litany for marcel duchamp, who recently shaved the wife of francesco del giocando

lhooq shaved

Mona Chauss 21, rue Moines 17e MAR 04.58
Mona Mme F 79, avenue Bosquet 7e SOL 75.20
Mona F entrepr. peint 38, rue François-ler 8e ELY 79.16
Mona F 26, avenue Marceau 8e ELY 71.09
Mona Mme 73, avenue Bosquet 7e INV 17.61
Mona D’Arvy 12, rue Ganneron 18e EUR 25.69
Mona-Dol art dram 25, rue Caulaincourt 18e MON 45.73
Mona Goya art dram. 27, rue Pier-Demours 17e MAC 53.54
Mona Lisa tric couture sports luxe 56, rue de Rennes 6e LIT 83.50
Mona-Lise maroq. 231, rue St-Honoré OPE 21.42
Mona-Rybert couture bonnet. 22, rue Douai 9e TRI 42.38
Monacevitch L 183, rue Alésia 14e BLO 58.26
Monacevitch Mme march. chauss. 63, rue Didot LEC 87.98
Monaco (secret S.A.S. le Prince de) 2, rue Conseiller-Collignon 16e TRO 17.15
Monagaz 148, bd Haussmann 8e CAR 51.03
Monahan F avec cour app. 52, avenue Champs-Elysées 8e BAL 86.24
— même addresse BAL 34.97
Monahan F 6, place Palais-Bourbon 7e INV 41.46

Emmett Williams. First printed on the poster of the exhibition La Fête à la Gioconde, Paris, October 1965. Appears in the last french-fried potato and other poems, originally a Great Bear Pamphlet of the Something Else Press in 1967, now available as a PDF from Ubuweb.

(Apologies if the table formatting is severely messed up – I still don’t know very much useful HTML. Can RSS feeds have tables in them? I suspect not.)

the disinherited

I move in darkness—widowed—beyond solace,
The Prince of Aquitaine in a ruined tower.
My one star is dead; the black sun of sadness
Eclipses the constellation of my guitar.

O you who brought me light in the night of the tomb,
Bring back Posillipo and the Italian sea;
Bring back the flower that made my sad heart glad,
The grove where the rose and vine twined joyously.

Am I Eros or Apollo, Lusignan or Biron?
My brow still burns red from my Queen’s kisses.
I dreamed such dreams in the cave of a swimming siren,

And I’ve crossed Acheron in glory, twice
To play on the lyre of Orpheus and intone
The sighs of the saint and the fairy’s clear cries.

(Gérard de Nerval, originally published 1854, trans. Daniel Mark Epstein, at, hold your nose, The New Criterion in 2000.)

The French original (from here):

     El Desdichado

Je suis le ténébreux, – le veuf, – l’inconsolé,
Le prince d’Aquitaine à la tour abolie :
Ma seule étoile est morte, – et mon luth constellé
Porte le soleil noir de la Mélancolie.

Dans la nuit du tombeau, toi qui m’as consolé,
Rends-moi le Pausilippe et la mer d’Italie,
La fleur qui plaisait tant à mon coeur désolé
Et la treille où le pampre à la rose s’allie.

Suis-je Amour ou Phébus ? . . . Lusignan ou Biron ?
Mon front est rouge encor du baiser de la reine ;
J’ai rêvé dans la grotte où nage la sirène . . .

Et j’ai deux fois vainqueur traversé l’Achéron :
Modulant tour à tour sur la lyre d’Orphée
Les soupirs de la sainte et les cris de la fée.

On consideration: I think, not knowing any French that the above translation is a bad one. Did Epstein lose the italics of the French for stylistic reasons, or did they just get lost in the transition to the web? Not sure. Also odd: that Epstein takes the title (Spanish in the original French, in draft the French “Le Destin”) and turns it into plain English (“The Disinherited”). Some background and analysis of the poem here, though note they manage to lose the italics in the French.

northern boulevard

The bench, the sewermouth, the hydrant placed
On the street are attractive and foolproof,
Their finish is in republican taste
The expense, on democratic behoof.

People wear the city, the section they use
Like the clothes on their back and their hygiene
And they recognize property as they do news
By when to stay out and where to go in.

Near where a man keeps his Sunday plyers
Or young men play regularly, they place
Next to acts of financial empires
An object as magic as a private face.

No use to distinguish between hope and despair
Anyone’s life is greater than his care.

Edwin Denby, originally published in Poems written to accompany photographs by Rudy Burckhardt collected in The Complete Poems. Not sure when it was written. Also: MP3 (0:56, 888kb) of a 1983 reading, from Edwin Denby’s page at Pennsound.

the climate

I myself like the climate of New York
I see it in the air up between the street
You use a worn-down cafeteria fork
But the climate you don’t use stays fresh and neat.
Even we people who walk about in it
We have to submit to wear too, get muddy,
Air keeps changing but the nose ceases to fit
And sleekness is used up, and the end’s shoddy.
Monday, you’re down; Tuesday, dying seems a fuss
An adult looks new in the weather’s motion
The sky is in the streets with the trucks and us,
Stands awhile, then lifts across land and ocean.
We can take it for granted that here we’re home
In our record climate I look pleased and glum.

Edwin Denby, originally published in In Public, in Private, 1948, collected in Dance Writings and Poetry.

Also: MP3 (0:56, 889kb), from Edwin Denby’s page at Pennsound.

(see also: this Jacket feature.)

“the poem is not completely diverting, but appears sometimes odd.”

With the end you are tired of this old world

Shepherdess ô Eiffel Tower the herd of the bridges bleats this morning

You have enough of it to live in Greek and Roman antiquity

Here even the cars seem to be old
The religion alone remained very new the religion
Remained simple like the hangars of Port-Aviation

Only in Europe you are not ancient ô Christianisme
European most modern it is you Black and white Pape X
And you that the windows observe shame retains you
To enter daN a church and of you to confess this morning to it
You read the leaflets the catalogues the posters which sing high
Here is poetry this morning and for prose there are the newspapers
There are the deliveries with 25 centimes full with adventure police
Portraits of the great men and thousand titles various

I saw this morning a pretty street of which I forgot the name
New and clean of the sun it was the bugle
Directors workmen and beautiful shorthand typists
Monday morning at Saturday evening four times per day pass there
The morning by three times the siren groans there
A rageuse bell barks there about midday
Inscriptions of the signs and the walls
The plates the opinions the made-to-order of the parrots criaillent
I like the grace of this industrial street
Located in Paris enters the street Aumont-Thieville and the avenue of the Terns

(Google translation of the start of Guillaume Apollinaire’s “Zone”, from here, complete in French here, and an anonymous translation – not that of LeRoy C. Breunig, Donald Revell, or Samuel Beckett –into English here.)

(Perhaps related: bpNichol’s Translating Translating Apollinaire.)

vanishing points

sátántangó still

(representative still from Béla Tarr’s Sátántangó)

bohemia lies by the sea

(Anselm Kiefer’s Böhmen liegt am Meer)

“Bohemia Lies by the Sea”

Are these houses green, I once more enter a house.
Are these bridges safe, to walk I have good ground.
All loving effort lost for ever, I lose it happily.
lf not I myself then someone else as good as I.
lf here a word adjoins to me, I let it join.
If Bohemia lies still on the sea, I believe the seas.
And if I believe in the sea, I still can hope for land.
lf it’s I myself it’s everyone just as much as I.
I have no wishes any more. I wish to run aground.
Aground – towards the sea, to find Bohemia.
Wrecked, I wake up peacefully.
I have grounded my belief and shall be lost no longer.
Come here, you from Bohemia, sailors, whores, and ships
without a staying. Won’t you be Bohemians, you Illyrians, Veronese
Venetians. Play those comedies to make us laugh

Before we cry. Go wrong a hundred times
as I went wrong and always failed examinations,
yet I passed them all, each and every time.

Passed them like Bohemia which one fine day
was relieved down to the sea and now lies on the shore.

Still I adjoin to a word and to another country,
and ever more adjoin to all there is however slightly,
Come from Bohemia here, a vagrant, who has nothing, whom nothing keeps,
gifted with vision to see from the sea-struggle land of my choice.

(Ingeborg Bachmann, trans. Peter Filkins)

three views of the duomo in milan

mailand: dom

(Gerhard Richter, Mailand: Dom, 1964)

domplatz - mailand

(Gerhard Richter, Domplatz – Mailand, 1968)

duomo from google earth

(from Google Earth)

requisite poem:

“Milan Cathedral”

Through light green haze, a rolling sea
     Over gardens where redundance flows,
     The fat old plain of Lombardy,
The White Cathedral shows.

     Of Art the miracles
     Its tribe of pinnacles
Gleam like to ice-peaks snowed; and higher,
Erect upon each airy spire
     In concourse without end,
Statues of saints over saints ascend
Like multitudinous forks of fire.

What motive was the master-builder’s here?
Why these synodic hierarchies given,
Sublimely ranked in marble sessions clear,
Except to signify the host of heaven.

(Herman Melville, from Timoleon, 1891)

death by water

PHLEBAS the Phoenician, a fortnight dead,
Forgot the cry of gulls, and the deep seas swell
And the profit and loss.
                          A current under sea
Picked his bones in whispers. As he rose and fell
He passed the stages of his age and youth
Entering the whirlpool.
                          Gentile or Jew
O you who turn the wheel and look to windward,
Consider Phlebas, who was once handsome and tall as you.

(T. S. Eliot, The Waste Land.)

corson’s inlet

I went for a walk over the dunes again this morning
to the sea,
then turned right along
   the surf
              rounded a naked headland
              and returned

   along the inlet shore:

it was muggy sunny, the wind from the sea steady and high,
crisp in the running sand,
     some breakthroughs of sun
  but after a bit

continuous overcast:

the walk liberating, I was released from forms,
from the perpendiculars,
     straight lines, blocks, boxes, binds
of thought
into the hues, shadings, rises, flowing bends and blends
          of sight:

                 I allow myself eddies of meaning:
yield to a direction of significance
running
like a stream through the geography of my work:
   you can find
in my sayings
               swerves of action
               like the inlet’s cutting edge:
        there are dunes of motion,
organizations of grass, white sandy paths of remembrance
in the overall wandering of mirroring mind:

but Overall is beyond me: is the sum of these events
I cannot draw, the ledger I cannot keep, the accounting
beyond the account:

in nature there are few sharp lines: there are areas of
primrose
    more or less dispersed;
disorderly orders of bayberry; between the rows
of dunes
irregular swamps of reeds
though not reeds alone, but grass bayberry, yarrow, all . . .
predominantly reeds: 

I have reached no conclusions, have erected no boundaries,
shutting out and shutting in, separating inside
       from outside: I have
       drawn no lines:
       as

manifold events of sand
change the dune’s shape that will not be the same shape
tomorrow,

so I am willing to go along, to accept
the becoming
thought, to stake off no beginnings or ends establish
      no walls:

by transitions the land falls from grassy dunes to creek
to undercreek: but there are no lines though
     change in that transition is clear
     as any sharpness: but “sharpness” spread out,
allowed to occur over a wider range
than mental lines can keep:

the moon was full last night: today, low tide was low:
black shoals of mussels exposed to the risk
of air
and, earlier, of sun,
waved in and out with the waterline, waterline inexact,
caught always in the event of change:
    a young mottled gull stood free on the shoals
    and ate
to vomiting: another gull, squawking possession, cracked a crab,
picked out the entrails, swallowed the soft-shelled legs, a ruddy
turnstone running in to snatch leftover bits:

risk is full: every living thing in
siege: the demand is life, to keep life: the small
white blacklegged egret, how beautiful, quietly stalks and spears
         the shallows, darts to shore
                  to stab – what? I couldn’t
    see against the black mudflats – a frightened
    fiddler crab?

         the news to my left over the dunes and
reeds and bayberry clumps was
         fall: thousands of tree swallows
         gathering for flight:
         an order held
         in constant change: a congregation
rich with entropy: nevertheless, separable, noticeable
       as one event,
               not chaos: preparations for
flight from winter,
cheet, cheet, cheet, cheet, wings rifling the green clumps
beaks
at the bayberries
   a perception full of wind, flight, curve,
   sound:
   the possibility of rule as the sum of rulelessness:
the “field” of action
with moving, incalculable center: 

in the smaller view, order tight with shape:
blue tiny flowers on a leafless weed: carapace of crab:
snail shell:
        pulsations of order
        in the bellies of minnows: orders swallowed,
broken down, transferred through membranes
to strengthen larger orders: but in the large view, no
lines or changeless shapes: the working in and out, together
        and against, of millions of events: this,
                 so that I make
                 no form of
                 formlessness:

orders as summaries, as outcomes of actions override
or in some way result, not predictably (seeing me gain
the top of a dune,
the swallows
could take flight – some other fields of bayberry
       could enter fall
       berryless) and there is serenity:

       no arranged terror: no forcing of image, plan,
or thought:
no propaganda, no humbling of reality to precept:

terror pervades but is not arranged, all possibilities
of escape open: no route shut, except in
   the sudden loss of all routes:

       I see narrow orders, limited tightness, but will
not run to that easy victory:
       still around the looser, wider forces work:
       I will try
     to fasten into order enlarging grasps of disorder, widening
scope, but enjoying the freedom that
Scope eludes my grasp, that there is no finality of vision,
that I have perceived nothing completely,
       that tomorrow a new walk is a new walk.

(A. R. Ammons)