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issue 5 different languages os> CHAIN / 5 different languages editors: JenaOsman Juliana Spahr art editor: Janet Zweig contributing editors or the Forum on Language Diversity: AdamAitken • Charles Bernstein' Javant Biarujia Manuel Brito ' Nicole Bro sard • Norma Cole Maria Damon ' Dubravka Djuric • C. S. Giscombe Ray Gonzalez • Georgi Gospodinov • Ernesto Livon Grosman Lyn Hejinian • Myung Mi Kim • Walter K. Lew Traviz Ortis • Marjorie Perloff· M. Nourbese Philip Joan Retallack · Catherine Schieve • Ken Sherwood Jeffrey Twitchell-Waas • EdwinTorres • CeciliaV icuna Honolulu, New York, Philadelphia Chain 5, summer 1998 ED ITORS' NOTES Chain appears annually. $12 for one issue; $20 for two issues. Please make checks payable to 'A 'AMts. Send orders to: Chain c/o Department ofE nglish Tertium Quid neither one thing nor the other University ofHawai'i, Manoa Tombe des nues de naturalized 1733 Donaghho Road what transplant to dispel upon Honolulu, Hawai'i 96822 -Theresa Hak Kyung Cha, Dictee This issue was made possible by support from the NewY ork State Coun- if art is the form ifp erception cil on the Arts, a Presiden t's Diversity and Equity Initiative Grant and a a way ifs eeing and hearing, University Research Cour1cil Seed Grant from the University ofHawai'i, perhaps consciousness, Manoa, a scholarly research grant from Ursinus College, a Matching Funds to join and to cut, For Poetry Grant from' A ' AArts, and generous contributions from sev- the double movement of the eral individuals. wealler Distributed by: is the art, Bernhard DeBoer, Inc. el con de la continuidad, 113 East Center Street, Nutley, New Jersey 07110 the togetherness ifu nion, allqa. Small Press Distribution -Cecilia Vicuna, "Arte Precario" 1341 Seventh Street, Berkeley, California 94702 Poethical poets, whether or not they have themsellles used Indexed by the Index ofArYlerican Periodical Verse (Lanham,MD: Scarecrow the "h," enact the complex dynamics that criss-cross through Press), Annual Bibliography ifE nglish Language and Literature, and the MLA these boundaries. The model is no longer one if city or Bibliography ifP eriodical Literature. nation states if knowledge each with separate allegiances and consequences, testy about property rights and owner- Business Manager: Charles Weigl. ship, but instead the more global patterns ife cology, envi- Cover Art: Richard Massey. ronmentalism, bio-realism, the complex modelings if the non-linear sciences, chaos theory. You can see this now with Special thanks to Robert Creeley and Just Buffalo Literary Center. more and more poets using multiple languages in their work- not as quotation, but as lively intersectiol1, conllersation ... . Copyright © 1998 by (cid:0) (cid:0) (cid:0) (cid:0) (cid:0) Osman,Juliana Spahr, and Janet Zweig. What better thingfor poets to do right now than to begin All rights revert back to aothors upon publication .. in one language and end up in others. - Joan Retallack, "The PoethicalWager" ISBN 0-9666-303-00 ISSN 1076-0520 This issue is about conversation. It is about the many languages that we use. It is about languages forming through intersection and interference: a life within language that generates beyond semantic limits. Some of the writers here use different languages daily, some use CONTENTS them on a less regular basis, some use them to survive, some use them in the leisure of the classroom, and some use them knowing only their sounds. Regardless, we have read the move to write in more than one language as political, as a move that questions monolingualism and other homogeniz- ing language controls. This issue argues that an aesthetic space that ac- RosaAlcala • Untranslateable 7 knowledges the difficulties of communication and respects these difficulties Javant Biarujia • Purges 9 can be an antidote to social spaces that demand "English first." Marin Bodakov • "Maritza" by ight 13 We have at various times in working on tillS issue felt nervous. Ner- Bev Braune • Uzlr's Words (or theArcher's Prediction) 14 vous because we often couldn't read all the languages. Or nervous that too Nicole Brossard • Time Out 16 much work remains in English. Or nervous about appropriation. Or even Avery E. D. Burns • from A Duelling Primer 20 more nervous about proofreading. But the final product calms our nerves Elizabeth Burns • La Muerte 26 because it is so noisy. Warren Burt • A Post-Colonialist Poem on the English Language 28 We started Chain with the desire to gather together ranges of work Catalina Cariaga • The Mercy 32 that challenged standard English as the lingua franca.We wanted to sug- Amy Sara Carroll ' TamarindJor CameronandM 48 gest that an idiolect and a dialect and a pidgin all had the common goal of Frances Chung 51 communication through nonconventional methods, conununication against Jacques Debrot • Origami Diagrams 58 the standard. The result has been a very talkative book. In every issue of Dubravka Djuric • Identiteti 61 Chain, we try to print work that is extremely various, so that in dialogue, Stacy Doris 64 the pieces create an active and unpredictable conversation around a spe- Jorge Drag6n • Open Transport #1.3 68 cial topic. In this issue, we see that conversation occurring not only be- Rachel Blau DuPlessis • Draft 36: Cento 69 tween the pieces, but also within the individual works. All standards of Beatriz Freire-Betancor • Todav[a 75 linguistic politesse have been abandoned. Babeljust isn't confusing any- Karen Garthe and Natasha Saje • ReadingJoraTrain 77 n10re. Diane Glancy • A FieLd book ofTextual Migrations 79 Every issue of Chain has been produced with the help of friends and Nada Gordon • Absence 85 colleagues. But this issue of Chain has been unusually dependent on help Georgi Gospodinov • Radio-Poem 87 from others.We have relied extensively on twenty-iliree co-editors.W ithout Jenny Gough • " ot" Shelley and Mary's Fair Copy Book 90 their guidance, this issue would not have been such a huge learning expe- Kinllko Hahn • Mother's Mother 94 rience nor would it have been as much fun.We owe everyone that rec- Jane Hammond 96 ommended work or gave us lists of people to contact a huge thanksThree John Havelda • Poems 99 people-Dubravka Djuric, Walter K. Lew, and Cecilia Vicuna-over- Michael Helsem • Ananasa Kareo 101 extended themselves. They deserve special thanks. Jen Hofer • Vehicu,[ar Profile • PeifiLVehicular 103 Finally, this is the first issue that we have produced without the help UrsJaeggi andJohn Kinsella ' from D & G 105 of funding from the State University of New York. For a while, it looked Myung Mi Kim • from Arcana 109 like we nlight have to cease publication altogether. This issue appears Stephanie Hyunjung Kim • from A Letter to My Parents 111 thanks to generous contributions from readers and various grants. We Michael Lano and RobertViking O'Brien ' The Beginning if 113 especially thank those that contributed funds over and beyond the sub- the ukapu People scription price.This issue appears because of their generosity.We hope to Zachar Laskewicz • from Zaum: New Music-Theatre inThree 121 continue Chain in tillS manner. Please subscribe. Movements 121 Will Lavender • GlossoLalia 125 Jessie Jane Lewis and Peter Rose • Pressures oj the Text 130 Rosa Alcali Rogelio Lopez Cuenca • from Home Swept Hole 138 UNTRANSLATABLE Dennis McCarthy • Fas orma (LawJul the Carpenter's quare) 142 Scott MacLeod ' The Log-Book, Some Figures 145 Jackson Mac Low • Sixesmix: Travesty 1 148 Kevin Magee • from Maquiladora 153 Anna Maria Maiolino 157 M. Mara-Ann • Psychic Landscape 160 como una mano sin deos Reid Matko • Nun / p, from Lessons in Letters 165 GastonV J. De Mey 170 How can I say things with all these characters so self-righteous Matt Mullican 172 and independent, how will I delineate my devotion to you, the wom.an Sawako Nakayasu • English-Japanese Conversions 179 who reads to me every night.T here is need to transform the roses Susan Smith Nash • ThreeJrom the Guarani 182 of this postcard into my desire to name our unborn child Marie Orensanz 185 something dark and resistant to snow or a Wy if she emerges Susan Pensak • '7'.1 / Discovery 188 small, lucent-a sunflower seed in my brown palm. But with my hand's Kristin Prevallet • The Traniforrnation ifI sis into Mary: an Iconic 190 unsure relation to the pen and barely a sack full of songs I carried Language Experiment out of barley fields and into a labyrinth of machines Kit Robinson • FinneticTranslation 194 Mercedes Roffe • Love Poem in Twelve Tongues 196 como un jardln sin la flor Standard Schaefer • Chapter Nine:T he Corpus Callosum 199 Claudia Schvartz • Avido Don Es La Vida 200 you may never understand my passion. I no longer love E. Cameron Scott • -Act Over-Anew-- 201 simply the way these misspellings might suggest, for too long Gail Scott • The Porous Text, or the Ecology ift he Small Subject, 202 love was wet December's call, pulling us to an earth that seemed desperate Take 21 202 after a summer of spontaneous fires. It was a pair ofleather Eleni Stecopoulos • Post Modem Greek 207 shoes given to me by a landlord who laughed at the rubber Meredith Stricker • [against your inner ear], from The Corrosions 210 tied to my feet, saying mira, un tractor humano. Now love Stephanie Strickland • Gibbous Statement 219 has a proper name-yours-and the smell of your hair Balint Szombathy • from The Eternal Calendar, 1996-1997 221 untied at night, there must be a way-a word-to draw GenreTallique (trans.Joan Retallack) 222 the immense preoccupation of your hips below a clothesline AnneTardos • from Uxudo 228 Edwin Torres • Porto rico N Prague 248 asf esta mi corazon ChrisTysh • from AnAcoustic Room 252 Jose-Miguel Ullan • Almario 254 tilting with the upward stretch of each arm, an entire book documenting MichaelVagnetti • Limited Lexicons/Changed Notes 256 the various resting places of your white slip: thrown over a chair, hanging Anne Waldman • Practices ift he Night 259 damp on the back of the door, pressing against your belly MarkWallace • from BoysAtThe Guns 262 as it grows larger. And as I descend south to hold the face Gabrielle Welford • Empty Vee/ Azure Lie Kit 266 of my dying father, I am sorry he too could not do more Xu Bing 275 than pronounce his daily requirements, learning only to unwind Daniel Zimmerman ' Depart/Per/Report 283 his fist or foot at a helpless object, misery being a blank space Where to Look Next ... 285 without definition, a textless page that burns white. Calls forWork 298 Sometimes in pain I turn to numbers 7 Javant Biarujia des de el d(a que no le veo PURGES needlessly measure windowpanes or door frames, create formulas for the restructuring of the kitchen cabinets, how many years to payoff the mortgageYou have seen my quiet practice with knife-sharpened pencil, the way I unfold a small notebook in the kitchen and carefully form rounded digits, dignified as the heads BAQAIN PURGES of horses, put them back to back or in columns, let them build on top of each other strong as lovers untamed- math Vedea colui chef u nobil crealo being the only tool that was handed to me unmarked, shining, pitt. ch'altra creatura,giu DAI cielo, so that I would know how many kilos of harvested olives folgoreggiando scender, DA ['un lato. marked the border between hungry and less hungry. - DANTE Purg., XII, 25-27 <Natareudi avi syulaten.» "I have mislaid my documentation." No.722 CORDOBA. Vcltareudi avi syulaten. I have mislaid my documentatioll. Patio tipico cordobes Ai marnui Gellet So said the Idiot sait-quoi, sasi ,..,--".,-----::--:----:-:--.,-----:::--------, Seer of Algeri um Cour typique de Cordoue qaini eSl11abiaris tutto rider I'oriente, with a certain Typical Cordovan court aher Aljeria i Pesci ch'eranno in sua s Genet-sait-quoi. . d t yenda.Vego, VO IS l a man es ra, e pUO Pmeirshlaaipds iint wtraasn sla- antareudiyo ai veqomaqaizetten. polo, e vidi quattro stell tion. Perhaps the Vego, peicyit ab e mai fuor ch'a 10 prima death of the gehanaVego, r pareva 'I ciel di lor fiam manuscript. Perhaps The poelll perhaps is not in speech, nor in ti,e earth, 110r on ma[r]maJei (nuni an indivi[duaJ] (the paper, but ill the crossing and the uniolt of the three i," a place assesqixasti entr"ional vedovo sito, indivisible duality) that is 1I0t. yabnuqa) aibes. privato se' di mirar quel choice. Perhaps a -Cecilia Vicuna Vego, rensa io do loro sguardo fui p sign of sepirocya pau demediocracy. [ am in corlstallt strllggle between parI ish and English. Erlglish has been jitova. Du(hu] o me volgendo a I'altro p Whistle camp predominant acadelllically, bllt panish has been the elllotiollal basis of Illy life. Champ cecer/o before (avant/ [n poetry, it is illlpossible for lIle to separate the two. [ ciften trallslate whatever Karlt, cye rah anbouzida e Mirlas- devant) cant nazissism, un-Minoan to us, ['III writirlg irltO both pal'lish alld English as all illforlllal exercise. The bevaca ye renau jidara il11aJesubatisi. reports from the concentration camps. subtleties in tone, syntax, word choice, and rhythlll can chal1ge dralllatically, Vegos sasi qaini eSl11abiaris asendi sasi Could the Idiot Seer be none other and at the sallie tillie, help to clarify some problems in the origilwl. ollletillles butou aisau jagan bes beqa? Sesibounjout than the Magnetic Man? Klaus Ba[r]bie I prifer the translation, bllt often [ warlt to create a hybrid Ivhich is Illore yas piru tovun e Klaus Ba[r]bie (<<Nu das doU criticity ("Who's in criticity representative of Illy bi/il'lgllal upbringing. In this poem- based all a postcard sesibounjout ganien?»). UZIA MARNU here?"). AND NOW A WORD FROM Illy father wrote to Illy 1II0ther I'learly thirty years ago--I begall by trallslating a RESIA YE ANANGUYARISA ... OUR SPONSORS: Thejacq//es Derrida few simple words he had Illritten her, but soon decided that the trallSlatiol'l was Nunieni saqir xas raiga ye Cantata della Sage-Difyillg Crenre--from manufactur- really in the redness of the il'lk m'ld in the smell of the card, ill what I kllew oflllY Spem/anza yoyole »yamajudougi cu yas ing Cum Scent. Attent[atJisllle is the father and his own relatiomhip to the world. And what Imlgllage is really j'acwse DaDa«. (Ku]wait-'n'-see policy of the East. It's available for all of that? The Ellglish-for now- takes the place of that IQ/l- Attent[at]isllle asendi moudi argangara all a matter of hitl-or-rniss[tety]: gllage. yas [qu]ta Vezir ye leingaqa. Beqa nu HISTORY IS A CRIME AGAINST saqir vayole raut e Kraut: yoyole HUMANITY. .NALIOYEXATTENVAYOLE YAMAJITOVI LIPARAI». 9 8 Darqantan sicurdi beit veqisa haunta nintat e »piyoi oumas •. Darqantan The guards carved up others' assets on sicurdi daroyeu licyi eher ayoti jalan. the Night of the Long Knives, carved Darqantan sicurdi ayoi seuzo raxit segio hunkerbones for their delectation, e garuh.Ayoi oumas e Claidheamhmor carved their initials on skin. They uma murandanda ujion moulou- morned their parsing with a hermeneu- marcyari mumoudicyan 17a mas tic c1aidheamhmor only Proposition 17 mesyoyestadiyo. Yoyevinidi ayoi yeyi could legitimate. They fired their ayan . seminal engines. • Ha anvas vayiqida epiqquna e "We do serve lobster Maldoror. May I Rorl11aldo. Ni annai mumoudidi abi e Lo suggest Nerval gas No.5 for the Schwa nel Seing e usaiban?» Vego, nuri accompaniment?" rensa, nuri rensa brallt, nuri rensa Perhaps a sign, selah, sigla or sigil-a desgeh i nuri rensa sarqu- nuri Gnothi gr/O/hi seau/on on the lintel-will Seauton nllyole airaxitqa sungato es extinguish all contracts with the jareuguno-uza peicyitti beqi zi significant Other on the run. The seloqiya gasta nuni veqis dayole buta ilir master-builders know, perhaps nu mepa yansyenatta. Vego, nuni beqi ("Pass!"), but they are not blowjobbing Sgou darraula laur. darpemisya yorou syida (»PAMEU!.); anyone; in puris ,w/uralibus, they eat the Mieu, gab! (Mieux que fa) The goldsmith's orifice. aqouga, rah nu Ruche and retain, Let's go! ptouun om. Mas ejjiuqnuig a scende virtu che m'aiuta itno piat rIi veeds , tao gtahred en dove ad orezza, poco si d (Better than that) udi, beqa 10 a vederti e a udirti. point of madness. ambo Ie mani in su I'er yoibandi piaccia gradir 10 sua venut They go so much soavemente 'I mio maestr harizzon busai, a cercando, ch'e Sl cora, against the grain ond'io, che fui accorto di oher Saint /ves, chi per lei vita rifiuta. that their ryetings porsi ver lui Ie guance lag imalesubatti are considered an nuri qayenqa ai, che non ti fu per lei "aeolypile" of vi mi fece tutto discovert yole aher nuni 10 morte, ove lasciasti graphemes. quel color che I'inferno m ye jame das ch'al gran dl sara Sl chiar Opsomaniacs have Venimmo poi in sui lito siropuocyi selas on Ii editti etterni per no relished jewfish on che mai non vide navicar s gasta sicuriaru. Yosehabdajuni sti vive e Minos me non I Sryaeli negveerr sminacrein ated mo, che di tornar sia pos airebaupurati his generic yole ansancyabdi ayoi meluaxigara e structures (the genre of the novel no marnu »Aiolou Pylai. ama uzo raxia. longer satisfies; the Pulitzidae inhabit L'Apres-midi du toe tudieu. Tou reb euda jame vas pevadi isdia e the body of the shaggy cynic). Morone Lobrax aisya aqe Salinger memausidi ayoi reti yorovat syasyalatu Dog turd afternoon, (nuni reta ete eher yoyexa piyo syau rah das biya besisda; vou e Pulitzidae vas moudi darpeu usyudollgisa layicyi). Uzia, ye jame ye Esperal"to das jehan yegou; aqouga vego, beqa yoiruqda e syi scyoubri livargun, scyoubriti syare Now Esperanto's spawn possess the aura nouqa, zivos e Scyucyesk. of an arcanum; yet perhaps they are 10 11 merely orographics, graphic oral sex, Marin Bodakov graphite Urals. "MARITZA" BY NIGHT qain > qaindi, s.q.r. uzelltti s. ibisu e ebicu sescyu ava: yoyole uzeutti s. 123456789')- • moudiru spahi neviliratti s. see, v. t. to perceive by the sense seated qain > qaini, q.h. uzeus liban,jerousyi; in the eye: to perceive mentally: to hebdisi: uzeus judouga: qebinocyi, dy. understand wEHllllI1. K C.n;,IL3U ibidir moudir: uzeu nuri ilir puno silly, ad). harmless, simple, humble: baqain > [III as] baqaindi, s.q.r. mas witless, foolish: defenseless, feeble: mell1ebdi S.: senseless amall1unatti di che sdegno Ii orgomenti purge, v.t. to nRa O'KrTHBM't! saqir cyirai iher: purify: to remove mas rapandi s. ye remo non vuol, ne oltro impurities from: to lIZ0 vontia i tova oli sue, tro liti Sl lontoni. clear of undesirable asieristi [cyari di come I'ho dritte verso i elements or tm'l.: baqaindi ndo I'oere con I'etterne p persons [Eng. only: aidelllat, to clarify: to clear all1idovatti on si muton come mortol from accusation: to aidell1at uher , come piu e piu verso n expiate: to evacuate, nouqa: I divino, piu chioro (cid:0) (cid:0) (cid:0) (cid:0) (cid:0) (cid:0) as the bowels] baqainsyadi, mas he I'occhio do presso nol bisodi s.lt. chinoil giuso; e quei sen rapani ai ebica, ai yerista (spahi ai asebica, ai asierista) e. p.] Vego aiveyo marnui, aibasu e esoscyll (ba]qaini, uza aniorovidi tevabaqi "Maritza" by Night is the impri",t of my little green typewriter. "Maritza" bubten renbeqqara nunieni yoyole is ,lOthhlg else but its name, which is also a name of a river. O'le night without Perhaps one day, with diligence and »vatarelldi avi syulaten«. electricity 1 crossed all the keys with Illy forcifillger. J did it consecutiveiy,jrolll di.I.Iy chance, we'U be able to construct top to bottom, very slowly and carcifidly. I didn't War/t to lIIiss allY sigll,for I the axiomatic absence of this "I have lIIake Illy living by thelll, dOll't I?That is hOlll the printed page got sOllie seme, mislaid my documentation". if you take to pieces my "Maritza" by Night, then lIIix all the fragmellts up alld relllove the lll1necessary, you may discover by chalice the poelll J hadll't writtell that flight. It is still in my heart, but it had missed the right tillle a/ld From "Purges," a pataphysical itlterpretation ofEperons by Jacques Derrida, place, Othenvise all this is a clumsy joke betweetl varia/lt and invaria/lt, be- written. i'l the author's private language, Tcmeraic, with E,lglish trallslatioll. tween me and solitude. 12 13 The weave of notes reared against the sky. -signs from Ullr's book Bev Braune (untranslateable): from the Letters stood missing- stalking night-silk stairs. ULLR'S WORDS captain's journal The sigils marched upon each other, (OR THE ARCHER'S PREDICTION) grafting in flight one arrow from two. \! e Then, with stone-fixed stare, The Archer said: p D 0 'From pools of night the Wolf will ride -transliteration of letters from (cid:0) (cid:0)(cid:0)(cid:0)(cid:0)(cid:0) book, from right and, born of fire, the Warg will breathe to left & from the top: "I," from the epic poem Sku/vaoi UzJr, Book 1, Part 2: Dagazar, the captain where Loki hides in mist-rent caverns.' "G," a reverse "F"?," "; each, perhaps, the first letter of a Norse fleet stranded in 1051 on an island off the northern coast of a line Warg-Norse for"Wolf" of South America, leaves the bed of his Cherokee-captive lover on a L6ki-Utgarilr-16ki, giant stormy night for the cliffs that look towards his homeland, Rogaland, Warnr (Central Asian) Over- lord, whose territory cov- only to find waiting there, The Archer, Uur ered part of the island at the time of Dagazar's arrival there The Book ofB rokenW ords Ullr-meaning "glory" or "brilliance"; the Norse god associated with archery and The skr;:eling's saddle- the Sheraki's mount- invoked for protection in battle The epic poem "Skulvaoi Uljr"is a language map which narrates the "legend" riding my tongue, I straddled storms Rogaland-southern Nor- oJ"the real evidence" oj Illy exploration oj the terrain oj the poetic imagination for Howling Garmr- the Hound of Cliffs, way aI'ld the trollblesome natllre oj rlilership over that territory. Historical lacuna: skrreling-indian; meaning the face of cloud-sea carving Rogaland. "screecher" provide spaces where unexpected realities are mapped to create their own au- Sheraki-the Cherokee thenticity (in much the same way in which we validate those indeterminate indians of south-east North spaces betweerz oHrselves and a work oja rt when we give value to our experience From Wod's war cry, from the rasp of wind America encountered by with the creative work in that relational space). In these spaces I chart the Spanish explorer Hernando climbing Lyr's Fjord grew Uur's stride; de Soto in 1540 "wrap" oj the object stratum, the "logic" oj casting each so!md-image irl a on his feathered helm, Hel's bloody gash, Gannr-the name of the bay role, how each image looks back and ahead oj its propositions as it reveals arid on which Dagazar's fleet was on his coat of rings, Garmr's carve of stone. creates itself-as irl "Ullr's IMlrds. " shipwrecked; in Norse my- thology, the giant hound that would bring about the end To delllorlstrate the proximity/distance oj the terrain as a touchstone Jor the In The Archer's grip, no finder's point of the rule of the House of exploration, it is sigrlifrcarlt Jor me that the worlds oj the poem should occupy but a cloak ofleaves, night-reared signs- (thOeo iAnsni)a tic King Wod[an] a real or credible place. As such, we open the books oJSkulvaoi Ulfr via the a book of steps pressed in storm-haste-- helm-helmet hand oj a late 15th cerztury translator and the history oj Spanish arId Vikirlg a hail ofletters, light-strung sigils. He/-the caves beneath the expansion across the Atlantic; the epic's inllIlediate larldscapes oCCllrring within island; Land of Ice and Death the context oj a fictional history placed betweerz the mid-11th centllry and in Norse mythology finder's point-line of sight begirznirzg oj the 16th century. "Ullr's IMlrds" is built on the multi-layers oj I askedThe Bowman: 'What could bring you used by archers co "find" alliterative poetry and periphrasis with illustratiol'/S "eviderlcing" the larlguage to a place like this, where the ground breaks their target oj sO!/rld-images, presented irl the epic as composed oj Nonvegian-Swedish Tyr-shield sign [ i]; Norse champions of Tyr, mocks victory-oaths god of war; the letter "T" in nmic scripts, Old Norse and the basisJor Cherokee wrillerz syllabary recorded by and seals Hel's cave with Garmr's grip?' the Elder Germanic runic equoya (George Guess 1760-1843), altho!lgh Cherokee traditional history alphabet would date the existerzce oj the syllabary much earlier than when it came into acknowledged use around 1821. Tight-lipped 0Ur slipped his fingers across the book of broken words- the double wave of the sign-cut page; L-JW but Garmr's growl made more sense. I \ 14 15 Nicole Brossard or ici la mort n' est pas une image mais un pont TIME OUT entre la theorie du chaos et la realite virtuelle dreaming the faraway of humanity you thumble on sparkling eyes nevertheless you summarize about skin and soft arguments no chatting in the morning I am not a smile only stories standing still -Sylvia Plath in front of the window programming the image of you and me rowing in eternity Le vent qui nous touche les flancs i la finesse de nos yeux savants l'aurore exposee au vent or les villes si on en reve sont afin que nos yeux repetent notre ailleurs de memoire l' ouverture au monde l' extreme difficulte d' ordonner jadis rever etait fluide nos messages d'un seul angle du desir on accedait et I'horizon reelame par nos yeux au corps multiple en fixant I'horizon still you believe an image set in the early morning today touch and again you touch can set fire can fly same screen your silent flesh and you won't spoil the poem meme chaise, meme chair on the same chair with mud and tragedy des yeux c'est toucher cruising eternity among letters the soft rolling dimension l'abime seulement, l'abime encore of truth as it curves around Ie continu sans fin that smile of yours de toucher la ele you will not spoil eternity d'un autre monde with a scream screening time and meaning you will not borrow a human face from the past until tu aimes parler en faisant synthese she comes along dans ta langue de l'utopie et du voyage dis-moi si tes yeux ont memoire dans Ie silence de ta chambre in your silent room dark si l'idee que les hommes sont nombreux of vertebrae and offuture a sans condom dans les villes montrer tu crois que rever est un horizon united on a sharp piece of mirror leur membre et leurs entrailles un futur de vertebres et de lucidite images bridge pensant que l' Amerique est un symbole reunis dans la glace between fractals and virtual reality 16 17

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Most books are stored in the elastic cloud where traffic is expensive. For this reason, we have a limit on daily download.