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Category: WRITING

NUAGE

October 19th, 2009 — 12:51pm

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Lac de Sainte-Croix, Alpes-de-Hautes-Provence. Photography by dp.

 

“Beaudelaire, à la fin du premier poème du Spleen de Paris, semble n’avoir multiplié les points de suspension: “J’aime les nuages… les nuages qui passent… là-bas… là-bas… les merveilleux nuages!” que pour que passent réellement sous les yeux les nuages, pour qu’ils apparaissent comme des points de suspension entre la terre et le ciel. C’est que regarder de la terre un nuage est la meilleure façon d’interroger son propre désir.”

 

Extrait de L’amour fou d’André Breton. (Gallimard, 1976)

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HTTP://ERICHAZAN.NET/

October 3rd, 2009 — 12:45pm

Eric Hazan is a French writer and founder of the unique press edition La Fabrique. Now all his texts such as contributions, forewords, and editorials are accessible on his web site : http://www.eric-hazan.net/. It’s more than worth it to take a tour!


ImgHome

nb : all texts in French and for free.

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LES ANNÉES D’HIVER

September 18th, 2009 — 11:57am

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Les prairies ordinaires


La réédition des années d’hiver, épuisé depuis presque vingt ans, répond à plusieurs motifs qui sont autant de nécessités, théoriques et politiques. Plus que l’argument d’une puissance à contretemps des vraies pensées critiques, on pourrait simplement faire valoir la stupéfaction que suscitent ces quelques stupéfaction face à leur pleine actualité, sans séparer le sens philosophique du terme cher à Félix Guattari et Gilles Deleuze (celui d’un concept incarné, à l’oeuvre, en devenir) de son sens plus familièrement journalistique – tant sont flagrantes ici, presque à chaque ligne, l’acuité brûlante, la force anticipatrice, la valeur d’éclairage et d’outillage pour aujourd’hui de ces remarques éparses, avancées il y a un quart de siècle. Car cet hiver mondial des premières années 1980, avec ses poussées droitières, son triomphe du marché et ses nouveaux esclavages subjectifs, Guattari en pressent avec une puissance inouïe la dimension de mutation historique et de tournant anthropologique. Par la diversité de leur énonciation, conférentielle ou confessionnelle, théorique ou anecdotique, et surtout de leurs objets (technologie, art, politique, psychanalyse, épistémologie…), ces fragments d’une elle-même éparse en révèlent, mieux qu’aucun autre texte, l’extension formidable, la richesse circulatoire, les univers hétérogènes en même temps que la cohérence contagieuse. Outre qu’ils constituent des clés d’entrée dans l’univers guattarien, ces quelque trente textes peuvent être lus à la lumière de l’injonction que formulera Deleuze quelques années plus tard : « Il n’y a pas lieu de craindre ou d’espérer, mais de chercher de nouvelles armes. » C’est à la constitution d’un arsenal politique, théorique, subjectif, pour affronter les « années d’hiver » présentes ou à venir, qu’invite cet ouvrage.

 

 

 

Les années d’hiver : 1980-1985
Guattari, Félix
préface de : François Cusset
les Prairies ordinaires , Paris
297 p, ISBN : 978-2-35096-003-6

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TELL THE TRUTH ONCE AND FOR ALL AND SHUT UP FOREVER

July 17th, 2009 — 8:41am

Gregory Corso: What is your department?


William Burroughs: Kunst und Wissenschaft.

Gregory Corso:
What say you about political conflicts?


William Burroughs: Political conflicts are merely surface manifestations. If conflicts arise you may be sure that certain powers intend to keep this conflict under operation since they hope to profit from the situation. To concern yourself with surface political conflicts is to make the mistake of the bull in the ring, you are charging the cloth. That is what politics is for, to teach you the cloth. Just as the bullfighter teaches the bull, teaches him to follow, obey the cloth.


Gregory Corso: Who manipulates the cloth?


William Burroughs: Death


Allen Ginsberg: What is death?


William Burroughs: A gimmick. It’s the time-birth-death gimmick. Can’t go on much longer, too many people are wising up.


Gregory Corso: Do you feel there has been a definite change in man’s makeup? A new consciousness?


William Burroughs: Yes, I can give you a precise answer to that. I feel that the change, the mutation in consciousness, will occur spontaneously once certain pressures now in operation are removed. I feel that the principal instrument of monopoly and control that prevents expansion of consciousness is the word lines controlling thought, feeling and apparent sensory impressions of the human host.


Allen Ginsberg: And if they are removed, what step?


William Burroughs: The forward step must be made in silence. We detach ourselves from word forms — this can be accomplished by substituting for words, letters, concepts, verbal concepts, other modes of expressions: for example, color. We can translate word and letter into color — Rimbaud stated that in his color vowels, words quote “words” can be read in silent color. In other words, man must get away from verbal forms to attain the consciousness, that which is there to be perceived at hand.


Gregory Corso: How does one take that “forward step,” can you say?


William Burroughs: Well, this is my subject and is what I am concerned with. Forward steps are made by giving up old armor because words are built into you — in the soft typewriter of the womb you do not realize the word-armor you carry; for example, when you read this page your eyes move irresistibly from left to right following the words that you have been accustomed to. Now try breaking up part of the page like this:

Are there      or just we can translate many solutions       for example color word color in the soft typewriter                               into political conflicts             to attain consciousness monopoly and control


Gregory Corso: Reading that it seems you end up where you began, with politics and it’s nomenclature: conflict, attain, solution, monopoly, control — so what kind of help is that?


William Burroughs: Precisely what I was saying — if you talk you always end up with politics, it gets nowhere. I mean man it’s strictly from the soft typewriter.


Gregory Corso: What kind of advice you got for politicians?


William Burroughs: Tell the truth once and for all and shut up forever.


Gregory Corso: What if people don’t want to change, don’t want no new consciousness?


William Burroughs: For any species to change, if they are unable and are unwilling to do so — I might, for example, have suggested to the dinosaurs that heavy armor and great size was a sinking ship, and that they do well to convert to mammal facilities — it would not lie in my power or desire to reconvert a reluctant dinosaur. I can make my feeling very clear, Gregory, I feel like I’m on a sinking ship and I want off.


Gregory Corso: Do you think Hemingway got off?


William Burroughs: Probably not.



Excerpt from an interview with William S. Burroughs by Gregory Corso and Allen Ginsberg originally appeared in Journal For the Protection of All Beings, 1961.

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UNNAMED NEW YORK

May 28th, 2009 — 8:01am

here in the beautiful

heat

digging & digging for

you

in your wide & wonderful

pause

day subway

de doggie

I was trying

to say it

writes

in bites

citizen aged local literary

queer cocksucking shop-

ping pussy

manifesting not

will Arnold win

if you enjoyed

smoking in bars

study French expressionism

employ your

loss

buy a car

take a course

make a college

buy something old

again & again

& again

the sneaker

swings

I like it here:


it’s orange

& my hands are free.


The new book

was composed by picking shit

out of a wave.

Wherever they said vague

I thought vague


I couldn’t help laughing

standing at the bottom

of my pit.

I thought Mark Twain was

here in the

crater of a giant

tomato

big artists like error.

The tomato

Missed.

Being intended

to hit god

it hit his mother

I speak for

her.

 

 

Excerpt from Sorry, Tree by Eileen Myles (2007, Wave Books).

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