August- og september-bøger fra Gyldendal, som jeg glæder mig markant til (3 af dem har jeg allerede eksklusivt læst, dem glæder jeg mig OVER!), men ikke fik nævnt i min Bogholderi-note om "Kommende attraktioner" i WA Bøger i fredags (hvor jeg på en top 3 (som om sådan en giver mening) nævnte bøger af Svend Åge Madsen, Ursula Andkjær, Kirsten Hammann (alle 3 tidligere glædet sig til på bloggen) suppleret med BREVKASSE af Line Knutzon og en truende epidemi-roman af Hanne-Vibeke Holst):
Peter Laugesen: Travelling
Peter Adolphsen; Rynkekneppesygen
Peter Højrup: Til stranden
Martin Larsen: Parasitsonetterne
Cia Rinne: L'Usage du Mot
Kenneth Jensen: Tragedie plus tid gange ni
Verificeret/sandsynlig glædelighed x 6, realiseret om et øjeblik!
Viser opslag med etiketten Cia Rinne. Vis alle opslag
Viser opslag med etiketten Cia Rinne. Vis alle opslag
mandag den 31. juli 2017
tirsdag den 8. marts 2016
The Director of CIA: Herself
Martin Glaz Serup er i gang med at lægge alle oplæggene fra det af ham modererede panel om multi-linigual poesi på poesifestivalen Reverse ud på Promenaden. TAK FOR DET! Link til til Eugene Ostashevskys kostelige læsning af John Skeltons kosteligere papegøje-bugtalte digt fra 1521 (kendte du det, Tue Nexø!?). Og her afslutningen på fænomenale Cia Rinnes talk (med mange fine exempler, hvis I linker jer ind) + en nylig tal-poetisk opdatering:
There are usually three important aspects in composing and editing the pieces. First of all, they need to make some sense – that is, there may be nonsense pieces, too, but generally, I want most of the pieces to make some sense. Secondly, they should be visually interesting, although that, too, is not always the case, and finally, the aspect that has become more and more important is the sonore quality of the texts. Each piece tends to develop its own rhythm, and tonality, and the arranging of the pieces in the entire reading/book is determined by all of these aspects, the context, visuality and musicality. Still, all are rather minimal, and operating on the border of several languages allows the texts to retain a certain abstract character. The languages I use are not necessarily related to any certain sphere or geographic area, and since two of them are not my mother tongues, they are free of connotations that are usually built-in for native speakers. Consequently, I would not use and do not use different languages when writing longer texts as radically as I do in the short pieces, so translingualism in this case is closely related to minimalist writing.
The minimal variations take place within or across languages, and for this, it feels only natural to use languages that are closely related –after all, the texts are only written in European languages, and from those, only with such that are closely related. Although meaning may shift with sound, it never does so as radically as it does between Finnish and Japanese for instance. Homophone translations that Tomomi Adachi and I worked on for a project[12] sounded entirely plausibly Finnish, resp. Japanese in translation, while meaning had completely changed (if you can still talk about meaning regarding the absurd outcome that is). Maybe the European languages share more of an underlying rhizome and also a certain aural compatibility that is useful when shifting from a language to another via meaning or sound, a process described by Sebastián Zabronski as words opening doors that –as soon as several languages are involved– turn into revolving doors.
20 16 12 8 4 0
(logical sequence)
Head to tongue through revolving doors :
Musicality and minimalismThere are usually three important aspects in composing and editing the pieces. First of all, they need to make some sense – that is, there may be nonsense pieces, too, but generally, I want most of the pieces to make some sense. Secondly, they should be visually interesting, although that, too, is not always the case, and finally, the aspect that has become more and more important is the sonore quality of the texts. Each piece tends to develop its own rhythm, and tonality, and the arranging of the pieces in the entire reading/book is determined by all of these aspects, the context, visuality and musicality. Still, all are rather minimal, and operating on the border of several languages allows the texts to retain a certain abstract character. The languages I use are not necessarily related to any certain sphere or geographic area, and since two of them are not my mother tongues, they are free of connotations that are usually built-in for native speakers. Consequently, I would not use and do not use different languages when writing longer texts as radically as I do in the short pieces, so translingualism in this case is closely related to minimalist writing.
The minimal variations take place within or across languages, and for this, it feels only natural to use languages that are closely related –after all, the texts are only written in European languages, and from those, only with such that are closely related. Although meaning may shift with sound, it never does so as radically as it does between Finnish and Japanese for instance. Homophone translations that Tomomi Adachi and I worked on for a project[12] sounded entirely plausibly Finnish, resp. Japanese in translation, while meaning had completely changed (if you can still talk about meaning regarding the absurd outcome that is). Maybe the European languages share more of an underlying rhizome and also a certain aural compatibility that is useful when shifting from a language to another via meaning or sound, a process described by Sebastián Zabronski as words opening doors that –as soon as several languages are involved– turn into revolving doors.
20 16 12 8 4 0
(logical sequence)
tirsdag den 1. januar 2013
fredag den 24. august 2012
Hvorfor anmelder ingen Majse Aymo-Boots 'Spørgsmålene' i dag?
(eller i går, da bogen udkom!) Jeg anmeldte den - pudse, pudse glorie! - i mandags som first thing denne uge, men er anmeldelsen i avisen i dag? Nej, det har jeg for helvede allerede svaret på! Svar på første spørgsmål: Fordi litteraturredaktørerne ingen idé har om, hvad der er væsentligt og betydeligt og fantastisk, herunder fantastisk diverterende. På Information indstillede de jo oven i købet (1 år forsinket, Bukdahls Bet havde været der allerede, i tide) Aymo-Boots forrige lillebog Ødelæggelsen 1-11 til Montana-prisen, burde det ikke have været et vink med EGEN vognstang om, at denne forfatter og bog er værd at bide mærke i, til tiden?
Thøger Jensens fine Thøger Jensen-roman Frokost i tyrens hoved, ugens anden vigtige, ektraordinært ekspansive smalværk, er i det mindste anmeldt i både Weekendavisen (af mig), Flensborg Avis og Kristeligt Dagblad, hvor Liselotte Wiemer udmærket præcist portrætterer bogen, men så ikke kan lade være med at afslutte med et dumt spørgsmål, der viser, at hun alligevel ikke har forstået en snus af det minimale hele: "Så lad mig slutte med et af de retoriske spørgsmål, der er strøet hen over siderne og passer fint med denne evige tilstand af ikke-valg: Mon Thøger Jensen selv en dag vil satse lidt mere?" Han satser jo akkurat alt på at stemme sin stemme så tæt på virkelighedens forfinede stammen som muligt.
Information har så en stor artikel, "En smal superstar", om Louisiana-aktuelle Cia Rinne, hvor Martin Glaz Serup og jeg siger ikke fuldstændig ufornuftige ting om den umanerlig unikke 2010-Bet-vinder, det vil jeg ikke kritisere avisen (eller os) for.
Thøger Jensens fine Thøger Jensen-roman Frokost i tyrens hoved, ugens anden vigtige, ektraordinært ekspansive smalværk, er i det mindste anmeldt i både Weekendavisen (af mig), Flensborg Avis og Kristeligt Dagblad, hvor Liselotte Wiemer udmærket præcist portrætterer bogen, men så ikke kan lade være med at afslutte med et dumt spørgsmål, der viser, at hun alligevel ikke har forstået en snus af det minimale hele: "Så lad mig slutte med et af de retoriske spørgsmål, der er strøet hen over siderne og passer fint med denne evige tilstand af ikke-valg: Mon Thøger Jensen selv en dag vil satse lidt mere?" Han satser jo akkurat alt på at stemme sin stemme så tæt på virkelighedens forfinede stammen som muligt.
Information har så en stor artikel, "En smal superstar", om Louisiana-aktuelle Cia Rinne, hvor Martin Glaz Serup og jeg siger ikke fuldstændig ufornuftige ting om den umanerlig unikke 2010-Bet-vinder, det vil jeg ikke kritisere avisen (eller os) for.
onsdag den 14. juli 2010
SÅDAN CIRKUS: CIA!
klokken 14 præcis klarede himlen op og afslørede nede på Smallegades fortov vinderen af Bukdahls Bet - Den Smalle Litteraturpris 2010:
CIA RINNE!
for miniaturekonkretdigtsamlingen notes for soloists
NEMLIG
(fotoreportage, pristale, prisinventarium i WA Bøger på fredag)!
CIA RINNE!
for miniaturekonkretdigtsamlingen notes for soloists
NEMLIG
(fotoreportage, pristale, prisinventarium i WA Bøger på fredag)!
Abonner på:
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