Es wird nie wieder eine Rückkehr geben – nur noch Durchgänge – einen Durchgang!… ////////////////////////////////// Danielle Collobert: Œuvres II, Textes manuscrits laissés inédits ////////////////////////////////////////// 1 Kennengelernt, so Jean-Pierre Faye, haben wir uns im Mai 1968 im Hôtel de Massa, dem Gründungsort des französischen Schriftstellerverbands. Danielle kam geräuschlos, mit einer Bescheidenheit, die ihrer vollkommenen Gelassenheit entsprach, und sagte, dass sie tippen könne und uns helfen würde. Sie erwähnte nicht einmal, dass sie schrieb und ein Buch bei Gallimard veröffentlicht hatte… //////////////////////////////////// 2 Man schreibt, um nicht zu ersticken, ein wenig das Luft- Abschnüren hinauszuzögern, die Strangulation. ////////////////////////////////////////////////////////// 3 Als…
Category: Poetry & Poetics
Cyril Béghin | Chantal Akerman: A Modern Adventure
Few have noted that Chantal Akerman’s last film No Home Movie and her death in 2015 represented, more than any other work of art or event, the receding of a certain form of cinema and a certain way of thinking about film. While this formal and conceptual approach known as modern cinema has not yet come to an end, its adventurers have become rare; Chantal Akerman was the most singular of them all. For Akerman, ‘modern’ was probably not a rallying cry, but simply a word with ambiguous implications, such as when she used it in the first screenplay of Jeanne Dielman, 23,…
Georges Didi-Huberman | In the Troubled Air…
Curated by French thinker Georges Didi-Huberman, the exhibition “In the troubled air…” sets forth a political anthropology of emotion in a poetic tone, sketching channels of respiration and resistance to confront the persuasive culture of capitalism which has filtered into everything. The title, taken from Federico García Lorca’s Romancero gitano (Gypsy Ballads), invokes emotion that flows beyond and is not constricted to one sole subject, where the Lorcian idea of “duende” (a state of heightened emotion or expression) comes into play. Where emotion is understood here as a movement transmitted to collectiveness via a unique body, one that is predisposed to develop into a…
Peter Bouscheljong | Katerina Gogou, Poems 1978-2002
Published in Lana Turner | A Journal of Poetry and Opinion no.14 What I’m afraid of most of all is lest I become a “poet.” After the publication of her first book, Three Clicks Left (1978) — which went through numerous editions in a short time and sold over 40,000 copies, something only Yannis Ritsos or Odysseus Elytis had previously managed to do — the Greek anarchist poet Katerina Gogou (1940-1993) became the object of police surveillance. Her apartment was searched several times over the years. At demonstrations, she was openly threatened and repeatedly arrested. Three Clicks Left describes the…
reading list [6/2025]
Leslie Kaplan | Miss Nobody Knows Chantal Akerman | Eine Familie in Brüssel Jean Daive | Antonio Gramsci Jean Daive | Le Nœud EDITION RETOUCHES / ÄNDERUNGSSCHREIBEREI N°1 & N°2 Georg Wiesing-Brandes | Walter Benjamin. Das Pariser Adressbuch Lectura Dantis. Zeitgenössische Dichtung im Dialog mit Dante Alighieris “Commedia” Stéphane Bouquet | Tout se tient Stéphane Mandelbaum | Katalog. Museum für Moderne Kunst Annie Bourneuf | Im Rücken des Engels der Geschichte Eleanor Careless | Incarceration in the Poetry of Anna Mendelssohn
Norbert Lange | Aufgeschlossen nahezu (Auszug)
Agnès Rouzier | from “Letters to a Dead Writer”
There is death in life and it astonishes me that people pretend not to know that: death whose pitiless presence we feel in each change we survive, for one must learn how to die slowly. We must learn how to die: there’s our whole life. I am not ashamed, Dear, to have wept, another Sunday, cold and too early, in the gondola that kept turning and turning, passing vaguely outlined neighborhoods that seemed to me to belong to another Venice located in Limbo. And the voice of the barcaiolo asking to be paid at the turning of a canal…
Peter Bouscheljong | parteinahme [ein fragment]
[…] der zustrom unterschiedlicher empfindungen durch das fliessen der worte (über und durch die haut) und die zersplitterungen eines wesens auf ein blatt papier zu übertragen. also verweigert sich die poesie einer repräsentativen logik oder einem solchen verstehen, lässt alle versuche einer klassifizierung in sich zusammenfallen. und man weiss, dass der negationismus zwei ressourcen hat, von denen eine darin besteht, nicht zu sehen, was in der tat nicht mehr sichtbar ist, während die andere darin besteht, den kontext der ereignisse biz zu dem punkt zu entfalten, an dem die besonderheit des verschwindens verschwunden ist.
Agnès Varda – Pier Paolo Pasolini – New York – 1967
[…] Agnès Varda: Would you please tell me your definitions of reality and fiction? Pier Paolo Pasolini: There’s no difference between reality and fiction, because cinema is reality expressing itself through itself. In reality, I can photograph a man walking down the street. He’s not aware that he’s being filmed, and this is reality. If I choose an actor to play that man, then there’s another reality, the actor’s reality. But it’s always reality, it’s never fiction. […] AV: The other day you said you’re a Marxist who is missing faith. PPP: My relationship with religion is so dark, I…
Antoine Volodine | The Fringe of Reality
I’m actually not talking here under my own name. You should perceive and conceive of Antoine Volodine as a collective author, a name that includes the writings, voices, and poems of many other authors. You should think of my physical presence, in front of this microphone, as that of a delegate whose mandate is to represent the others, my colleagues unable to appear in front of you because they’re mentally distant, because they’re imprisoned, or because they’re dead. You should accept my presence here as a spokesperson. As a spokesperson of post-exoticism, which is to say an imaginary literature…
riots and/or poetics [9/2024]
a kind of counter-history—is that poetry? Chantal Akerman: Œuvre écrite et parlée Antoine Volodine: Vivre dans le feu Leslie Kaplan: The Book of Skies Éric Baudelaire: Make, Do, With — Film and exhibitions, 2011-2021 Nicolas Klotz, Elisabeth Perceval: les frontières brûlent Heiner Müller Jahrbuch 1 (2024) Christophe Hanna: Gloire Emmanuel Hocquard, Alexandre Delay: Le voyage à Reykjavik Archive of Dreams. Surrealist Impulses, Networks, and Vision Sylvain Courtoux: L’Avant-garde. Tête Brûlée. Pavillon noir Pavel Arsenev: Le russe comme non maternelle Thomas Harlan: Heldenfriedhof
Peter Bouscheljong | Corpus/Grammar [after Danielle Collobert]
Translation by Mathilda Cullen “It’s already a lot to go on, most don’t realize it. I could let go, slacken my hands, let them slide along the ropes, or choose something else, softer, easier.” — Danielle Collobert, Murder, trans. Nathanaël. 94 1 You are trapped all alone in the catastrophe in a tiny ray of light. 2 A room, white, long, stretched, the curve of a skull 3 Michael P. talks about attending conspiratorial trade union meetings just so he can see Danielle Collobert again 4 Dire II unfolds a sequence of actions without a grammatical subject,…
Peter Bouscheljong | Corpus/Grammatik [nach Danielle Collobert]
Es bedeutet schon viel, weiterzumachen, dessen sind sich die meisten nicht bewußt. Ich könnte alles fahren lassen, die Hände lösen und sie an einem Seil entlang gleiten lassen, oder mir etwas anderes, sanfteres, leichteres suchen. — Danielle Collobert 1 Du bist ganz allein in der Katastrophe in einem winzigen Lichtstrahl gefangen 2 Ein Raum weiß, lang, gezogen, die Kurve eines Schädels 3 Michael P. erzählt von konspiratven Gewerkschaftstreffen, die er einzig aufsucht, um Danielle Collobert wiedersehen zu können 4 Dire II spult eine Handlungsfolge ohne grammatikalisches Subjekt ab in dessen Verlauf das Weiß der Seite mehr und mehr Platz…
riots and/or poetics [5/2024]
Attaques #5 Pierre Alferi, Leslie Kaplan, Nathalie Quintane, etc. | Contre la littérature politque Jean-Marie Gleize | Je deviens. Séances Hélène Giannecchini | Alix Cléo Roubaud: a portrait in fragments Sean Bonney | from the book of living or dying Sean Bonney | Astrophil and Stella Catherine Brun, Guillaume Fau, Donatien Grau | Pierre Guyotat et l’Algérie Bernard Heidsieck | Poésie action – Variations sur Bernard Heidsieck Jacques-Henri Michot | Au jour dit. Le 24 avril en France (1935-2022) Antonin Artaud | The New Revelations of Being & Other Mystical writings Marguerite Duras | My Cinema Anne-Marie Albiach / Louis…
Peter Bouscheljong | no music no poetry no prose no photographs [Danielle Collobert, Alix Cléo Roubaud, Agnès Rouzier] N°3
Liberté. Danielle Collobert découvrant 30 ans avant Taros le concept de «pâte». // diese Aneignung [Appropriation] ist keineswegs skandalös das die «Bewegung» si // von Dichtern der negativen Moderne sich in Raquel Ateliers in Malakoff trafen // Arme an den Körper geschmiegt Wangenknochen die hervortreten Schläfen li // 947 Fotografie von Denise Colombo 43,5 x 36 cm; Sammlung André S. Labarthe
Peter Bouscheljong | no music no poetry no prose no photographs [Danielle Collobert, Alix Cléo Roubaud, Agnès Rouzier] N°2
wenn Schreiben & Fotografie miteinander verbunden sind dann durch die Zeit // Ist Mord (Meurtre) nicht der Bericht Colloberts über den Mord an ihrer Identität // vom 26.5.1943 über die Nummerierung der Sterbeurkunden der Konzentrats // Auflösung moralischer Werte gesellschaftlicher Heuchelei Falschaussagen Sadi // ist jetzt sinnlos ihr eigener Tod naht nicht mehr mit Literatur zu tun er ist die absolute // wären Berge außer daß die Luft darüber auch schwarz ist: schwarz wie Rauch di //
Peter Bouscheljong | no music no poetry no prose no photographs [Danielle Collobert, Alix Cléo Roubaud, Agnès Rouzier] N° 1
taumelnd durch das schwindende Gedächtnis fallende Silben einer anderen Sp // Manuskript von Non, rien wird dem Mitarbeiter von Seghers/Laffont ins Auto ge // 2 s/w Fotografien aus dem TV montiert auf Papier, je 8,7 x 12,5 cm Epitaph // aber wie könnt ihr sicher sein daß das was gesagt wurde die Wahrheit ist & 24 juillet 1973 Ravello Hôtel Palumbo chambre 12 (Denis Roche La Disparition
Abigail Lang | The Ongoing French Reception of the Objectivists
The ties between French and American poetry are ancient and profound. In the introduction to his 1984 The Random House Book of XXth Century French Poetry, Paul Auster reminds his anglophone reader of the perennial contribution of the French language in general and French literature and poetry in particular to its British and later American counterparts, going back to John Gower and Chaucer. Focusing on the modern period, he claims that “American poetry of the past hundred years would be inconceivable without the French.” From the time of Baudelaire “modern British and American poets have continued to look to France…
Nathalie Quintane | – Danielle Collobert – Et la victime et le bourreau (lecture de Dire I et II).
Ces lignes reviennent de loin – d’il y a longtemps, très longtemps, en un temps presque oublié et dont il ne reste rien, en un temps où de jeunes gens, coupables de n’avoir eu que quelques mois ou quelques années pendant la guerre (celle de 39), prenaient pour modèles les rares opposants au nazisme del a dite guerre, tentant à leur tour de susciter un combat et une résistance dignes de ce nom, en un temps où les collectifs d’intellectuels issus de la bourgeoisie se structuraient comme les Brigades de choc de la Coopérative agricole de Production n° 9…
Peter Bouscheljong | SCHIBBOLETH
Die Hölle ist nicht der Ort des Schmerzes. Sie ist der Ort, wo man leiden läßt. Sie ist nicht das ÜBEL. Das ÜBEL hat seinen Platz in uns. Wir können der Hölle nicht als Ort dienen. —Edmond Jabès: Dantes Hölle 1 das Kilodrama ist eingetreten* (in alle Richtungen: Passierscheine und Losungen (versteckte Codes, Chiffren und dog whistle) / algorithmisch aufgeladene Echokammern / ein Präzedenzfall oder ganz gewöhnlicher Bluff 2 heute (Montag, 9. Oktober) Transkriptionen eines Teils der Welt / alles kommt zurück, entzifferbar, alles ficht dich an / — »Come . . . le stelle«…
Gilles Deleuze | Three Questions About Six fois deux (Godard)
Cahiers du Cinéma has asked you for an interview, because you’re a “Philosopher” and we wanted to do something philosophical, but more specifically because you like and admire Godard’s work. What do you think of his recent TV programs? Like many people, I was moved, and it’s a lasting emotion. Maybe I should explain my image of Godard. As someone who works a great deal, he must be a very solitary figure. But it’s not just any solitude, it’s an extraordinarily animated solitude. Full, not of dreams, fantasies, and projects, but of acts, things, people even. A multiple, creative solitude….
riots and/or poetics [9/2023]
there are the hunters & the hunted. the missing link. before the appearance of monsters. that apocalyptic orange stream of light. 45 degrees at 5 am despite this rain. brain images. the white spots that become part of the images. transformations in response. of the social imaginary. guerilla tactics. codes & alien signs. something that wants to be more than sound or sight. the countertendency of véga/lyotard & souyri [le marxisme qui n’a pas fini, esprit, janv. 1982, 6, p.11-31] or the super-macho stuff of general creativity. as fiction becomes reality. there are no distractions. exactement de la même manière. along the…
Peter Bouscheljong | invisible relations
:: translated by mathilda cullen they say i was having a wank in the royal parks. gunfire is a streetplan, i say. so is marx. so the type of equotations they call pistol-whips. sean bonney in june 1935, shortly after midnight, when most of the delegates had already left the huge salle de la mutualité, paul eluard delivered a speech written by andré breton at the “international writers’ congress in defense of culture” in paris. it was a reckoning with an increasingly degenerate policy of the french communist party, which had been reduced to an auxiliary wing…
Nathalie Quintane | “I want poetry to be detonated like a bomb!”
Nathalie Quintane is among the most known experimental poets of France. To quote her from what she writes about herself in the French government’s publications website, this is what she writes- “My name is still Nathalie Quintane. I have not changed my date of birth. I still live in the same place. I am few in number but I am determined.” Nathalie belongs to the generation of post 60s French literary activists. Rupak Bardhan Roy: Let me start by asking, what is literature to you and what is poetry? Are they one and the same thing? Nathalie Quintane: (Thinks a…
Peter Bouscheljong | communism of spirits/documents #1 — #3
:: translated by mathilda cullen communism of spirits/document #1 (the bright work) imec, fonds althusser, alt2.a23.03-01. i have always heard the breathing of my comrade. the telluric shock. résonne dans la conscience commune**. suivi la cabale des dévots. and the perception of the body as an awkward place of extreme instability. the stacking of inner forms of thinking. horribly stretched time. contradictions, gaps, & aporias. that solemn pulsating below. the fatally factual word. quand il eut passé le pont, les fantômes vinrent à sa rencontre* [nosferatu, de murnau]. but no one has access to the hierarchy…
Peter Bouscheljong | communismus der geister / dokumente #1 – #3
communismus der geister / dokumente #1 (das helle werk) imec, fonds althusser, alt2.a23.03-01. das atmen des gefährten habe ich stets vernommen. die tellurische erschütterung. résonne dans la conscience commune*. suivi la cabale des dévots. auch die wahrnehmung des körpers als unbehaglichen ort massloser instabilität. die aufstapelung innerer formen des denkens. grauenhaft gedehnter zeit. widersprüche, lücken & aporien. das selbständig pulsierende darunter. das tödlich faktische wort. quand il eut passé le pont, les fantômes vinrent à sa rencontre* [nosferatu, de murnau]. aber niemand hat zugriff auf hierarchie und struktur unbewußt…
Sean Bonney | die allmende (translated by Mathilda Cullen)
Satz 1 der kuckuck ist ein schöner vogel sie trillert wie sie fliegt Der Kuckuck ist ein – KNALL – er war ein riesenfreak die parzen hüllten seinen hagel und schießwesen, seine pronomen & seinen geist ein: irgendeine doku anschauen waagen, worte schlichen sich an, trällert als sie – geld mit einsicht gleichsetzen, das wort ‘träumerei’ verwendet sauber wie ein eingetauchter heiliger- ess ich nicht dieses brot / gestern war ich noch tot Meine person wurde genommen war nicht deine, wer heimlich meine kleinen schenkel & die britische anarchistische bewegung blieb drinnen: halt, magnetisches meer…
My poems ACTION #1 – #4 were translated into Greek by Jazra Khaleed for TEFLON # 29
TEFLON # 29 Introduction: Peter Bouscheljong: Μικρή ποιητική της εξέγερσης Ο Γερμανός ποιητής επιχειρεί να συγκροτήσει μια γενεαλογία της «ποιητικής της εξέγερσης» από τον Ρεμπό και τον Μποντλέρ μέχρι τον Αρτό και τον Παζολίνι, από τον Μαγιακόφσκι μέχρι την Άννα Μέντελσον και τη Μιγιό Βεστρίνι. Αναζητά τη «σύνθεση πολιτικής και ποίησης», επιχειρεί να καταστήσει ορατό «ό,τι εξαναγκάστηκε στην αορατότητα», υποστηρίζει ότι «η συγγραφή ενός λογοτεχνικού έργου προϋποθέτει την απόρριψη αυτού του κόσμου, την άρνηση κρυφών συμφωνιών». Μετάφραση: Jazra Khaleed
K Za Win | Poems
A letter from a jail cell Dear Father, the River, whose stomach was cut open, has declared war on our tiny house on the bank, hasn’t she? Right in front of the house you must be looking out for someone who will help you with embankment poles to straighten the river, to fill her holes with sandbags. In the murky water, which rises like a bamboo lance, you must be gazing at the sesame plantation — laden with fruits ready for harvest. You must be thinking a fistful of rice in your mouth is about to be fingered…
Heiner Müller | Pier Paolo Pasolini, Fragment to Death & Memo 409
Pier Paolo Pasolini Fragment to Death I come from you and go to you, A feeling born with the light, with the heat which aroused the first cry as joy I, baptized and known as Pier Paolo, at the beginning of a restless epic: I walked into the light of history but was always heroic under your dominion: my being you my innermost thought. In your path of light, in the horrific uncertainties of your flame, the course of the world, of history: and in your light it truly existed, it lost life so as to win it back:…
“Exhibiting Poetry Today”. Collaboration and Politics in Thomas Hirschhorn and Manuel Joseph; by Eric Lynch
Radical politics are at the forefront of the work of contemporary poet Manuel Joseph, informing his treatment of issues such as surveillance, Middle Eastern politics, mass media, and consumerist culture. Examining this contestatory stance, critics Christophe Hanna and Olivier Quintyn interpret the politically charged use of montage in Joseph’s book, Heroes are Heroes are, according to pragmatist philosophy1. Heroes are Heroes are juxtaposes appropriated text from a George H. W. Bush Gulf War speech, spy novels, pornography mail-order catalogs, NTM lyrics, and other sources, to reveal shared rhetorical strategies, or Wittgensteinian “family resemblances”. This poetry seeks to denaturalize mass media…
Peter Bouscheljong | dreaming of one thing [subversive chronicle]
i said endurance has its limits people are made of flesh and bone / i spoke about the stalinists and the method of executing the very best as traitors / who died screaming long live the party! / sifis said / the statement is only the beginning. then they will ask who are your friends. / then where do they live. katerina gogou i believe at heart that one must not be an accomplice to lies and compromise, the contemporary artist must scream out their revolt and make understood that we live in an unbearable, cruel, and…
Boussole. Entretien avec Nathalie Quintane. Par Marius Loris et Lise Wajeman
Nathalie Quintane discusses her experience as a writer, the relationship between literature and action, changing forms and changing society. Avec Tomates (2010), Nathalie Quintane a planté d’incomparables fruits : un livre qui parvenait à réunir les militants de poésie contemporaine et les amateurs d’action politique. Ce n’est pourtant pas le premier livre de son auteure, évidemment pas le premier livre de son genre : mais il s’est manifesté là une intelligence du présent – le réel et la langue pour le dire – qui a fait date. Depuis, Nathalie Quintane est devenue un genre de boussole. Le contraire d’une figure de proue,…
Christophe Tarkos | Ma Langue est Poétique (excerpts)
Ma langue est poétique. It is poetic in its unrolling and its pieces and in the wake of its pieces, it is not composed of words attached to words by accident, by suffering, by stapling cor- ners and catch-lines and straps and frictions and stuck- together strings meticulously glued to each other to make up their length. It is not extended by a miracle in perpetual dis- equilibrium, it has breath, is a breath, is the breath, bypasses all obstacles in passing through the sublime effect, in con- tinuing on when nothing helps it continue, with a last leap….
Miyó Vestrini | Brave Citizen
to Maria Inmaculada Barrios Die in thought every morning and you will not be afraid to die. —The Hagakure Guide Give me, lord, an angry death. A death as offensive as those I’ve offended. A death that stands for the rains of Santiago de Compostela, a death that kills all who have offended me. Give me, lord, a death from the elements, one that stuns and petrifies. Wastes snot and tears pleading for mercy and wishing death on anyone…
… the day when the Italien poet Pier Paolo Pasolini was found murdered …
In one of her most fascinating poems, AUTOPSY REPORT 2.11.75, from the volume The Wooden Overcoat (1982), Katerina Gogou revisits the day when the Italian poet Pier Paolo Pasolini (he was certainly more than an ally to her) was found murdered on the beach at Ostia. In the blind spot of a surveillance camera — a poet no one fears is no poet — Gogou traces with anatomical precision the horrific injuries that led to his agonizing death. “His face disfigured by the framework of the class he denied / a black and blue volunteer of the ragtag proletariat. /…
Leslie Kaplan | From “Disorder”
That spring saw a series of unusual crimes, quickly dubbed “19th century” crimes by the press. They were committed by exploited people of all sorts, clerks, wage earners, farm workers, various kinds of household help, all kinds of people stuck in poverty, and those killed were bosses (male and female), people who thought “you just have to…,” to do what? Do this or that, study, succeed, get a nice suit, make an effort, cross the street, etc. Clearly, France was divided in two, those who were for the criminals and those who were for the victims. But the fact…
Karen Brodine | Journal Entries: Always the Ideas Carry Themselves Forward
that you’ll go down if you don’t stand up for yourself — surely you see that. Bertolt Brecht January, 78 my parents floated somewhere on the left. I visualized the left as a wide mysterious plain drifting beyond my left cheekbone. I know I was left-handed but what else did I inherit? hints and whispers of commie over the phone. my grandmother stubbornly mute in some kind of hearing. so when Mr. Bant, my 7th grade teacher, decided to spend a special week on the red menace, I was anxious. Mr. Bant had a birthmark that…
Rodrigo Toscano | Poems
Barricades He’s fond of peppering in “on this side of the barricades” when speaking political meaning, his critique of changes at hand isn’t coming from the right meaning, don’t purity spiral peeps, be stout allow room for growth don’t be a gendarme of revolution, be a full actor, unafraid aware that the barricades can pop up anywhere in front and back Thing & Thang Is the U.S. a nation or just an economic platform? because, a nation, is (or can be) an expression of its people. Platforms, as you know support a…
Heiner Müller | MOMMSEN’S BLOCK (for Félix Guattari)
What authorities are there beyond Court tittle tattle (Mommsen to James Bryce, 1898) The question why the great historian Did not write The fourth volume of his HISTORY OF ROME The long awaited one about the imperial era Has preoccupied the historians who followed Good reasons are in supply Preserved in letters hearsay speculation The dearth of epigraphs He who writes with a chisel Has no manuscript The stones do not lie No reliance on literature INTRIGUE AND COURT GOSSIP Even the silver fragments Of the laconic Tacitus merely perusals for poets For whom history is…
riots and/or poetics [6/2022]
Nathalie Quintane | TOMATOES + Why doesn’t the far left read literature? (Kenning Editions) a poetic of montage + détournements. the piecing together of heterogeneous elements to arrive at new connections. to destabilise habits. to blur the boundaries of different genres. illuminating public discussions from remote, radical angles. the attention to new forms of coexistence. of social uprisings + a linguistic dissent. collective voices. the words + banners of political movements, the pamphlets. the minorities [who are constantly in the majority]. the restless revenants. an apparent continuity of uprisings. l’affair de tarnac, la ‘jungle’ de calais + notre-dame-des-landes. instead…
Vanessa Place | VENTOUSES
A small iron chair on a small iron platform, the chair, and some surrounding air, encased in a cupping glass. This is the image of home. This is the image of summary justice. Note that there is no image. The theme of the 2007 Venice Biennale was “Think with the Senses, Feel with the Mind.” Embroidering upon this oddly Cartesian notion, director Robert Storr explained that the year’s art was about the “immediacy of sensation in relation to questioning the nature and meaning of that sensation, intimate affect in relation to engagement in public life, belonging and dislocation, the…
Jack Spicer | After Lorca & A Fake Novel About The Life of Arthur Rimbaud
AFTER LORCA Dear Lorca, These letters are to be as temporary as our poetry is to be permanent. They will establish the bulk, the wastage that my sour-stomached contemporaries demand to help them swallow and digest the pure word. We will use up our rhetoric here so that it will not appear in our poems. Let it be consumed paragraph by paragraph, day by day, until nothing of it is left in our poetry and nothing of our poetry is left in it. It is precisely because these letters are unnecessary that they must be written. In my…
Peter Bouscheljong | ACTION #5 [THE POET AS PRODUCER] & ACTION #6 [THE BUSINESS OF MR JULIUS CAESAR AFTER BRECHT OR THE MIGRANTS OF REGGIO CALABRIA]
“Poetry has to be made by everyone, not just one.” [Lautréamont] The “interruption” is a process of shaping, i.e. the political function of separating causalities [certainties of everyday life / political life] from one another. Like Brecht’s theory of the alienation effect, which is used in epic theatre [non-Aristotelian, because empathy is a suggestion]. How assembly in the Arcades Project is not only used as a turning point, but also as a construction principle. In 1934 Benjamin wrote the essay “The Author as Producer” for the anti-fascist writers’ conference at the “Institut pour l’étude du fascisme” [the text…
Georges Didi-Huberman | Hells? (On Pier Paolo Pasolini)
Well before he described the great light of Paradise shining out in all its eschatological glory, Dante decided to reserve a quiet but significant fate, in the twenty-sixth canto of the Inferno, for the “tiny light” of those glowing worms, the fireflies. The poet is observing the eighth bolgia of hell, a political bolgia if ever there was one, since we can recognize a few eminent citizens of Florence gathered there, among others, all under the same condemnation as evil counselors. The entire space is scattered—constellated, infested—with small flames that look like fireflies, just like those that people see…
Comte de Lautréamont | Poésies
I replace melancholy with courage, doubt with certainty, despair with hope, evil with good, lamentations with duty, scepticism with faith, sophistry with the indifference of calm, and pride with modesty. I THE POETIC whimperings of this century are nothing but sophistry. First principles should be beyond argument. I accept Euripides and Sophocles; but I do not accept Aeschylus. Do not manifest toward the Creator a lack of the most elementary conventions and good taste. Cast aside disbelief: you will make me happy. Only two kinds of poetry exist; there is only one. A far from tacit convention…
Michael Löwy | Incandescent Flame: Surrealism as a Romantic Revolutionary Movement
What is romanticism? Often it is reduced to a nineteenth century literary school, or to a traditionalist reaction against the French Revolution—two propositions found in countless works by eminent specialists in literary history and the history of political thought. This is too simple a formulation. Rather, Romanticism is a form of sensibility nourishing all fields of culture, a worldview which extends from the second half of the eighteenth century to today, a comet whose flaming “core” is revolt directed against modern industrial civilization, in the name of some of the social and cultural values of the past. Nostalgic for…
Michel Leiris | Jean-Arthur Rimbaud’s Adventurous Life
I cannot imagine what poetry might be, if not a manifestation of a person’s essential revolt against the absurd laws of this universe he finds himself thrust into despite himself. Some people will exhaust themselves in jeremiads over the sadness of life, but this is not true revolt: the melancholy that gnaws at them does not bring with it any desire for destruction. Others will make a systematic attempt to destroy every notion in their minds that might push them to act: since any action, they believe, presupposes a minimum of optimism, a certain pragmatism by which a thing…
Lana Turner No.14
Lana Turner Journal number 14 is out (including my review of Katerina Gogou’s “Now Let’s See What You’re Gonna Do”) Available now: lanaturnerjournal.com
Sergei Tret’iakov | Art in the Revolution and the Revolution in Art (Aesthetic Consumption and Production)
Tret’iakov published the following essay in the Proletkul’t journal Gorn [The Forge] during a period of close collaboration with the mass organization’s Moscow group, where he held leading positions in both its theatrical and literary divisions. The text explores a variant of Lef production art that has been reconjugated using the theories of one of Proletkul’t’s founders, the scientist, author, and cultural theoretician Aleksandr Bogdanov. Even though Bogdanov had been forced from the political stage by the early 1920s and consequently could not be mentioned by name in Tret’iakov’s “Art in the Revolution,” the 1923 essay is nevertheless Bogdanovite…
Peter Bouscheljong | der traum von einer sache [subversive chronik]
Furio Jesi | The Suspension of Historical Time
Andrea Cavalletti The text we are presenting here, “The Suspension of Historical Time,” is drawn from the book Spartakus: Simbologia della rivolta, which Furio Jesi wrote between 1968 and 1969. Jesi was born into a partly Jewish family in Turin in 1941 and died in Genoa in 1980; despite this early demise, he was one of twentieth-century Italy’s most important and original thinkers and essayists. A true enfant prodige, he got his start as an Egyptologist when he was barely fifteen. In the early 1960s, he turned to the study of mythology and the science of myth, or rather,…
The launch video of “A Small Poetics of Insurrection”
The launch video of A Small Poetics of Insurrection (Alienist, 2021) translated by David Vichnar, Louis Armand & Tim König.
AFTER THE DEATH OF NANNI BALESTRINI [by Raúl Sánchez Cedillo]
Nanni Balestrini passed away on 20 May 2019, at the age of almost 84. Writer and poet, revolutionary activist, visual artist, publisher. Now the necessary task begins of collecting and publishing a vast and varied body of work, hardly known to the wide majority of people who follow literature, poetry, design and performance art. More than simply being Italian, Balestrini was a Milanese character. It will be difficult for us to understand his trajectory if we do not take into consideration the importance of Milan during the republican postwar period, the city we see in Antonioni’s The Night, industrial…
Lyn Hejinian | From ‘Positions of the Sun’
The book pivots around the disorientation of the “aesthetics of minutiae, with their promise of infinitude”; a pointed and inconclusive protest against an “awareness of orders of magnitude that include atrocity, war, capitalism , and perhaps—though it may be mortality’s saving grade—death.”
Nanni Balestrini | No Tears for the Roses
1. halfway in the dark i n the dense fores the tree pre fers the cal m but the wind doesn’t let up the struggle of the revolutionary is to eliminate the of the class system it’s an ob jective fact it’s in dependent of the will of mankin overthrown the ideo logical power of the bourgeoisie the situation is peace ful in Turin after the sixteen h ours of guerilla warfare yes terday today everything must be subordinate to the trees make a lot of noise at the definition o f a strateg fiat did not invent a…
Katerina Gogou | AND THAT’S HOW I’LL GO AWAY
I walk. I walk. I walk. With the pockets on my wooden overcoat all stitched-up. I walk repeatedly. Repeatedly I walk. I carry nothing. I have nothing to hide I have nothing to stick my hands in I walk with my hands in the rain on a silken rope — an umbilical cord — that connects heaven and earth what’s above with what’s below. I go on with short-circuited searchlights with no safety net under me. I walk absurdly in inverted logic but righteous and decisive to put into practice all I have thought about to put into practice…
riots and/or poetics [5/2021]
Thus ’77 saw a flaring up, a quotidian generalization of a political and cultural conflict with ramifications for every part of society, exemplifying a conflict that had taken place throughout the 1970s, a fierce conflict both between classes and within the class, perhaps the fiercest seen since the Unification of Italy. Forty thousand criminal charges, 15,000 arrests, 4,000 people sentenced to a thousand years of prison—and then there were the deaths and the hundreds of wounded on both sides. There is no doubt that these figures cannot be considered merely the result of some risky, crazy plan dreamt up by…
Carla Lonzi’s Self-Portrait | A conversation with Allison Grimaldi Donahue & Teresa Kittler
In 1969, the Italian art critic and feminist Carla Lonzi (1931-1982) authored Autoritratto (Self-Portrait) using the transcripts of interviews conducted with fourteen prominent artists living in Italy: Carla Accardi, Getulio Alviani, Enrico Castellani, Pietro Consagra, Luciano Fabro, Lucio Fontana, Jannis Kounellis, Mario Nigro, Giulio Paolini, Pino Pascali, Mimmo Rotella, Salvatore Scarpitta, Giulio Turcato and Cy Twombly. Overlooked for many years, Autoritratto’sexperimental unravelling of traditional art criticism has garnered increasing attention since its republication by Et al./Edizioni in 2010. It was, however, Lonzi’s final work as an art critic; after its publication she renounced the art world, co-founded the collective Rivolta femminileand wrote a…
Anna Mendelssohn | the fourteenth flight
two secs for vera tolstoya if this holds & goes no further could belief be a fine sudden reading jam each other wasps and needing what in others proven letters, papers, microfiche, secretaries, maids, mansions and a bulldog mourning nureyev, and would not take his spirit for a scathing word or two on his not dancing for the colonels where culture leads us to can we care or is that too a dangerous interview i despair & in the world preferring to scribble pieces of sapphire utterly irresponsible to all political programmatists uncaring of who but a heap…
riots and/or poetics [1/2021]
A Reading List Galina Rymbu | Life in Space (Ugly Duckling Presse). Can poetry be a revolutionary practice? Under what conditions can poetry trigger change? In All The King’s Men, Guy Debord states: “The point is not to put poetry at the service of revolution, but to put revolution at the service of poetry.” As a political activist, Rymbu participated in the 2011-12 protests for fair elections during her time at the Moscow Gorky Literature Institute. The street is still the place where the anti-capitalist fights, the struggles for a better life take place. The poems of the cycle White…
Keston Sutherland | The poetics of ‘Capital’
A year before the first English edition of Capital was published under his supervision in 1886, Engels issued a brief polemic against the pretensions of anyone reckless enough to think that this great work could be translated into English by a mere amateur man of letters. The target of the polemic is Henry Mayers Hyndman, identified in the essay by his pseudonym John Broadhouse. After reading the French translation of Capital in 1880, Hyndman had published in 1881 a short book, England for All, two chapters of which were so thoroughly plagiarized from Marx’s work that they in effect…
ANNOUNCING TRIPWIRE PAMPHLET #8: PETER BOUSCHELJONG | THE PROCESSES, A FACTOGRAPHICAL PROEM
Announcing Tripwire Pamphlet #8: The Processes, a factographical proem, by Peter Bouscheljong, translated by David Vichnar, Louis Armand & Tim König. A dialectical poetics of radical history that asks what kind of resistance and poetry is possible under conditions of capitalist repression, if we do not simply want to return to everyday life? Synthesizing documentary poetics (the lives of George Jackson, Luxemburg, Verlaine, Pasolini, Anna Mendelssohn, Dalton, Vallejo, and others) with the capitalist alchemy of surveillance and repression, the long “proem” tracks the processes with which those in power react to the social struggles of political movements and the works of revolutionary poets, who strike back into a…
Nathalie Wourm | Poetic Sabotage and the Control Society: Christophe Hanna, Nathalie Quintane, Jean-Marie Gleize
Parallels can be drawn between Gilles Deleuze and Félix Guattari’s concept of “minor literature” and the artistic practice of a number of contemporary French writers, whose works do not only represent the voicing of their political contentions, but also act as verbal objects designed to undermine the mainstream idea of what literature is and should be. [..] Christophe Hanna, Nathalie Quintane, and Jean-Marie Gleize are three authors who share a number of theoretical ideas and political references and have been expressing their opposition to the system in this way.
Raoul Vaneigem | Isidore Ducasse and the Count of Lautréamont in the “Poésies”
Lautréamont entered literary history by means of Maldoror, and, with the mastery of Isidore Ducasse, the author of the Poésies, he is almost indebted to it for not being excluded from that history.1 Of the judgments made by critics, how many manage to prove their innocence – through embarrassment or the casualness with which they open the “Préface à un livre futur” with a tacit disavowal – an unconfessed disapproval of the Poésies? None, no doubt, as it is true that their disaffection still appears in their will to subject the delicate processes by which multiple aspects of a…
Vladimir Mayakovsky | Revolution | A Poetichronicle
Revolution A Poetichronicle 26 February. A drunken mix, police and soldiers, opened fire on the people. 27th. Spilled brilliance on barrel and blade – daybreak. Light crimson and prolonged. In a musty barracks sober severe the Volynsky Regiment prayed. Severely they swear to the soldiers’ god, kow-tow each hefty mono-brow. Blood kindled, surging through temple. With malice aforethought hands grip iron. And the first, he who ordered “Shoot the hungry!” – A bullet shut his mouth. Another’s ‘Ten–hut!” was cut short. Yet not at a loss the troops stormed into the city. 9 o’clock. In our usual spot…
Sean Bonney | Anna Mendelssohn—”Minds do exist to agitate and provoke / this is the reason I do not conform”
If you want to find good poetry written in Britain, you have to go looking for it: with very few exceptions, it is hidden away behind a poetry of more or less genteel self-expression, metrical sentimentalities and easily digested liberal homilies that are essentially reports on police reality. But there is a vast seem of artistically and politically complex poetry also being written here, and Anna Mendelssohn, who sometimes also published under the name Grace Lake, wrote some of the best. It is chaotic, at times manic and compulsive, by turns mocking and playful, hurt and exasperated, and always…
Nanni Balestrini | “I write to you opposite the balcony from whence I contemplate the eternal light whose radiant fire slowly fades on the distant horizon”
At one point in ‘Blackout’, Balestrini writes, “This poem should not be published because it is a political manifesto.” The historical events with which ‘Blackout’ is concerned and toward which it is critical began with the wave of conflicts in 1968 at the universities and factories and eventually spread throughout the West. The protests culminated in the “troubled autumn” of 1969, eventually involving the entire Italian working class in strikes, demonstrations, and acts of sabotage.
Yahya Hassan | Poems
The Danish Palestinian poet, Yahya Hassan (1995-2020) is largely unknown in the Anglophone world and I am only aware of one or two of his earlier poems being translated into English. The nine I have selected here from his two poetry collections have not been translated before. […]
Katerina Gougou | A new translation of her book “Three Clicks Left”
Three Clicks Left: first appeared as Τρία κλικ αριστερά (Kastaniotis Editions, 1978); translated from the Greek by ΔT and JC. Here: Free May Day Book #9: Cherish x Abolish Wage-labor capital and imperialism as the ultimate stage of capitalism betrayed revolutions Hey, comrade, we miss you so much . . . Time is worm-ridden nuclear tests, popular fronts, brothels (the Portuguese regime has fallen too) hyperproductive Catholics and the mafia have become multinationals, they forbid love, comrade. Like dogs on soccer fields agents climb our stairs anytime they want they can yank down our pants and fuck us peace…
Carla Lonzi (Part One)
Karolin Meunier ON VAI PURE BY CARLA LONZI READING SESSION 1 AND 2. EDIT 2 How to introduce a book that I hardly know, written in a language that I do not speak? The following text is the product of two translation sessions, one with Paolo Caffoni and one with Federica Bueti, as we started to read Vai Pure (Now You Can Go), a conversation between the Italian feminist, writer, and art historian Carla Lonzi and her partner Pietro Consagra, conducted in Lonzi’s apartment in Rome 1980 before they broke up their relationship. Lonzi had used this method—that is…
Carla Lonzi (Part Two)
FINDING RESONANCES WITH CARLA LONZI Giovanna Zapperi with Federica Bueti I am not quite sure when or how I came across Carla Lonzi’s writing. It happened in the casual manner in which sometimes one’s life changes in unexpected ways. Lonzi’s writing did not change my life, but it offered me an opportunity to reflect upon it. Lonzi’s feminist practice is a work of unearthing, undoing, and undressing that shakes up the foundation of our culture and beings. What has society made of me? Who am I? Lonzi ceaselessly questions her sense of self, the place society had assigned to…
Peter Bouscheljong | [ACTION #3] BRITISH SOUNDS | NACH ANNA MENDELSSOHN
indem man [nämlich] aufdeckte, dass die Geschichte der Menschen, wie sie in den BÜCHERN zu finden ist, eben doch kein Text ist, welcher auf den Seiten eines BUCHES geschrieben steht; indem man nämlich entdeckte, dass die Wahrheit der Geschichte sich nicht aus ihrem manifesten Diskurs herauslesen lässt, weil der Text der Geschichte eben kein Text ist, in dem eine Stimme [der LOGOS] sprechen würde, sondern die [als solche] gänzlich unhörbare und unlesbare Notation der Auswirkungen einer Struktur von Strukturen Louis Althusser | Das Kapital lesen Diese Fähigkeit sich durch Literatur zu verwandeln Während du mitten im Gespräch den…
Pier Paolo Pasolini | Poetry [from “Transhumanize and Organize”]
Job Request Poetry made to order is a device. The device maker can produce many (only tiring himself out from the manual labor). The subject can, at times, be ironic: the device always is. Gone are the days when I, a voracious economizer, would spend everything, investing my money (a lot of it, since semen was my currency, and I always had an erection) buying up greatly undervalued sectors that would turn a profit some two or three centuries hence. I was Ptolemaic (being just a kid) and counted eternity, you guessed it, in centuries. I considered the…
Tom Raworth | West Wind
the moon is blacker than the sky memories move in abandoned armour corridors of such interest of mirrors and cut glass night a few lights outlining motion a city’s blue glow spikes from shadows fanned by airbrushed fingers restarting ink with a thumb ink dried on the pen distant as walking anywhere having your own body or the thought of imagination an unlimited closed system a flooded market only intellect between you and the image past dreams a different real with body an experience there a yellow building waits description fear’s tidy lines memory’s distance you know so you…











































































