Gentoftes Bogpris?

Kandidaterne til Berlingskes og bibliotekernes Bogpris kan der stemmes på fra i dag, men listen over dem kan jeg kun finde på Gentofte Bibliotekernes hjemmeside - her er Yahya og Det nemme IKKE uundgåelige, i stedet er pludselig Jan Sonnergaards jumbo-implosive novellesamling om lykken ved gourmetmad & købesex af en eller anden grotesk grund nomineret + Klougarts og Kaspar Collings lige så uskønt inflatede romaner + en bog om myrer + den dér OK lydende ungdomsroman + Erling Jepsens heldigvis mere følsomt konkrete end kælne farmroman + YES! Bjørn Rasmussens punket prydelige Pynt + Gazans videnskabelig thriller nr. 2, som jeg sandsynligvis ALDRIG får læst (fordi jeg HAR læst nr. 1), og son sandsynligvis, fordi ingen Yahya, scorer prisen -

Otte opbyggelige fortællinger om kærlighed...

Jan Sonnergaard (2013)

Mere

Den danske borgerkrig 2018-24 : roman

Kaspar Colling Nielsen (f. 1974) (2013)

Mere

Den sønderjyske farm

Erling Jepsen (f. 1956) (2013)

Mere

Myrer

Hans Joachim Offenberg (2013)

Mere

Om mørke : roman

Josefine Klougart (2013)

Mere

Pynt : roman

Bjørn Rasmussen (f. 1983) (2013)

Mere

Dig og mig ved daggry

Sanne Munk Jensen (2013)

Mere

Svalens graf : roman

Sissel-Jo Reid Gazan (2013)

Mere

Nå ja, Lollitikens Pitteraturpris

De uundgåelige; Det nemme og det ensomme og Yahya Hassan, og hvor er det fedt at 2 fremragende digtsamlinger er uundgåelige i år (også med hos Montana og Weekendavisen nemlig), fordi de henvender sig med offensivt talent -

+ 1 eller 2 af Pablo Llambías' sonetsamlinger, som litred. Jes Stein øretæveindbydende reduktivt patroniserende har rost som en art pædagogisk empati-skabende info-brochurer om psykisk sygdom vs. alm. forstyrret kunstnersind + Kasper Collings (selv)sønderskudte METRO-station + en debattbog om hænder + en ungdosmbog, der ser meget OK ud + Ida Jessens ud heldigvis mere intense end højstemte novellesamling.

Jeg gør, som Olivia siger, hendes mormor gør, på FB:

gør som min mormor siger og send en sms til 1218 hvor i skriver: stem aon. man fortryder altid når man ikke gør som min mormor siger

Sidste skepost (runsibel ske)

"Runcible" is a nonsense word invented by Edward Lear. The word appears (as an adjective) several times in his works, most famously as the "runcible spoon" used by the Owl and the Pussycat.^[1] The word "runcible" was apparently one of Lear's favourite inventions, appearing in several of his works in reference to a number of different objects. In his verse self-portrait, The Self-Portrait of the Laureate of Nonsense, it is noted that "he weareth a runcible hat".^[2] Other poems include mention of a "runcible cat",^[3] a "runcible goose" (in the sense of "silly person"),^[4] and a "runcible wall".^[4]

Edward Lear's best-known poem, The Owl and the Pussycat, published in 1871, includes the passage:

They dined on mince and slices of quince,

which they ate with a runcible spoon.^[1]

Another mention of this piece of cutlery appears in the alphabetical illustrations Twenty-Six Nonsense Rhymes and Pictures. Its entry for D reads

The Dolomphious Duck,

who caught Spotted Frogs for her dinner

with a Runcible Spoon^[5]

Lear often illustrated his own poems, and he drew a picture of the "dolomphious duck" holding in its beak a round-bowled spoon containing a frog:

Skefly

The skedigt

Det værste,
der kan ske
for en ske,
er, den ekser,
bliver flad
som et aks
that has to ask:
er jeg nu
eksske?

(soundtrack: ska
tilegnet e-Ske)

2 KÆMPE POP-SKEER

af Claes Oldenburg:

Den ene, bare en skitse, til en mole:


Den anden, virkelig stor, Spoon Bridge and Cherry, ved Walker Art Center, Minneapolis:

Maleren kommer til at skrive et digt

Begyndelsen på Marjorie Perloffs artikel "Watchman, Spy, and Dead Man: Jasper Johns, Frank O'Hara, John Cage and the "Aesthetic of Indifference":

In a sketchbook for 1964, Jasper Johns began to make notes for his paintings Watchman and According to What. On one particularly tantalizing page, he makes a sketch for what would appear in both paintings as the wax cast of a man's lower torso, positioned on the seat of a chair, itself bisected vertically to accommodate the depth of the fragmented figure (fig. 1). Torso and chair are inverted so that the long left leg extends upward to meet the word "spy" at the lower margin of the enigmatic text, positioned as a reversed L-shape above it:

The Watchman falls "into" the "trap" of looking.
The "spy" is a different person
"Looking" is & is not "eating" & also "being eaten"
That is, there is continuity of some sort among
the watchman, the space, the objects.
The spy must be ready to "move," must be aware
of his entrances & exits.
The watchman leaves
his job & takes away
no information.
The spy must remember
and must remember himself
& his remembering.
The spy designs himself
to be overlooked. The
watchman "serves" as a
warning. Will the
spy & the watchman
ever meet? In a
painting named Spy,
will he be present?
The spy stations himself
to observe the watchman.

If the spy is a foreign object
why is the eye not irritated?
Is he invisible?
When the spy irritates, we try
to remove him.
"Not spying, just looking"--
Watchman.

[WSI 59-60]
In the square inside the L-shaped text, Johns has written: "Somewhere here, there is the / question of "seeing clearly." / Seeing what? According to what?"


Jasper Johns: Watchman (han har aldrig/endnu ikke malet et maleri, der hedder "Spy")

Hvordan staver en maler til et venskab med en digter?

- Hvordan han staver til et digt med sit ansigt og sine hænder:



(Jasper Johns: Skin With Frank O'Hara Poem)

-  Hvordan han staver til digteren med sin fod:



(Jasper Johns:  Memory Piece (Frank O'Hara))

Den seneste skeforskning II

An artist friend in London prompted me to ask about a less obvious connection. He guessed that early in their careers Johns and Rauschenberg had found Picasso's 1914 painted bronze sculpture "Glass of Absinthe" a singularly generative object.
Johns did not answer yes or no; he seldom does. He said, "I think that's probably true. I think I thought that it was absolutely wonderful, the casting, the painting, the addition of the sugar spoon - all of it. In a sense it's like the Duchamp glass piece, all those different materials used in slightly different ways."
Spoons figure among the common objects Johns has built into his own work.

(fra et 2012-interview)

Den seneste skeforskning I

The case of the disappearing teaspoons: longitudinal cohort study of the displacement of teaspoons in an Australian research institute

BMJ 2005; 331 doi: http://dx.doi.org/10.1136/bmj.331.7531.1498 (Published 22 December 2005)

Cite this as: BMJ 2005;331:1498

 

1. Megan S C Lim, research assistant1,
2. Margaret E Hellard, director1,
3. Campbell K Aitken (aitken@burnet.edu.au), senior research officer1

Author Affiliations

1. Correspondence to: C K Aitken

• Accepted 9 October 2005

Abstract

Objectives To determine the overall rate of loss of workplace teaspoons and whether attrition and displacement are correlated with the relative value of the teaspoons or type of tearoom.

Design Longitudinal cohort study.

Setting Research institute employing about 140 people.

Subjects 70 discreetly numbered teaspoons placed in tearooms around the institute and observed weekly over five months.

Main outcome measures Incidence of teaspoon loss per 100 teaspoon years and teaspoon half life.

Results 56 (80%) of the 70 teaspoons disappeared during the study. The half life of the teaspoons was 81 days. The half life of teaspoons in communal tearooms (42 days) was significantly shorter than for those in rooms associated with particular research groups (77 days). The rate of loss was not influenced by the teaspoons' value. The incidence of teaspoon loss over the period of observation was 360.62 per 100 teaspoon years. At this rate, an estimated 250 teaspoons would need to be purchased annually to maintain a practical institute-wide population of 70 teaspoons.

Conclusions The loss of workplace teaspoons was rapid, showing that their availability, and hence office culture in general, is constantly threatened.

Den magiske besværgelse, der glemte at selvdestruere

Jeg anmeldte Glenn Christians Hydra til dagen, i september, men anmeldelsen er først på i dag, og den begynder sådan her:

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Jeg kan bliver noget så forbandet over automatisk opmærksomhed og automatisk mangel på samme i den litterære verden.

  Digteren Glenn Christian har for nyligt udsendt sin syvende og hidtil stærkeste og rigeste bog, Hydra!, der garanteret ikke bliver anmeldt i andre aviser end Weekendavisen og Information, fordi den som alle hans forrige bøger er udsendt på et mikroforlag.

Og besværgelsen virkede! Bogen blev også, foruden i Information af Kamilla Löfström, anmeldt af Lars Skinnebach i Jyllands-Posten, begejstret og skarpt, med bl.a. disse gode ord:

Men mellem de fastlåste positioner (brugsværdi over for egenværdi, fast ejendom over for nomadisk uorden) er der sproget, som skaber alt flydende. En mulighed for mælk og honning, der i "HYDRA!" opnås gennem blanding af stillejer. Lige fra det højstemte poetiske udtryk til administrationens og magtens sprog til det vulgære. Eller gennem stammen, fejlstavning og forkert brug af artikler, der på samme tid gør sproget fremmedartet, udsat, hydraulisk bevægende og fortroligt. (...)  Jeg kan ikke lade være med at glæde mig som en gal til, at Glenn Christian senere på året udgiver nyt, for hver gang der kommer en ny bog, bliver forfatterskabet og de tidligere bøger stadigt synligere, indtil de måske en dag fremstår som nogle af de mest solidt formeksperimenterende, poetisk og politisk anfægtede tekster, som udkommer p. t.

Jeg kan godt forstå, at JPs' nye. bravt kæmpende litteraturredaktør David Jacobsen Turner blev den mindste smule fortørnet over, at jeg ikke havde opdateret min besværgelse, mens den stod dér og slumrede i anmeldelseskøen.

I mellemtiden er flittigt rasende Glenn C's 2013-samling nr. 2, Mudret sol, anmeldt i Information (af Tue Nexø) og formodentlig-forhåbentlig snart også i Jyllands-Posten (af Lars S) og før eller siden omsider i Weekendavisen (af yours truly, jeres vitterlige).

2 betydelige minder om Franks følelser

Først skriver digteren et digt, fordi han har haft nogle følelser, og måske (det er der givetvis forsket i (der er nok også forsket i, hvilke følelser, der præcist er tale om)) er det simpelthen skrevet i én bevægelse på mindre end en time, måske endda mindre end en halv time -

Frank O'Hara: "In Memory of My Feelings":

My quietness has a man in it, he is transparent
and he carries me quietly, like a gondola, through the streets.
He has several likenesses, like stars and years, like numerals.

My quietness has a number of naked selves,
so many pistols I have borrowed to protect myselves
from creatures who too readily recognize my weapons
and have murder in their heart!
though in winter
they are warm as roses, in the desert
taste of chilled anisette.
At times, withdrawn,
I rise into the cool skies
and gaze on at the imponderable world with the simple identification
of my colleagues, the mountains. Manfred climbs to my nape,
speaks, but I do not hear him,
I'm too blue.
An elephant takes up his trumpet,
money flutters from the windows of cries, silk stretching its mirror
across shoulder blades. A gun is "fired."
One of me rushes
to window #13 and one of me raises his whip and one of me
flutters up from the center of the track amidst the pink flamingoes,
and underneath their hooves as they round the last turn my lips
are scarred and brown, brushed by tails, masked in dirt's lust,
definition, open mouths gasping for the cries of the bettors for the lungs
of earth.
So many of my transparencies could not resist the race!
Terror in earth, dried mushrooms, pink feathers, tickets,
a flaking moon drifting across the muddied teeth,
the imperceptible moan of covered breathing,
love of the serpent!
I am underneath its leaves as the hunter crackles and pants
and bursts, as the barrage balloon drifts behind a cloud
and animal death whips out its flashlight,
whistling
and slipping the glove off the trigger hand. The serpent's eyes
redden at sight of those thorny fingernails, he is so smooth!
My transparent selves
flail about like vipers in a pail, writhing and hissing
without panic, with a certain justice of response
and presently the aquiline serpent comes to resemble the Medusa. 

Så læser maleren digtet og bliver inspireret til at male et maleri, et stort maleri, "600 x 399",  og det har helt sikkert taget pænt lang tid at male (og konstruere - at hænge en ske, den helt rigtige ske, i en snor) -

Jasper Johns: "In Memory of My Feelings - Frank O'Hara, 1961":



- og digtet er med alle sine sprogbilleder lige så abstrakt som maleriet med alle sine kratterier er figurativt, og omvendt, som om digtet forsøger at skrive sig ind i en abstrakt ekspressionisme, ved at gå amok med billedsprog, mens maleriet forsøger at male sig ud af abstrakt ekspressionisme, ved at gå amok med kratteri - men STILEN med hvilken, der skrives/billedtales og males/krattes, er så altafgørende nonchalant, distræt anti-ekspressionistisk - OG SKEEN! (og måske parallelt: "window # 13"); og måske er projektet i både digt og maleri at ikke udtrykke, men AFtrykke gennemsigtighed, multi-gennemsigtighed?, bogstaveligt og paradoksalt,

og så kan man læse digtet alene eller sammen med maleriet og se maleriet alene eller sammen med digtet, hvilket ikke er det sammen som at læse digtet sammen med maleriet, og i det hele taget: læs malerier mindre, se digte mere!

Hov, en grøn engel

Jeg blev lige glad for, at Jasper Johns lever, 83 år gammel, i Sharon, Connecticut, OG på øen St. Martin, og prøvede at finde det seneste, afbilledede billede, han har malet, dette er "Green Angel" fra 1990:



Her giver præsidenten ham en medalje:



Her er øen St. Martin:



Og her er øens flag - MAL DÉT BEDRE I 2014, JOHN!

De 2 overseteste

bøger i 2013 kunne være

pga. henholdsvis kriminel tysthed og forbryderisk skramlen

Dennis Gade Kofods roman Genfærd



citat fra side 14:

 Tæt omkranset af gamle fyrretræer ligger hotellet. Lyden af havet fylder, det bruser, og den brusen er det første, Frederik hører. da han træder ud af bilen. Foran hovedindgangen er der et større arrangement af planter. I et væld af grønt står der Velkommen kære gæst skrevet med små, sarte blomster, en bårebuket.

& Nikolaj Zeuthens digtsamling Stråler



citat side 14:

2.

måske er det lidt for meget
med de der efterlønnere
der havde suget viagra-gel
og spillede gudetennis

men at skildre psykiatrisk skadestue
med et zoom på krydsogtværs
det var alligevel politi på ti bogstaver
bandidoshj, stat på fem kirke