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Monday, April 26th, 2010
Alexandra Birnbaum of Maplewood Patch published a very nice photo of The Lost Souls from when we were playing in Maplewood's Open Market on Saturday (except she cropped Eric out of the picture, to the right). I think this must be from when we were playing "Old Joe Clark" at the beginning of the second set:
posted evening of April 26th, 2010: Respond
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Pablo Antonio Cuadra's poem "El barco negro" (in Poets of Nicaragua) inspired me to buy the book  Songs of Cifar and the Sweet Sea, which is Grace Schulman's selections and translations from Cuadra's Cantos de Cifar, because I was so dissatisfied with White's translation. A really powerful poem, but the translation is nothing at all... Well: the book arrived in the mail today; I'm looking at it and enjoying Schulman's translations by and large. But her selections not so much: she did not include "The black boat." Rats... Ok, so here is my first attempt at a translation of a poem.*
El barco negro
Cifar, entre su sueño oyó los gritos
y el ululante caracol en la neblina
del alba. Miró el barco
—inmóvil—
fijo entre las olas.
—Si oyes
en la oscura
mitad de la noche
—en aguas altas—
gritos que preguntan
por el puerto:
dobla el timón
y huye
Recortado en la espuma
el casco oscuro y carcomido,
(—¡Marinero!, gritaban—)
las jarcias rotas
meciéndose y las velas
negras y podridas
(—¡Marinero!—)
Puesto de pie, Cifar, abrazó el mástil
—Si la luna
ilumina los rostros
cenizos y barbudos
si te dicen
—Marinero ¿dónde vamos?
Si te imploran:
—¡Marinero enséñanos
el puerto!
¡dobla el timón
y huye!
Hace tiempo zarparon
Hace siglos navegan en el sueño
Son tus propias preguntas
perdidas en el tiempo.
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The Black Boat
Cifar, inside his dream he heard the cries,
the ululating conch out in the mist
of dawn. He saw the boat
—immobile—
fixed among the waves.
—If you hear
from the darkness,
the middle of the night
—on high seas—
cries, cries that beg you
for the port:
turn your tiller back
and flee
Outlined in the raging surf
the boat's hull dark and eaten away,
(crying, —O Seafarer!—)
the broken rigging
swaying and the sails
black and rotting
(—O Seafarer!—)
He held his ground, Cifar, he clung to the mast
—If the moon
lights up their faces
ashy, bearded, jinxed
if they ask you
—Seafarer, where you going?
If they implore you:
—Seafarer, show us the way
to the port!—
turn your tiller back
and flee!
They set sail long ago
They're sailing for ages, in the dream
The questions are your own
forgotten in the ages.
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...A different selection of Cuadra's "Cifar" poems (an objectively better selection since it includes "El barco negro") is on offer at Pelele's blog, Muchacha Recostada. Also the whole book is online at turtleislands.net.
 * Wait no, that's wrong. So, the next attempt in an extremely infrequent series of poetry translations by Jeremy.
posted evening of April 26th, 2010: 4 responses
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Sunday, April 25th, 2010
A rainy April day today... I took some pictures of flowers on our block -- though the colors are more satisfying when the sun is shining on them, there's something to be said for the way they offset the grayness, too.
This morning was Spring cleaning (Spring cleaning has been stretching out, a little bit each weekend; our house and yard are looking much better though our nerves are getting a little frayed...) and reading, music with Bob and Janis in the afternoon.
posted afternoon of April 25th, 2010: 2 responses
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Saturday, April 24th, 2010
(and after all, text is a picture and the reverse as well)*
Certainly not me -- this story is the first time I had ever heard of him (after a brief bit of confusion where I thought Bolaño was talking about Robert Altman) -- I'm grateful to Bolaño for mentioning him, and getting me to look up some lovely images. Altmann's work (or the bit of it that I'm looking at right now) is strongly reminiscent of the Codex Seraphinianus (in a way that much other logogram art is not, I think the addition of comix to the mix really makes it into something very different) -- and of course in the same vein, of Tlön, Uqbar, Orbis Tertius.Domingos Isabelinho of The Crib Sheet provides scans of Altmann's story Zr + 4HCl → ZrCl4 + 2H2/ U + 3F2 → UF6 (and see also his previous post for more context) -- just beautiful, tantalizing stuff. I feel drawn to imagine a storyline for these beautiful, impossible creatures and their heiroglyphic tongue and their alphabetic decorations.
 * (Note: I'm pretty sure the translation I quote at the top of this post is not quite right, that Bolaño is just saying in the case of this magazine, text is the picture and vice versa, not making a more general statement -- but I've sort of fallen in love with this formulation.)
posted evening of April 24th, 2010: 2 responses
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(I see other translators have rendered it "Roaming" or "Vagabond" in F and B, these may be closer to an accurate translation --  I'm leaving it "Wandering" thinking that reflects the directionless feeling I get from reading the story and trying to inhabit B's character.) In this paragraph B is thinking about how he knows the authors listed on the magazine's cover. Notice something interesting with tense, which is that the story having been told up to here in the present, here Bolaño wants to loosen the focus a little so he shifts into a mix of past tenses and actually goes so far as to alert the reader that's what's going on.
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La Revista, que aparece o aparecÃa tres veces al año por iniciativa de Marc Dachy, está editada en Bruselas, por TRANSéDITION, y tiene o tenÃa su domicilio social en la rue Henry van Zuylen, número 59. Roberto Altmann, en una época, fue un artisto famoso. ¿Quién recuerda ahora a Roberto Altmann? piensa B. Lo mismo con Carlfriedrich Claus. Pierre Guyotat fue un novelista notable. Pero notable no es sinonimo de memorable. De hecho a B le hubiera gustado ser como Guyotat, en otro tiempo, cuando B era joven y leÃa las obras de Guyotat. Ese Guyotat calvo y poderoso. Ese Guyotat dispuesto a comerse cualquiera en la oscuridad de un chambre de bonne. A Mirtha Dermisache no la recuerda, pero su nombre le suena de algo, posiblemente una mujer hermosa, una mujer elegante con casi total seguridad. Sophie Podolsky fue una poeta a la que él y su amigo L apreciaron (e incluso se podria decir que amaron) ya desde México, cuando B y L vivÃan en México y tenÃan apenas algo más de veinte años. Roland Barthes, bueno, todo el mundo sabe quién es Roland Barthes. De Dotremont tiene noticias vagas, tal vez leyó algunos poemas suyos en alguna antologÃa perdida. Brion Gysin fue el amigo de Burroughs, el que le dio la idea de los cut-up. Y finalmente Henri Lefebvre. B no conoce a Lefebvre de nada. Es el único al que no conoce de nada y su nombre, en aquella librerÃa de viejo, se ilumina de pronto como una cerilla en un cuarto oscuro. Al menos, de esa forma B lo siente. A él le gustarÃa que se hubiera iluminado como una tea. Y no en un cuarto oscuro sino en una caverna, pero lo cierto es que Lefebvre, el nombre de Lefebvre, resplandece brevemente de aquella manera y no de otra.
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The magazine, which appears (or was appearing) three times a year under the initiative of Marc Dachy, is published in Brussels, by TRANSéDITION; it has (had) its home office on rue Henry van Zuylen, number 59. Roberto Altmann, at one time he was a famous artist. Who remembers Roberto Altmann nowadays? thinks B. The same with Carlfriedrich Claus. Pierre Guyotat was a noteworthy novelist. But noteworthy is not synonymous with memorable. In fact B would have liked to be like Guyotat, in another age, when B was young and was reading Guyotat's works. This bald, powerful Guyotat. This Guyotat who was fixing something for dinner, in the darkness of a chambre de bonne. He can't place Mirtha Dermisache, but her name reminds him of something, maybe of a beautiful woman, almost certainly an elegant woman. Sophie Podolsky was a poet whom he and his friend L had appreciated, you could even say adored, way back in Mexico, when B and L were living in Mexico and were hardly over twenty years old. Roland Barthes, well good, everyone knows who Roland Barthes is. Of Dotremont he has heard vague reports; perhaps he has read some of his poems in some lost anthology. Brion Gysin was that friend of Burroughs, the one who gave him the idea of cut-ups. And then at last Henri Lefebvre. B hasn't seen Lefebvre at all. That's the only one whose name he has never seen at all; in that anticuarian bookstore, the light comes on right away, like a match struck in a dark room. Or at least, that's about how B feels. He would like if it would light his way like a torch. And not in a dark room but in a cavern -- what's for sure is that Lefebvre, the name Lefebvre, shines briefly in just that manner, not in any other. |
I am not satisfied with certain bits of this translation, most notably the sentence about Guyotat fixing something for dinner, and the last couple of clauses of the last sentence. And whether B and L are adoring Podolsky's work or the poet herself. If you notice anything that sounds off or see a way to improve the way it sounds, please mention it in comments.
 One thought running through my head as I go over this passage, is how Bolaño can write using bits of his experience, and I don't necessarily need to label the writing a form of memoir -- I have a habit of thinking of The Savage Detectives as if it were, or were in parts, a work of autobiography -- the bit about Sophie Podolsky references a bit of Bolaño's experience, and also a bit of Belano's experience, and I don't really see any need to untangle which is which.
posted evening of April 24th, 2010: Respond
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Friday, April 23rd, 2010
Bolaño spends a lot of his time in these stories talking about other authors. A long, climactic scene in "Days of 1978" is spent explicating the plot of Andrei Rublev; a central point of interest in "Wandering in France and Belgium" is the cryptic writing of Henri Lefebvre (whom I hadn't heard of before reading this story but who appears oddly not to be the same as the Henri Lefebvre whom I can find via Google -- his dates of birth and death and his life story and (afaict) work are all distinct. Seems very strange to reference a name, a name "B does not know from anywhere" and which gets B interested in deciphering his scribblings, and then have it be a different person from the historical owner of that name... (Lefebvre is supposed to have contributed a piece to an issue of Luna Park which also contains writing by Sophie Podolsky, Brion Gysin, Roland Barthes, Roberto Altmann.):
The second day, after finishing a novel in which the murderer lived in a retirement home (although this retirement home seemed more like Carroll's looking glass), he makes the rounds of the anticuarian bookstores; he finds one on the rue de Vieux Colmbier and here he finds an old issue of Luna Park, number 2, a monograph devoted  to graphics and typography, with texts and pictures (and after all, text is a picture and the reverse as well) by Roberto Altmann, Frédéric Baal, Roland Barthes, Jacques Colonne, Carlfriedrich Claus, Mirtha Dermisache, Christian Dotremont, Pierre Guyotat, Brion Gysin, Henri Lefebvre and Sophie Podolsky.
And then a page is given over to describing B's acquaintance with the work of each of these authors except Lefebvre... It seems very unlike what I am used to. Not complaining, not at all.
 Further... The issue Bolaño is referencing is the actual Luna Park #2, which features actual logograms by an actual Lefebvre. If the biographical information Bolaño gives is accurate (and it's hard for me to see how it wouldn't be), this is just a different person with the same name as the Lefebvre profiled in the Wikipædia article linked above.
posted evening of April 23rd, 2010: Respond
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Thursday, April 22nd, 2010
 In southern New Jersey photographer Bryan Graf has caused a minor setback for some plastic bags, in their ultimate journey to The Vortex.
Meanwhile in Seattle, a gray whale has beached itself, and an examination of its stomach finds (among many other pieces of human garbage) 20 plastic bags.
posted morning of April 22nd, 2010: 1 response
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Wednesday, April 21st, 2010
At The Wooster Collective today I found news of a fantastic street art intervention, Said Dokins' "Avionazo en la plazuela" , "Plane crash in the square" -- wheat-pasted paper airplanes flying on the walls of the buildings around Plaza del Aguilita in Mexico City, and a metal and fiberglass sculpture in the center of the plaza. Beautiful! And it reminded me that I should ask: Ellen and I are thinking of taking a trip to Mexico City this summer, I'd love to get suggestions of things to do and see and avoid. (And wondering if there is any way to track down the real location of this mural so we could see it in person -- Google Maps doesn't know about Plaza del Aguilita, and I'm thinking from the context in Dokins' post -- "the newest Plaza del Aguilita in México City" -- that it is a generic term rather than a proper name, maybe a way of referring to squatter camps. Also strange: Dokins translates the name of the project which Avionaza is part of, Habitar: no autorizado, as "Living: There is authorized" when it seems pretty clearly to mean "Living: without authorization" or "unauthorized".)
Update -- after looking at the Habitar: no autorizado web site (which is Flash, so I can't link to internal pieces of it; but click on Artistas | Said Dokins), I believe I've misunderstood -- it looks like Dokins is installing this mural in a number of places in the city; maybe Plaza del Aguilita is just a way of referring to somewhere that he has installed it. Do check the site, the photography there is very well done. ...And, yes! The site has a map of where the installations are located.
posted evening of April 21st, 2010: Respond
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Patrick Farley has a new plan for reloading Electric Sheep and making it into an working proposition. If you love great webcomix, help him out with a dollar or two -- he is one of the best authors out there, it would be great to see new content from him.
posted evening of April 21st, 2010: Respond
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Tuesday, April 20th, 2010
  I must thank Alicia Kennedy for alerting me to the existence of a BBC adaptation of White Teeth (2002), and to its availability at hulu.com. I watched the first episode this evening; it is just magnificently, ebulliently well done. Smith's strong narrative voice is missing, but the filmmakers (Julian Jarrold, director; Simon Burke, screenplay) have found their own distinctive, resonant approach to the story. Looking forward to the rest of the series.
posted evening of April 20th, 2010: Respond
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