of process
        it bares the device
        The intentional, shocking construction
        of a surface
        [casting 'error' courted
        'accidents'

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,
mutation, transformation)?"

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."

installation

[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

an intrusion

quiet signs of wealth

expressiveness

her early essays

a new world of poetic sound

*

                companion

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

*

any ascetic
its ascetic, militant character

the church was true for a moment
        extravagant
[the voice of Dante, the hand of Giotto]

the author of evil

more varied field of sound

        [phonetic

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
for her."
        
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
        
                        tiled outbuildings

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
        of resemblance)

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

                plunge

        act with two facets

a display of the way a cultural term
can be extended to include just about
anything

*

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 . . ."

thrown together
under circumstances
which almost made me doubt
my own existence

coral
pleasantly
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

annexed

"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
the riots

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
and compass

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)

                reader (leser)

                reciter (vorleser)

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)

Hark, hark
the dogs do bark
the beggars
are coming

*

the alluring lyric

the epic (das Epische)

the text is the site of production, involving
author, reader, and an Other, which for Brecht
is history.

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
democracies?

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 . . .
(Holofernes)

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?
Yes.
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.
The movement

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
the signatories

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
in Czechoslovakia.

"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 unfortunately
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

Rejecting recognition
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

                                conceptual

& creating by that anew
the consensual

4.9.94
Hoboken, NJ