Un beau matin, chez un peuple fort doux, un homme et une femme superbes criaient sur la place publique. «Mes amis, je veux qu’elle soit reine!» «Je veux être reine!» Elle riait et tremblait. Il parlait aux amis de révélation, d’épreuve terminée. Ils se pâmaient lun contre l’autre.
En effet ils furent rois toute toute une matinée où les tentures carminées se relevèrent sur les maisons, et toute l´après-midi, où ils sávancérent du côté des jardins de palmes.
One fine morning, in the country of a very gentle people, a magnificent man and woman were shouting in the public square. “My friends, I want her to be queen!” “I want to be queen!” She was laughing and trembling. He spoke to their friends of revelation, of trials completed. They swooned against each other.
In fact they were regents for a whole morning as crimson hangings were raised against the houses, and for the whole afternoon, as they moved toward the groves of palm trees.
Source: Rimbaud, Arthur, and John Ashbery. Illuminations. New York: W.W. Norton, 2012, pp. 52-53.
Forgive her. Sometimes she forgets she is painfully the same as stagnant water, hollow ditches, foolishly imagines she has the right to exist.
Forgive a portrait’s listless rage, whose longing for movement melts in her paper eyes.
Forgive this woman whose casket is washed over by a flowing red moon, her body’s thousand-year sleep perturbed by night’s stormy scent.
Forgive this woman who’s crumbling inside, but whose eyelids tingle still with dreams of light, her useless hair quivering hopelessly, infiltrated by love’s breath.
People of the land of plain joys, you who have opened your windows to the rain, forgive her, forgive because your lives’ fertile roots burrow into her exiled soil and pound with envy’s rod her naive heart, until it swells.
No one attacks it with a long lance,
No one plies a strong cross-bow.
Suckling its grandsons, rearing its cubs,
It trains them into savagery.
Its reared head becomes a wall
Its waving tail becomes a banner.
Even Huang from the Eastern Sea,¹
Dreaded to see it after dark,
A righteous tiger, met on the road,²
Was quite enough to upset Niu Ai.
What good is it for that short sword
To hang on the wall, growling like thunder?
When from the foot of Tai mountain
Comes the sound of a woman weeping,
Government regulations forbid
Any official to dare to listen.³
A satire on oppressive government, of which the tiger was the symbol. Caught between the Central Government and the warlords, the people are harassed as though by tigers.
Huang, of Dong-hai, had magical powers which enabled him to control snakes and tigers. Unfortunately for him, he lost these powers through drinking to excess and was eventually killed by a tiger.
The zhou-yu was a white tiger with black markings which appeared only when a state was perfectly governed. It would not tread on grain nor eat living things. Niu Ai was a duke turned were-tiger, who ate his own elder brother. He is pointing out that some tigers are worse than others.
Confucius found a woman weeping at the foot of Mount Tai. Though her whole family had been killed by tigers she refused to leave the district, because there was no oppressive government there. This caused Confucius to remark that an oppressive government was more savage than any tiger.
Li He is the bad-boy poet of the late Tang dynasty. He began writing at the age of seven and died at twenty-six from alcoholism or, according to a later commentator, “sexual dissipation,” or both. An obscure and unsuccessful relative of the imperial family, he would set out at dawn on horseback, pause, write a poem, and toss the paper away. A servant boy followed him to collect these scraps in a tapestry bag.
Long considered far too extravagant and weird for Chinese taste, Li He was virtually excluded from the poetic canon until the mid-twentieth century. Today, as the translator and scholar Anne M. Birrell, writes, “Of all the Tang poets, even of all Chinese poets, he best speaks for our disconcerting times.” Modern critics have compared him to Rimbaud, Baudelaire, Keats, and Trakl.
this is arguable
the new edition
no echo no light
no echo no light
no echo no light
echo without tongue
a soft clumsy argument
departments and programs
new edition of the borrowed text
the new edition of the translation
the new edition of the new edition
in this it is arguable: in his preface
this preface to a treat without echo
departments and pronouns continue to
continue to tongue without imagination
west relates how many university translators
treat the translator’s invisibility without echo
to the new edition departments and programs
of soft clumsy giants this is arguable in his preface
kanye west relates how many university programs
imagine a soft clumsy giant ingrown in a mountain
as a linguistic brick rather than a humanity of fields
continue to treat the translator’s invisibility as a liability
warmth of death i
live in black of death i
live in that disappearing apparition
you and the black bough
of black of
believes without noticing you ask me with strings
on an order of space
of the apparition you and
the black of you under moments
only i am sacerdotal of
do not confess you ask me forever
print forever print forever print forever
defense minister avigdor liberman on sunday said us president donald trump did not ask for israels view before announcing his planned withdrawal of american troops from syria adding that the jewish state will likely have to operate alone against its various enemies he also slammed international criticism of the killing of nine palestinians during fridays clashes on the gaza border branding it hypocrisy and claiming there were no innocent people in gaza he later clarified that his use of the hebrew word tamim was intended to mean not innocent but naive president trump didnt ask me liberman said when asked during an interview with israel radio about the us plan to leave syria despite israeli fears of iranian-backed terror groups encroaching on its northern border i wouldnt presume to give advice that hasnt been requested from me