søndag den 30. august 2020

Laugesens cirkus nu

- der sgu også lige noget cirkus i forbifarten i Peter Laugesens nye, monsterskønne digtsamling Vadehave, som jeg anmeldte i fredagens WA (Tom er TS Eliot, som Laugeses læser biografi om under skrivningen på Fanø):

At gå gennem landskabet klitterne
stranden lang og bred
havbund til smådyr
vraggods fra skibe tasker og lommer
vandet lavt klart varmt
lang ud i himlen blå
Dyrenes små kredse i det enorme hav
lyserøde muslinger i vådt sand
meget lille enhver og havet stort
cirkuslokomotiv på blokvogn på vej fra esbjerg til Scarborough

England der ikke vil slippe stakkels Tom
Tom tavs siger ingenting
Tom ved ikke hvad han skal sige
Tom ødemark trist
til sidst Tom tom

Fødderne i sandet i vandet
fødderne nederst på benene
fødderne en efter en at gå på
og fornemmelsen når alting gynger forbi

Fra toppe af enhver klit
ser jeg det nye bælte den nye revle
og sommerhusene og deres fruer på heste
næsten en western at finde vej
med de mærker man kender i det næsten ens

Vadehave | BogMarkedet

Kochs cirkus

Nu har jeg købt, digitalt, Kenneth Kochs Collected Poems, hvilket jeg tror er en god idé og bare en nødvendighed som sådan, fordi Koch er sådan en god og sjov og klog digter, men ergo kan jeg citere fra hans oprindelige, skæve og renfærdige cirkus-digt, "The Circus", dette er første afsnit (af 12) (min frehævelse (hele cirkusføljetonen startede med Bright Eyes-citat):


We will have to go away, said the girls in the circus,
And never come back anymore. There is not enough of an audience
In this little town. Waiting against the black, blue sky
The big circus charious took them into their entrances
The Light rang out over the hill where the circus wagons dimmed away
Underneath their dresses the circus girls were sweating,
But then, an orange tight sticking to her, one spoke
With blue eyes, she was young and pretty, blonde,

With bright eyes, and she spoke with her mouth open when she sneezed,
Lightly against the backs of the other girls waiting in line
To clock the rope, or come spinning down with her teeth on the line.
And she said the circus might leaveth - and red posters
Stuck to the outside of the wagon, it was beginning to
Rain - she said might leave, but not her heart would ever leave
Not that town but just an one where they har been, risking their lives
And that each place they were shoukd be celebrated by blue rosemary
In a patch in the town. But they laughed and said sentimental
Blonde and she laughed, and they all, circus girls, clinging
To each other, as the circus wagons rushed through the night.





torsdag den 27. august 2020

Superrealisme er blerealisme

Den kosteligste, polemisk ondeste, dødeligt virkeligste sætning i Olga Ravns Mit arbejde (udkommer om en uge) er denne fra den udtømmende føljeton om en dag og nat i en moders liv, der med sirlig præcision beskriver, hvordan man giver et barn en ble på, hvilket nemlig helt sikkert aldrig nogensinde før har været skildret i verdenslitteraturen:

"Hun løftede hans ben op og lagde den nye ble på plads under ham, foldede modsatte ende af bleen op over skridtet og fæstnede bag- og forside sammen over maven med to klistrende papirflapper."

Mit Arbejde Af Olga Ravn, Indbundet - køb bøger online

mandag den 24. august 2020

Slående afrivning

Jeg havde revet et tilfældigt hjørne af enten en Politiken eller en WA, nok en WA, og brugt som bogmærke i Olga Ravns kloge og ømme, smadrende og smadrede moderskabs-monstrum Mit arbejde (som jeg - desværre - ikke skal anmelde) og kom efter endt læsning til at læse, hvad der stod, og der stod sgufandeme, fuldstændigt overflødigt kønnende:

 "De mulige afløsere er alle kvinder og med vigtige ordførerskaber, Rosa Lund (ret og udlændinge), Mai Villadsen (klima) samt Victoris Velazquez (beskæftigelse)."

Quod erat demonstrandum, som de gl. romere vistnok sagde.

Næsen i klemme

Niviaq Korneliussens splintrende hårde roman Blomsterdalen er OGSÅ, fik jeg ikke sagt i min anmeldelse, ligesom sidelæns af sin grumt nedtællende handling en roman, der for fuld, klartseende kraft, punket pædagogisk demonstrerer, hvad racisme, mikro og makro, er, hvor plat og subtilt den udøver sin terror i hverdagen (og det modsatte af hverdagen) -

men romanen forstår også at bide tilbage, denne sene passage gør særligt ondt på nærværende storsnudede anmelder:

"Jeg lukker mine øjne og kommer i tanke om et bestemt sted, vi ofte sejlede til, da jeg var barn. En lille, hemmelig bugt bag ved et fjeld, der ligner en kæmpe dansk næse."

Blomsterdalen

søndag den 23. august 2020

Y-Q

For
flere
fremragende
danskskrivende
forfattere,
hvis
fornavn
slutter
med
Q

eller
åh
begynder
med
Y
(som
Yasmin,
der
har
fremragende
potentiale,
i
Hvedekorn
4,
2020)

(Kochs cirkus)

Man kan finde et langt, skønt digt af (ligesom Silverstein amerikanske) Kenneth Kock om at skrive et digt ved navn "The Cirkus",, men man kan ikke finde selve digtet "The Circus" (hvis man ikke har hans samlede digte, hvilket man selvfølgelig burde) - digtet om digtet begynder sådan her (forsættelsen kan læses HER):

I remember when I wrote The Circus
I was living in Paris, or rather we were living in Paris
Janice, Frank was alive, the Whitney Museum
Was still on 8th Street, or was it still something else?
Fernand Léger lived in our building
Well it wasn’t really our building it was the building we lived in
Next to a Grand Guignol troupe who made a lot of noise
So that one day I yelled through a hole in the wall
Of our apartment I don’t know why there was a hole there
Shut up! And the voice came back to me saying something
I don’t know what. Once I saw Léger walk out of the building
I think. Stanley Kunitz came to dinner. I wrote The Circus
In two tries, the first getting most of the first stanza;
That fall I also wrote an opera libretto called Louisa or Matilda.
Jean-Claude came to dinner. He said (about “cocktail sauce”)
It should be good on something but not on these (oysters).
By that time I think I had already written The Circus
When I came back, having been annoyed to have to go
I forget what I went there about
You were back in the apartment what a dump actually we liked it
I think with your hair and your writing and the pans
Moving strummingly about the kitchen and I wrote The Circus
It was a summer night no it was an autumn one summer when
I remember it but actually no autumn that black dusk toward the post office
And I wrote many other poems then but The Circus was the best
Maybe not by far the best Geography was also wonderful
And the Airplane Betty poems (inspired by you) but The Circus was the best.

Sometimes I feel I actually am the person
Who did this, who wrote that, including that poem The Circus
But sometimes on the other hand I don’t.
There are so many factors engaging our attention!
At every moment the happiness of others, the health of those we know and our own!
And the millions upon millions of people we don’t know and their well-being to think about
So it seems strange I found time to write The Circus
And even spent two evenings on it, and that I have also the time
To remember that I did it, and remember you and me then, and write this poem about it
At the beginning of The Circus
The Circus girls are rushing through the night
In the circus wagons and tulips and other flowers will be picked
A long time from now this poem wants to get off on its own
Someplace like a painting not held to a depiction of composing The Circus.

Calders cirkus


Silversteins klovnedigt

(fra søgning på "circus poems", man skulle tro, der var flere - og er der virkelig ingen store, moderne digtere, der har skrevet digte om Alexander Calders skulptur/performance "the circus"?)

Cloony The Clown

 I'll tell you the story of Cloony the Clown
Who worked in a circus that came through town.

His shoes were too big and his hat was too small,
But he just wasn't, just wasn't funny at all.

He had a trombone to play loud silly tunes,
He had a green dog and a thousand balloons.

He was floppy and sloppy and skinny and tall,
But he just wasn't, just wasn't funny at all.

And every time he did a trick,
Everyone felt a little sick.

And every time he told a joke,
Folks sighed as if their hearts were broke.

And every time he lost a shoe,
Everyone looked awfully blue.

And every time he stood on his head,
Everyone screamed, "Go back to bed!"
And every time he made a leap,
Everybody fell asleep.

And every time he ate his tie,
Everyone began to cry.

And Cloony could not make any money
Simply because he was not funny.

One day he said, "I'll tell this town
How it feels to be an unfunny clown.
"
And he told them all why he looked so sad,
And he told them all why he felt so bad.

He told of Pain and Rain and Cold,
He told of Darkness in his soul,
And after he finished his tale of woe,
Did everyone cry? Oh no, no, no,
They laughed until they shook the trees
With "Hah-Hah-Hahs" and "Hee-Hee-Hees.
"
They laughed with howls and yowls and shrieks,
They laughed all day, they laughed all week,
They laughed until they had a fit,
They laughed until their jackets split.

The laughter spread for miles around
To every city, every town,
Over mountains, 'cross the sea,
From Saint Tropez to Mun San Nee.

And soon the whole world rang with laughter,
Lasting till forever after,
While Cloony stood in the circus tent,
With his head drooped low and his shoulders bent.

And he said,"THAT IS NOT WHAT I MEANT -
I'M FUNNY JUST BY ACCIDENT.
"
And while the world laughed outside.

Cloony the Clown sat down and cried.

fredag den 21. august 2020

Suedes cirkusmetafor

- fra "Pantomime Horses", lettere obskur henvisning, men hørte den pludselig!:

Verse 2]
I was conned by a circus hand
Tragic as the son of a superman
"I would die for the stars," she said
This is what I get for my beautiful head

[Chorus]
Well, did you ever?
Did you ever go round with them?
Well, did you ever?
Did you ever go round the bend?

Well, did you ever?
Did you ever go round with them?
Well, did you ever?
Did you ever go round the bend?


[Bridge / Outro]
Ever tried it that way?
Have you ever tried it that way?
Have you ever tried it that way?

(WIKI: A pantomime horse is a theatrical representation of a horse or other quadruped by two actors in a single costume who cooperate and synchronize their movements.)

Obamas cirkusmetafor

- fra hans tale til DNC i forgårs:

"Look, I understand why many Americans are down on government. The way the rules have been set up and abused in Congress make it easy for special interests to stop progress. Believe me, I know. I understand why a white factory worker who's seen his wages cut or his job shipped overseas might feel like the government no longer looks out for him, and why a Black mother might feel like it never looked out for her at all. I understand why a new immigrant might look around this country and wonder whether there's still a place for him here; why a young person might look at politics right now, the circus of it all, the meanness and the lies and crazy conspiracy theories and think, what's the point?"

Øl & hindbærsnittter - diætremse

ØL & HINDBÆRSNITTER

IL & HØNDBÆRSNITTER

ÆL & HINDBØRSNITTER

IL & HINDBÆRSNØTTER

EL & HINDBÆRSNITTØR

torsdag den 20. august 2020

Mig & Ulf - 3. del

Jeg kommer i tanke om - og måske var det faktisk grum, fjern bevæggrund dengang med plotspoilingen i min filmanmeldelse - at der var noget med - og jeg ved virkelig ikke af hvem eller hvor jeg fik det at vide, det er ikke googleligt   - at min far, Jørgen K. Bukdahl, cand. theol., i første omgang blev castet eller blev prøvefilmet eller bare blev overvejet til hovedrollen som præsten i (tidligere teologistuderende) Henrik Stangerups spillefilmsdebut Giv Gud en chance om søndagen, men så gik rollen i stedet for til (ligeledes tidligere teologistuderende) Ulf Pilgaard, ærgerligt nok!

Giv Gud en chance om søndagen

(referat (fra den danske filmskat): Den unge præst Niels residerer i et lille, sjællandsk landsbysogn. Her gør han sit bedste for at få et forhold til lokalbefolkningen og vise dem, at kirken har en berettigelse i det moderne liv. Det kniber dog ikke bare for sognebørnene, men også for Niels selv at finde mening inden for kirkens vægge.)

(medvirkende, fra danskfil database - og hårdt min far ikke engang er med som "teolog" som hans ven Johs. Møllehave - og ikke-teologerne Nils Ufer!  og Jørgen Schleimann!!:

Ulf PilgaardNiels Riesing - præst
Lotte TarpHanne - præstens kone
Vibeke ReumertHanne's mor
Ove SprogøePræst ved Roskilde Domkirke
Ole StormThorsen - savværksejer
Rachel BæklundFru. Thorsen
Erik NørgaardLærer Petersen
Ebbe Kløvedal ReichSig selv
Erik Halskov-JensenArbejder I grusgrav
Annelise Halskov-JensenGrusgravsarbejderens kone
Knud JansenRideskoleejer
Leif Trier MønstedVækkelsesprædikant
Nils UferTeolog
Jørgen SchleimannTeolog
Arne SkovhusTeolog
Johannes MøllehaveTeolog
Karl AndersenStoffer
Vilhelm RigelsOrganist
Henrik StangerupKistebærer
Julius LarsenRinger
Mogens Andreasen IIKordegn
Ole Michelsen
Pernille Kløvedal

mandag den 17. august 2020

Ulf & mig - the sequel

1. del (fra min bog Korshøjen)

Det sårede mig alligevel, da hans gamle ven Ulf Pilgaard udtalte i et interview, at min far aldrig ville røbe i en anmeldelse, at han, Ulf (eller altså den karakter han spillede), var skurken i den elendige film, ingen længere husker det mindste om (Kandidaten) 

2. del

Jeg sidder i onsdags, hvor jeg sidder nu, på bænken foran Lagkagehuset i Charlottenlund, med høretelefoner og skriver løs, da jeg oplever mig tiltalt, jeg tager bøfferne af og løfter blikket, det er Ulf Pilgaard, ULF PILGAARD, venligt, men også drilagtigt smilende, læderbrun og goodlooking, og det, han står og siger, er noget i retning af, at det sandelig er et stille sted, jeg har fundet mig, jeg befinder mig i mildt chok og bejaer stammende, og vi har den mindste fine, akavede konversation om klapvognen der står foran mig, og have barn i institution her og have boet her, men nu bo på Amager, og at der er grønt begge steder (det er mig, der får mig fumlet derhen), og så siger han, hyggeligt at møde dig, og er videre i sin gode revy- og tv- og FILMstjernestil, og jeg sidder shaken og forløst tilbage.

Kandidaten