Sunday, August 24, 2008
August 26, 7:00-8:00 p.m.
The reading takes place at the Hyde Park Art Center at 5020 S. Cornell, Chicago, IL. Parking is available, and it is easy to access from both Metra and CTA.
Visit http://www.moriapoetry.com/seriesa.html for more information.
If you miss it, visit Chicago Amplified and select Hyde Park Art Center from the drop-down menu to hear a podcast of it.
Thursday, August 21, 2008
this morning while reading eugenio montale's poetry to my infant daughter, i came across a poem that i have read many times before without noticing it. oddly enough, i don’t think that the majority of montale’s work is great—good, yes, and it’s interesting in terms of his landscape descriptions; however, couched between the landscape pieces are poems of amazing insight, of such insight that they make me consider him one of the greats. the poem i noticed today, “Là fluoresce il Tritone” (“There Triton rages”), is an in-between poem. it has lines that are brilliant, but it fails to rise to the height of two poems just a few pages before it in Ossi di sepia (Cuttlefish Bones).
the poem deals with the confusion or insignificance of the self when confronted with the primal forces of the ocean, of triton, and of triton specifically at Portovenere where the god touches at the threshold of the ancient church now under st. peter’s. the “origini” (origins) he mentions are those of the sea and of culture. at the origins, “Là non è chi si guardi” (“There no one regards himself”—Arrowsmith’s translation**). interesting. is he saying that when faced with cultural or primal origins, the speaker loses or confuses his self/identity? the speaker notes that he must put on a “volto” (“face”) when he returns home, and the origins seem to control even the future: “ogni ora prossima / è antica” (“every future hour is ancient”). most people discuss returning to the origins as a way to find identity, but not this speaker—the origins are overwhelming, are beyond self, so much so that seeing them makes individual identity seem somehow hollow (hollow in the grand spiritually void sense, not hollow as lacking identity).
**I like the Arrowsmith translation partially just for the commentary on the poems at the end of the book.
Wednesday, August 06, 2008
Call for Panel Papers for the Southwest/Texas Popular & American Culture Association's 29th Annual Conference
Albuquerque, NM, February 13-16, 2008
Panel: "Plastocritical/Plastomanifesto: Exploring the Possible"
The purpose of this panel will be twofold: to provide plastocritical readings and to launch plastomanifestos. The plastocritical works will explore the lives and works of potential past/present/future experimental writers, while the plastomanifestos will explain possible directions that one might one to write in but not actually be inclined to write. The objective of both plastocritical pieces and plastomanifestos is to explore what is possible in experimental writing without actually having written it, so potentially plastomanifestos could transform into manifestos, while plastocritical pieces could not, even though they could provide political, historical, social, and psychological commentary and direction for potential texts.**(***)
**This session, of course, would be the first plastocritical/plastomanifesto session ever.
*** Plasto comes from the ancient Greek work plastos, which means something that is molded or fabricated, and it can also mean something which is false.Please send 250 word abstracts to Bill Allegrezza at firstname.lastname@example.org by Oct 1st.
(After writing the panel abstract, I came across Paul Hoover's "Course Description" in this article. Great stuff, and funny.)
Coming up this month on the 26th at 7, Hugh Tribbey, Gina Frangello, and Jesse Seldess will read.
(If you want to hear past readings recorded by Chicago Public Radio, visit here. You will hear the voices of Tim Yu, Ray Bianchi, and Garin Cycholl giving introductions. All three have been kind enough to fill in for me while I've been living in Michigan.)