Gifs med Jeanne Moreau (1928-2017)

 

- alle 3 fra Jacques Demys Le Baie des Anges, 1963:

Smiley vs. Lene

Straks efter jeg har morgenset den bogstav-hadende, temmelg blankt støjende Emoji filmen i Sal 1 i Palads, sidder jeg i S-toget og læser dette digt af Lene Henningsen fra overmåde fint skramlende Stilhedsbilleder til et oprør, 2016:

"det jeg ved det jeg husker ansigtet jeg husker før andet

så er selv det mindste ord fyldt med betydning det spreder sig
hen over kuvøse-roserne i stuerne hen til portene

hvor ulykke angst i tidligt voksne ansigter lukkes ind
før showtime med bogstavlege fra guldalderen - "j" og "a" siger?
en mængde et bjerg en vinter der fortsætter"

3 x Peter & co.

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! 

Borgen-skibbrudnes grad af tørhed 6 år senere

(i en blogpost fra 2011 opregnede jeg udgivelses-skæbne for forfattere fra for dengang så godt som opløste, lidt senere Gyldenal-opkøbte  Borgens Forlag (forfattere med stjerne er dem, Borgen holdt fast på (og som holdt fast på Borgen) til eller næsten til det sidste (Gyldendal overog Borgen i august 2013) og som altså i marts 2011 stadig syntes at være udkommende på forlaget) - her en opdatering)

Annemette Kure Andersen - 2011: skæbne uvis, 2011-2017: bjerget af Lindhardt & Ringhof, siden Artur

* Benny Andersen - 2011: skæbne uvis, 2011-2017 (august 2013?): bjerget af Gyldendal

Kim Blæsbjerg - før marts 2011: bjerget af Rosinante&Co

Kaspar Kaum Bonnén - før marts 2011 bjerget af Arena, 2011-2017: siden Vandkunsten

Anne Louise Bosmans - 2011 (efter midlertidig bjergning af nu lukkede Anblik) skæbne uvis, 2011-2017: stadig uvis (ikke nyudgivet)

Per Aage Brandt: 2011: skæbne uvis (midlertidigt og en miniature bjerget af Arena Kontra), 2011-2017: bjerget af Tiderne Skifter, siden Basilisk

Thomas Bruun - 2011: skæbne uvis, 2017: stadig uvis (ikke nyudgivet)

Lars Bukdahl - 2011: skæbne uvis (også for ham selv), 2011-2017: bjerget af Kronstork (til efteråret og næppe for good. men hvem ved?)

Claus Carstensen - før marts 2011: bjerget af Hurricane, 2011-2017: siden Antipyrine

Maja Elverkilde - 2011: skæbne uvis, 2011-2017: bjerget af Republik, siden selvudgivende

Gordon INC - 2011: skæbne uvis, 2011-2017: stadig uvis?

* Simon Grotrian - 2011: skæbne uvis, 2011-2017: bjerget af Gyldendal

Lene Henningsen - 2011: skæbne uvis, 2011-2017: bjerget af Poesiens Hus, siden Spring

T.S. Høeg - 2011: skæbne uvis, 2011-2017: bjerget af Escho

Peter Højrup - før marts 2011: bjerget (under pseudonym) af Basilisk, 2011-2016: fortsat Basilisk (under eget navn), siden Gyldendal (til august)

F. P. Jac - før marts 2011: (som afsjælet) bjerget af Tiderne Skifter

Thøger Jensen - før marts 2011: bjerget af Gyldendal

John Bang Jensen - 2011: skæbne uvis, 2011-2017: stadig uvis (ikke nyudgivet))

Mikael Josephsen - før marts 2011: bjerget af Gyldendal

* Janina Katz - 2011: skæbne uvis, 2011: bjerget af Rosinante&Co. frem til sin død 2013

Per Kirkeby - før marts 2011: bjerget af Tiderne Skifter

Thomas Krogsbøl - 2011: skæbne uvis, 2011-2017: bjerget af Kronstork

Thomas Hvid Kromann - før marts 2011: bjerget af People's Press (stadig!?)

Maja Lee Langvad - 2011: skæbne uvis, 2011-2017: bjerget af Gladiator, siden Gyldendal

* Marianne Larsen - 2011: skæbne uvis, 2011-2017 (august 2013?): bjerget af Gyldendal

* Peter Laugesen - 2011: skæbne uvis, 2011-2017 (august 2013): bjerget af Gyldendal

Birgit Munch - 2011: skæbne uvis, 2011-2017: bjerget af (blog og siden) Escho

Carsten René Nielsen - 2011: skæbne uvis, 2011-2017: bjerget af Ekabtana

Rasmus Nikolajsen - før marts 2011: bjerget af People's Press, 2011-2017: siden Rosinante&Co

Peter Poulsen - før marts 2011: halvhjertet bjerget af Lindhardt og Ringhof (som print-on-demand), 2011-2017: siden L&R på helhjertet papir

Louise Rosengreen - før marts 2011: bjerget af Spring (stadig?)

Charlotte Strandgaard - 2011: skæbne uvis (?), 2011-2017: bjerget af Gladiator

Maja Swiderska - 2011: skæbne uvis, 2011-2017: bjerget af People's Press (stadig?)

Morten Søndergaard - før marts 2011: bjerget af Gyldendal

Søren Ulrik Thomsen - før marts 2011: bjerget af Gyldendal

Tomas Thøfner - 2011: skæbne uvis, 2011-2017: stadig uvis (ikke nyudgivet)

Dan Turèll - 2011: (som afsjælet) skæbne uvis (ud over (måske!?) genoptryk af de allerede foreliggende udgaver og udvalg), 2011-2016: Genudgivet af Gyldendal og Gladiator

Peter-Clement Woetmann - før marts 2011: bjerget af Kronstork

Jess Ørnsbo - 2011: skæbne uvis, 2011-2017: bjerget af Lindhardt & Ringhof

- i 2011 var der hele 23 uvisse skæbner, i 2017 kun 5 (som jo også er uvisse i den forstand, at vi ikke ved om de har færdige manuser svævende), forfattere (minus de afsjælede - og som seneste skæbne) er blevet bjerget af (Borgen-ejerne) Gyldendal (10), Rosinate&Co (3 - men jo også Hvedekorn!). Kronstork (3), People's Press (2- nok ikke holdbart, resultat af midlertidig tilstedeværelse af eks-Borgen-redaktøre (også Nikolajsens visit)), Escho (2), Spring (2), L&R (2) og en lille flok med 1 bjergning hver - hvilket er OK, men også virkeligt skrøbeligt, mængden af spinkle, ildsjælafhængige småforlag taget i betragtning, smalheden er alt andet lige blevet betydeligt mere prekær ...

Poesi i ALVERDENS togmagasiner (OG I FLYMAGASINERNE!)

Malte Persson‏ @MaltePersson

 

DSB:s tågtidning publicerar nyskriven poesi. Något för @SJ_AB att ta efter? Ja?

Sorry, men hvad med mit undskyld, Janus?

Og det behøver jeg sgu da heller ikke, når Janus kodals ny bog, Undskyld, som jeg omsider har fået i hænderne fra mikro-forlaget OVO, er hans klart bedste siden Fyrsten Zibebes beskendelse - luksuriøst opkørt og alert, Havesk og Franksk, mest Kodalsk - men lad mig bare overfortolke et næsten tilfældigt digt, dette, til også at være en bagvendt undskyldning til mig for det vandpjaskeri dengang, så er det på plads for ever and ever:

"Undskyld, jeg ikke forfølger ideen
                  om et klovneskab
en næse der forstyrrer alt
                          jeg siger
som en sivende syre gennem
       personlighedens hinder
  stabil som en religiøs indsigt
 som et ægteskab indgået i graven.
Min er tvivlens tilstand
         flaksende og ufri i tvelyset
bagstiv som en flagermus i brunst."

- Og så kan jeg selvfølgelig i gårsdagen anledning blive nødt til at citere dette, heldigvis:

"Forresten, fik jeg fortalt om den aften i Soho
hvor vi var inviteret hjem til en amme
som havde malet et portræt af Ashbery?
        Fra svalegange i hendes lejlighed
så jeg at hun havde alle de rigtige bøger
opstillet i rødbrune eksklusivbind.
Ashbery skulle se maleriet for første gang
                        og kiggede væk resten af aftenen.
Det stod og skinnede på et staffeli i køkkenet
mens vi spiste de steaksandwiches
                       damen havde lavet.
Ashbery blev fuld, vrængede som et barn
               lavede kradsemærker i luften
                  tabte sin drink.
Jeg kyssede med damen
hen over tallerkenerne med afskårne
fedtkanter og rester af rødløg.
     Undskyld, jeg namedropper
men jeg kan se det virker. "

90 x 90 til den 90-årige

På lithub.com har de bedt 90 "friends, collaborators, and admirer" vælge en yndlings-Ashbery-linje og skrive 90 ord eller mindre om den, her er LINK til det hele, og her er de første 6 linjer + kommentarer:

"Damiano Abeni 

Seeming is almost as good as being, sometimes

–“Commotion of the Birds,” Commotion of the Birds (2016)

In this line of the title poem of his latest collection to date, lightness and heaviness are perfectly balanced, in a 100 percent Ashbery mode: you can look at it and simply laugh, enjoying the baffling irony of “almost” and “sometimes”; or you can gloomily think of our narcissistic era of fakeness and instant gratification, and perceive that maybe, just maybe, he’s telling us that Western “Civilization” is doomed. And you’ll be right and wrong at the same time, as always happens when you fall into John’s magnificent web.

Michael Almereyda

Anything can change as fast as it wants to, and in doing so may pass through a more or less terrible phase, but the true terror is in the swiftness of changing, forward or backward, slipping just beyond our control.

–“The Lonedale Operator,” A Wave (1984)

The sentence appears at a point in this fairly discursive prose poem when the narrator, recounting the first film he ever saw, flashes forward to describe a movie encountered when he was older. His memory blurs, incurring a sudden slide and plunge into wider speculation. A sense of wonder and dread fill the poem like dark water filling a ship. As ever, Ashbery simultaneously describes reality and calls it into question, drawing us to consider a larger order—or disorder—encircling our tame and tidy thoughts and spiraling beyond them.

Charles Alteri

That there is so much to tell now, really now.

–“As We Know,” As We Know (1979)

I love this line because of the brilliant contrast between “now” as a descriptive term and “really now” as an expression of urgency that brings out the full capacity of “now” to carry both the present tense and the act if seeing as that incorporates and wills an entire life. This line defines an inwardness without psychology or any assumptions about selfhood.

 Rae Armantrout

How they found you, after a dream, in your thimble hat,
Studious as a butterfly in a parking lot.

–“The Other Tradition,” Houseboat Days (1977)

I tried to choose just one line but it seemed impossible. The action is always somewhere in between, in transit, like the “studious” butterfly that settles briefly then veers off. A butterfly is never jaded. These lines might describe an Ashbery poem. They arrive in the wake of some event, perhaps momentous, perhaps quotidian. Who knows now? They (and we) are off to something else—the next parked car. John is the least pompous poet in the world. Here he / you / we are Thumbelina, in our thimble hats. At this scale, attention is intense and distributive.

Felix Bernstein

To tease me into doing it, on your level, and then you aren’t there

–“Paradoxes and Oxymorons,” Shadow Train (1979)

You exist to prop up the will to be seen seeing therefore I am seeing you where you are not: where you tapped in, leaving the levels of the memory palace always in place so as to lead back to the double inside, which remains outside of where the split would have been, had you not been. You’ve shored up there—where things don’t squirt all over, or miss each other, but only tap—not to memorialize the other, or memorialize the poem, but to make the poem itself another.

Anselm Berrigan

My favorite JA lines include (all from Wakefulness [1998]):

a) Take this, metamorphosis. And this. And this. And this.
–“Baltimore”

b) No matter how you / twist it, / life stays frozen in the headlights.
–“Wakefulness”

c) All the wolves in wolf factory paused / at noon, for a moment of silence.
–“Laughing Gravy”

d) If everybody is so intent on illustrating what they know, / why is the ant syllabus closed
–“Deeply Incised”

Only the shy should choose. Rudy Burckhardt was fond of b, but I’m a sucker for c."

Gammel hilsen fra Nellie

- fra Niels Franks Genfortryllelsen, 1988:

"John Ashbery 

Først kommer den du elsker, så kommer kærligheden som en hofte du løfter ind til dig, som en hånd du løfter ind. Til sidst kommer billedet af dig selv midt i denne vandhimmel: Stjernerne ved hvem du er, en krop der synger nede i vandet."

Ørkenøjeblikke

Digt fra John Ashberys digtsamling FRA SIDSTE ÅR, Commotion of the Birds, som jeg købte som e-bog i går aftes og dybt fornøjet har læst lidt over halvdelen af denne morgen:

"DESERT MOMENTS

We watched his regular camera
until it became nervous.
There were other horns inside for us,
things the pasta brought, never to be paced over.

My gosh! The president of the United States!

Years and years went by like that.
It was impossible to keep track of them.
I'm all about truth, and meaning. In the end
they said they were delighted with what they found.

Circuits are busy. Of course, we are not going to sit here
and wait. I have met you in the small shops,
a large cookie presence. I was "robust."
Save me the czardas

at Puke University.
I'm glad he goes in there.
That was the president, you clucks.
Why is it taking so long?

We might come closer (the eldritch mother's refrain
over 23 years ago).
Oh, that's whar that is.
Then suddenly, it's forty years later,
and I was like, "Holy shit!
I'm just happy to be alive!"

It's almost like you've done someting
totally preppy. Your hands are a little dirty,
though.
Yrs and oblige,
Holofernes J. Cringleaf.

"Dear Smitten ...""


- Ashbery tildeles National Humanities Medal, 2012 

ASHBERY 90 !

Den amerikanske, vildt dejlige og dizzying digter John Ashbery bliver 90 i dag - collager han lavede i sandsynligvis de tidlige 2000-år  HER) 

Manifestivitas

HER i gårsdagens AK24syv ævler jeg om futurisme og Marinetti og især Marinettis første futuristiske manifest fra 1909, med dets eksplicitte kvindehad - her er et klip fra Valerie de Saint Points "Den Kvindelige Futurists Manifest" fra 1912:

"It is absurd to divide humanity into men and women. It is composed only of femininity and masculinity. Every superman, every hero, no matter how epic, how much of a genius, or how powerful, is the prodigious expression of a race and an epoch only because he is composed at once of feminine and masculine elements, of femininity and masculinity: that is, a complete being.

Any exclusively virile individual is just a brute animal; any exclusively feminine individual is only a female.

It is the same way with any collectivity and any moment in humanity, just as it is with individuals. The fecund periods, when the most heroes and geniuses come forth from the terrain of culture in all its ebullience, are rich in masculinity and femininity.

Those periods that had only wars, with few representative heroes because the epic breath flattened them out, were exclusively virile periods; those that denied the heroic instinct and, turning toward the past, annihilated themselves in dreams of peace, were periods in which femininity was dominant.

We are living at the end of one of these periods. What is most lacking in women as in men is virility.

That is why Futurism, even with all its exaggerations, is right.

To restore some virility to our races so benumbed in femininity, we have to train them in virility even to the point of brute animality. But we have to impose on everyone, men and women who are equally weak, a new dogma of energy in order to arrive at a period of superior humanity.

Every woman ought to possess not only feminine virtues but virile ones, without which she is just a female. Any man who has only male strength without intuition is only a brute animal. But in the period of femininity in which we are living, only the contrary exaggeration is healthy: we have to take the brute animal for a model.

Enough of those women whose “arms with twining flowers resting on their laps on the morning of departure” should be feared by soldiers; women as nurses perpetuating weakness and age, domesticating men for their personal pleasures or their material needs! … Enough women who create children just for themselves, keeping them from any danger or adventure, that is, any joy; keeping their daughter from love and their son from war! … Enough of those women, the octopuses of the hearth, whose tentacles exhaust men’s blood and make children anemic, women in carnal love who wear out every desire so it cannot be renewed!

Women are Furies, Amazons, Semiramis, Joans of Arc, Jeanne Hachettes, Judith and Charlotte Cordays, Cleopatras, and Messalinas: combative women who fight more ferociously than males, lovers who arouse, destroyers who break down the weakest and help select through pride or despair, “despair through which the heart yields its fullest return:’Let the next wars bring forth heroines like that magnificent Catherine Sforza, who, during the sack of her city, watching from the ramparts as her enemy threatened the life of her son to force her surrender, heroically pointing to her sexual organ, cried loudly: “Kill him, I still have the mold to make some more!”"

(tjek også Valeries futuristiske Begærsmanifest)!

Kævlens kommandocentral

Dana Ahsbrook -Bobby Briggs - i interview om Twin Peaks The Return :

"I’m amazed at how flawlessly the deceased actors have been given their due on-screen. The Major and BOB still get a significant amount of narrative action, plus those moving scenes with the Log Lady before Catherine E. Coulson passed away.
David has paid homage to and honored those people so beautifully. And we’ve lost a lot of people since the beginning. It’s a tearjerker. Catherine was really hard for me particularly and everybody else, too. She was one of David’s really dearest friends, and that all went down while we were working. That was pretty, pretty heavy. I loved the way that she got to be in it, because she loved the show and being the Log Lady. She kept that log with her. She was in charge of the log. She was a beautiful person and it was devastating for everybody. We were actually working when that all went down, so to see how David worked to ensure she was in it was heart-wrenching. The fact that those other actors were factored in, and in such a big way, was beautiful. I have no idea how he did it. David makes it classy. He doesn’t do it in any sort of tacky or exploitative or weird way. He’s a classy guy. Catherine was one of his oldest and dearest friends. It was tough on everybody."

C.V.'s bortnærværelse, H.U.G. i hak

Det  er bare så irriterende, at geniet Lars H.U.G. lavede udødelige sange af visse debutdigte i Søren Ulrik Thomsens debutsamling City Slang, fordi jeg aldrig kommer til at få dem ud af hovedet, og det ville ikke have været tilfældet, hvis han ikke havde lavet sange af dem, så ville de være forblevet stabile, men fjerne ekkoer ligesom 100.000'er af andre ikke-dårlige digte, jeg har læst, af fx også Henrik Nordbrandt, som jeg, i gennemsnit (han har så også publiceret væsentligt flere digte end SUT, der ikke har publiceret synderligt mange digte, måske jeg faktisk, i gennemsnit, ville synes bedre om SUT, hvis han havde publiceret flere digte, hvis han ikke skulle pudse og polere dem så håbløst udglattende), er væsentligt gladere for, uden at han er et decideret idol (hvis digte helt af sig selv bliver siddende i mit hoved, som fx og fremfor alt Per Højholts), og hvis nu bare C.V. Jørgensen - mens han, for helvede da også, bliver ved med ikke at lave en ny plade med egne sange - lige havde lavet en plade med sange over Nordbrandt-digte, så kunne jeg i det mindste også have dem uhjælpeligt i hovedet konkurrerende med de forbandede, fantastiske City Slang-sange:

Lana vs. Henrik

Lana del Rey er international popmusiks Henrik Nordbrandt (hvad angår både medfødt vellyd, genial og rig monotoni og bundløs melankoli),
bare bedre! 

- slutningen på del Reys "Summer Bummer" fra den nye, skønne plade Lust for Life:

(Verse 3: Lana Del Rey]
"White lies and black beaches
Miles in between us
Is this love or lust or some game on repeat?
It's like making me crazy
Tell me, "have patience"
Baby, I need this
White lines and black beaches
White lies and black beaches
And blood red sangrias
We traveled for weeks, just to escape your demons
But you've got your reasons
In making me crazy
But you've got your reasons
White lies and black beaches

[Bridge: Lana Del Rey & A$AP Rocky]
High tops in the summer (top out, hop out, hop out)
Don't be a bummer, babe (top out, hop out, hop out)
Don't be a bummer (top out, hop out, hop out)
Don't be a bummer (top out, hop out, hop out)

[Chorus: Lana Del Rey, Playboi Carti & A$AP Rocky]
Hip-hop in the summer (What? What? What?)
Don't be a bummer, babe (What? What? Yeah?)
Be my undercover lover, babe, hmm
(What? What? What? What? What? What? Yeah
What? What? What?)
High tops in the summer (summer, what? What? What?)
Don't be a bummer, babe (summer, what? What? What?)
Be my undercover lover, babe (What? What? What? What? What?)

[Outro: Lana Del Rey]
Don't be a bummer, babe
Ooh ohh, ooh ohh
Ooh ohh, ooh oh"

- digt fra Nordbrandts Besøgstid, 2007:

"Lav sol på skodder:
Sensommeren og døden
på ét koldt hængsel"