Thursday, September 08, 2011

Poezitë e mia ne Frëngjisht- My Poems in French


Je pense bruyamment

Pour l’humain
Donnant l’alerte : faire la pause
Et penser la raison et méditer
Pourrions-nous réussir ensemble ?
Oui c’est possible
Et préserver la plénitude de la tuerie de la domination de la transgression des efforts

Nous répandons l’Amour et aspergeons toute peau brûlée
De sa fraîcheur de résine
Jusqu’à ce qu’elle se mêle au sang et
Le remplace
Ainsi le fluide de l’Amour
Circulera dans nos veines
Puis lentement libérera notre parole
Vivra dans le miracle
Changera notre monde
Et plaira à Dieu.



Rayon de miel


Je ne suis pas ici
Pour dire l’orgueil d’un passé oublié
Ni pour chanter miraculeusement
Les sourates et les sutras des Saintes Ecritures

Je ne suis pas ici pour voir des mûres tombées
Dans la rivière et surnageant comme des feuilles mortes
Et je ne suis pas ici pour prier interminablement
Comme un sage pour me repentir
Du péché de banalité d’ignorance

Je suis ici pour baiser le front du ciel
Entre les deux yeux là où
L’étoile doit pétiller de beauté

Je suis ici pour parfumer ton âme
Et me sécher au pollen jaune soleil

Je suis encore ici pour nourrir tes poumons
Avec l’air du monde perdu
Eternellement lavé dans les fleuves de l’âme

Je suis le terreau de ton secret semé
Comme un grain de blé en automne
Attendant le printemps pour verdir les champs
Et l’été d’or pour se parer de coquelicots

Et les vers luisants dans les nuits courtes
Qui dansent des jeux érotiques

Attendant l’automne pour nourrir l’estomac saint

De l’enfant terrible

Qu’à perpétuité on nomme MOI
Le sarcophage de ton secret 

Moi perdu... toi, concentré
Dans une formule dissoute pour
Répondre à leurs énigmes.



Hémoglobine bleue
Ils ont taillé deux longueurs d’esprit
Pour les poser sur les corps que nous menons de force

Le pinacle de la douleur et du cri
Est-il le même pour le mâle et pour la femelle ?
Et androgyne
Comme la vie

Une fois de plus la langue se noue
Et ne peut dire le prix de la vie souffrante
Qui n’a pas de sexe
Comme la vie

Notre hémoglobine est bleue
Car il nous faut dire le chant du paon
Et l’introduire endormi dans les cœurs
Qui n’a pas de sexe
Comme la vie



Larmes de cristal
... Et mes larmes de cristal ont fondu
métamorphosées en liqueur cosmique
afin d’enivrer l’amant d’amour
                     


Blanc 

Ame de la nation parallèle des Angéloïdes
L’effort est-il la satisfaction de la vie ?
Elle est vivante
Tisse sans fin avec la lumière divine un arc-en-ciel de mousseline
Une robe entretissée
Etres immaculés nouveaux nés
Parfumant
Oh ces fragrances de paradis
Menthe, Néroli, Mousse-du-Chêne, Ambre
Bouquet de plaisir divin
Et d’Acacia baisé par la reine des abeilles
Oui la reine de l’Ennéagramme
Bien entendu
Le travail produit de suaves essences
Oh Sarmouni de nos Millénaires
Faites fondre la lentille cataractique qu’ils voient la beauté
Guérissez la grippe, qu’ils hument l’ozone frais
Un cercle chargé de lumière et d’amour
Submerge
Dépulpe le roseau
La musique divine pourra-t-elle ainsi jouer avec la lumière ?
Puisse le tao tendre devant toi sa torche
Dans la vallée obscure
que tu puisses voir un spectre
Encerclant une peur d’enfant
Pour la vie éternelle
Pourtant j’embrasse cette séquence du temps
Où cohabitent en harmonie le yin et le yang
Moi Feng Shui de l’Amour
Défragmenteur des fichiers de la haine
Compresseur des matrices obscures
Arrangeur
Afin que tu saches qu’ils existent bel et bien
Que tu y goûtes pour connaître la douceur du miel de la vie
Dans cette vallée de porcelaine
Où la bonté et la malice
Main dans la main glissent furieusement
Hélas le matin pur et la rosée d’amour
Oxyde la haine avec du vinaigre de pomme
Chante pour célébrer les solstices et bois une coupe de vin
Qui te fera défaillir
Et filtre toutes les cellules du cerveau,
Parfume-lui le nombril à l’eau de rose et baise, baise, baise
En un Tantra divin
Avec tous les esprits visibles et à demi visibles
Baise la topaze de ses yeux
Baise le rubis de son cœur
Baise le diamant de son ongle
Baise le cuivre de ses pieds de sa cheville
Baise le jade de ses os
Baise le saphir de ses cellules
Et la cascade enflammée de ses cheveux
Et, plus bas, le soyeux...
Oh baise et baise et baise tout ce qui lui appartient
Fais-lui un collier
De tes spermatozoïdes les plus purs et les plus nobles
Puis donne-lui le nom qu’il te plaira
Sagesse, Hikma, Sophie
Ou simplement la Déesse qui te fait Angéloïde.


Roses blanches

Ouvre mon thorax
Si tu veux voir
Le jet tombé tout droit du fleuve du ciel
Tandis qu’il lutte dans son lit
Où nagent les roses blanches



Notre paradis

Ce n’est que maintenant que je comprends l’illusion ancienne
Depuis que je vis dans le cenobium de mes divers moi
Avec toi mon âme est plus à l’aise
Avec toi c’est différent

Car la carte inscrite sur ma peau indique
Un chemin qui nous mène au paradis
Et nous... nous ne rêvons même pas - pourquoi le ferions-nous ?
Quand tu donnes à ma bouche le goût de l’ambre
Tu laves mon vêtement d’émeraude

Avec toi je traverse un macadam de perles géantes
Entre lesquelles pousse l’herbe d’émeraude

Et beaucoup de roses blanches
Qui s’appliquent à garder notre secret ?
Et cela
Bien sûr cela nous suffit


Basmati

Combien  de grains ai-je avalés
Portant des messages gravés
Ceux
Que les pigeons blancs n’ont pas pu livrer ?
Des messages portant des codes pour la nouvelle génération
Quelque chose de cuit
Une vapeur blanche évaporée
Odeur de basmati
Mon estomac en boycotte la raison
Il est temps de disperser la léthargie
Il est temps d’aimer
De le faire
Simplement de le faire
Et défaillir



Questions de l’Angéloïde

Ne suis-je qu’une pierre
A jeter loin des yeux ?

Suis-je peau de tigre
Qu’un marchand sans âme piétine?

Suis-je trempé de sang par un proche ?

Suis-je le chef d’une tribu égarée
Qu’il faut adorer comme un saint ?

Suis-je un prophète perdu 
Qu’il faut chercher dans les cavernes que le djinn a colonisées ?

Suis-je un fossile du jurassique
A exposer dans un cube de cristal ?

Suis-je une essence de jasmin
A humer après le troisième millénaire ?

Suis-je une planète perdue
La malédiction de l’humanité ?

Suis-je un paradigme de la bonté
Que la reddition réduira ?

Suis-je la parfaite malice
Qu’on accueillera comme un chant d’Evangile ?

Suis-je l’aile de l’ange violet
Qui te fera de l’ombre
Pendant que tu cherches la connaissance ?

Suis-je un air suprasensible
Que jouera la corde savante du cœur ?

Suis-je un esprit aérien
Qui t’apportera l’orage
A midi quand le soleil
Lira son quatrain ?

Suis-je un fluide cosmique
A disperser comme poussière d’étoile ?

Suis-je assez divin
Pour me réjouir d’une humanité cosmique ?

Suis-je la cloche des ailes de l’ange
Qui tintera le début d’une nouvelle  prophétie?

Suis-je un saint qui montre à peine son miracle
Pour être ensuite adoré comme un petit dieu ?

Suis-je une eau pure de la source du désert
Qu’il faudra boire au moment de la mort ?

Suis-je la mort de l’Art
Qui renaîtra de la Théurgie ?

Suis-je un amant ivre d’Amour
Qui périra dans les quanta des photons ?

Suis-je bête de révéler une nouvelle découverte
Afin que vous puissiez compatir
Saluer ou louer
Ainsi, ainsi, ainsi de suite ?



Ton cœur
 
Ton cœur est mon palais
où mon esprit ne rencontre aucune ombre
parcourant tous les recoins
de ton royaume céleste
qu’on nomme liberté




Elixir

Il ne reste qu’une rosée d’élixir au fond de la coupe vide qui dort comme un agneau
On l’appelle parfois cœur, je l’appelle esprit pollué, et tu peux l’appeler grains de grenade rubis
Mais nous, les plus simples, ensemble ne pouvons qu’Aimer et cela suffit
A souffrir mille ans
plus un jour

Celui qui ne s’en soucie pas est le plus chanceux des ignorants mais je suis celui qui déverse sa quintessence sans savoir pour qui
Sans savoir pour quelle raison l’évidence du but n’est jamais visible à l’avance
Avertissement, amour, ou même manifestation la plus pure

A l’époque où les mots s’alignaient sur le fil enroulé dru sur le cuir chevelu
Le collier de vers se ternit aucune brillante vérité ne jaillit de sa source pour obéir à notre soif
Nous les âmes assoiffées de nourritures divines nous errons comme les spectres des suicidés
Estomacs vides d’enfants terribles avides de cette vérité qu’on n’entend jamais même comme un bruit d’insecte
Jamais comme le bruit de la chute de l’esprit de jade gelé qu’on verra plus tard en Galatée de divine essence
Une corne d’abondance de bénédictions latentes attend
Un déficit d’Amour éclate exhibant fièrement son sexe sans la moindre goutte de honte
Comme une abeille ouvrière j’erre, cherchant le nectar de la sagesse afin de nourrir ma Reine
Lui infuser la vie éternelle, la gelée royale qui coule élégamment du cul au nombril



Un temps

Oh…temps de lumière
Mystère saupoudré par
La blancheur des nuages
Je suis le ruisseau
Après l’éveil et l’extase



Gentil petit Rom

J’ai traversé le pont de pierre, écouté le gargouillis des eaux blanches de la rivière
L’Eglise se dressait fière auprès de la Mosquée reflétant sa beauté comme un miroir
L’eau potable s’écoulant avenante depuis le sommet des collines froides
Entourée des créatures humanoïdes bourdonnantes inconscientes du fardeau qu’elles portent
J’ai approché un mendiant différent de ceux que capture habituellement la chambre obscure de mes yeux
Le garçon buvait un coca et souriait tout heureux à la foule et pourtant dans ses yeux
L’azur tissait une toile pour les amants, humains et célestes,
Comme une araignée à l’affut de sa victime, qui baiserait fièrement l’étoile qu’il portait au front
Le jour était heureux de me trouver là un peu ébaubi par la brise printanière
J’étais heureux d’être là et d’embrasser le petit buveur de coca gentil comme le sont tous les garçons du monde
Anges qui nous préviennent de l’Amour impartial



Wednesday, September 07, 2011

LAVANDULA

























For Lala Kratohvil- USA

The whispers beneath the pillow stuffed,
With the peacock feathers and those of neon goose

The dreams I see; Angel in Blue rays came out of your Soul
Are pampering my subtle pastel ocher skin; for

Now I see only light with the echoes from the broken Crystals; and
The smells of fresh Iodine, Resin, and breeze of the emerald Vetyver

I can; now say and sing the miracles of the world to pass; and
I may now hope the embrace of the multi-color wings of Seraph

I can now invite and host the banquet for all those in Love; and
I can; now rest and find rest in your Miracle my Lord; they call

It Human but who cares for them as they don’t care for themselves
And I can; now rejoice the being for there is no other to…

Fahredin Shehu

September 2011
Prishtina
Kosovo 

Ali PODRIMJA


http://www.albanianliterature.net/authors_modern2/podrimja.html


Ali PODRIMJA


Ali Podrimja (b. 1942) was born in Gjakova at the foot of the so-called ‘Mountains of the Damned.’ After a difficult childhood, he studied Albanian language and literature in Prishtina. Author of over a dozen volumes of cogent and assertive verse since 1961, he is recognized both in Kosova and in Albania itself as a leading and innovative poet. Indeed, he is considered by many to be the most typical representative of modern Albanian verse in Kosova and is certainly the Kosova poet with the widest international reputation. Podrimja’s first collection of elegiac verse, Thirrje, Prishtina 1961 (The calls), was published while he was still at secondary school in Gjakova. Subsequent volumes introduced new elements of the poet’s repertoire, a proclivity for symbols and allegory, revealing him as a mature symbolist at ease in a wide variety of rhymes and meters. In the early eighties, he published the masterful collection Lum Lumi, Prishtina 1982 (Lum Lumi), which marked a turning point not only in his own work but also in contemporary Kosova verse as a whole. This immortal tribute to the poet’s young son Lumi, who died of cancer, introduced an existentialist preoccupation with the dilemma of being, with elements of solitude, fear, death and fate. Ali Podrimja is nonetheless a laconic poet. His verse is compact in structure, and his imagery is direct, terse and devoid of any artificial verbosity. Every word counts. What fascinates the Albanian reader is his compelling ability to adorn this elliptical rocky landscape, reminiscent of Albanian folk verse, with unusual metaphors, unexpected syntactic structures and subtle rhymes.

Ljubivoje Ršumović


Ljubivoje Ršumović

Ljubivoje Ršumović rođen je u Ljubišu, na Zlatiboru, 3. jula 1939. godine. Školovao se u Ljubišu, Čajetini, Užicu i Beogradu, gde je diplomirao na Filološkom fakultetu, na grupi za komparativnu književnost.
Rano je počeo da piše, još kao osnovac u Ljubišu. Prve pesme objavio je kao gimnazijalac, 1957. godine, najpre u užičkimVestima, a zatim u Književnim novinama.    
Godine 1965. zaposlio se u Radio Beogradu, u redakciji programa za decu. Svoj literarni rad uspešno je ugradio u emisije Utorak veče – ma šta mi rečeSubotom u dvaVeseli utorak. U tim programima primenio je„dokumentarnu poetiku“, koju je usvojio od Zmaja i Duška Radovića i pedagošku doktrinu Džona Loka: „Što pre dete smatraš čovekom – pre će čovek i postati!“ Godine 1968. počeo je sa radom u televiziji i snimao je poznate serije: DvogledHiljadu zašto i Hajde da rastemo. Kao televizijski poslenik napisao je, režirao i snimio preko šest stotina emisija. Jedna od najpopularnijih serija za decu Fazoni i fore imala je sto četrdeset dve epizode.    
Pored programa za decu uradio je i nekoliko serija dokumentarnih programa. Takva je serija Dijagonale – priče o ćudima i naravima, u kojima Ršumović govori o pojedinim etničkim grupama, puštajući pripadnike tih grupa da sami daju karakterizaciju svojih saplemenika. To su emisije o: Mijacima, Brsjacima, Malisorima, Torbešima, Bunjevcima, Erama, Lalama, Dubrovčanima, Bodulima, Šopovima, Gorancima, Piperima i mnogim drugim.
   Objavio je 72 knjige, uglavnom za decu. Među njima najpoznatiji naslovi su: Ma šta mi reče,  PričankaPevankaJoš nam samo ale faleVesti iz nesvestiNevidljiva ptica,Domovina se brani lepotomSjaj na praguRošavi anđeoZov tetrebaUspon vrtovima,Pesme uličarkeSeverozapadni krokodilPošto prodaš to što mislišOpasan svedokNe vucite me za jezikGujina stenaBukvar dečjih prava  Tajna ledene pećine i Beli paketi. U pozorištima je izvođeno više njegovih dela: Šuma koja hodaNevidljiva ptica,Baba RogaRokenrol za decuUspavana lepoticaAu, što je škola zgodnaU cara Trojana kozje ušiSnežana i sedam patuljakaRšumdaniMiš je dobio grip,Tri čvora na trepaviciTandara mandara... 
Dobitnik je književnih nagrada: Neven, Mlado pokolenje, Nagrada Zmajevih dečjih igara, Brankova nagrada, Oktobarska nagrada grada Beograda, Goranova plaketa, Vukova nagrada, Zlatni prsten Festivala pesnika za decu u Crvenki, Nagrada Porodica bistrih potoka Udruženja književnika Srbije, prva nagrada za dramski tekst U cara Trojana kozje uši na Festivalu pozorišta za decu u Kotoru, nagrada Politikinog zabavnika za knjigu Tri čvora na trepavici, nagrada Duško Radović i titula Saradnik Sunca, Instelova nagrada za poeziju 2008. i kao nagrada Miroslav Antić 2008. godine za knjigu Beli paketi i nagrada Princ dečjeg carstva Tamaris u Banjoj Luci 2009. Dobitnik je i dve zapažene međunarodne nagrade: nagrada Pulja u Bariju, za celokupno stvaralaštvo za decu i nagrada UNESKO-a za Bukvar dečjih prava na svetskom konkursu za knjigu koja propagira mir i toleranciju.
Njegova dela prevedena su na više stranih jezika.
Autor je tri udžbenika za osnovnu školu: Deca su narod posebanAzbukvar i Pismenar.
 Uporedo sa književnim radom bavio se i sportom. Osnivač je, takmičar i prvi predsednik karate kluba Crvena Zvezda. Bio je predsednik karate saveza Srbije i savezni je sudija u karateu.
 Od 1986. do 2002. bio je direktor pozorišta Boško Buha. Predsednik je Kulturno-prosvetne zajednice Srbije i jedan od osnivača i član Upravnog odbora Zadužbine Dositeja Obradovića.
 Jedan je od osnivača i prvi predsednik Odbora za zaštitu prava deteta Srbije, pri organizaciji Prijatelji dece Srbije, u kojoj je aktuelni predsednik Skupštine.
Više nije član Udruženja književnika Srbije.
 Živi i radi na Slobodnoj teritoriji, nedaleko od Beograda.

Ljubivoje Ršumović
Ljubivoje Ršumović was born in Ljubisa, Zlatibor, 3 July 1939thyear. He was educated in Ljubisa, Čajetina, Uzice and Belgrade, where he graduated from the Faculty of Philology, the group of Comparative Literature. Early he began to write, even as the elementary school in Ljubisa.The first song released as a high school student, 1957. years, first in užičkimVestima, and then in the literary press. 1965. a job at Radio Belgrade, in the office programs for children.His literary work has successfully installed the program Tuesday night - no matter what he said to me, on two Saturdays, Happy Tuesday. In these programs applied the "poetic documentary" that was adopted by the dragon and Dusko Radovic and pedagogical doctrine of John Locke: "The sooner a child feel a man - and the sooner it will become a man!" Godine 1968. started working in television and recorded the famous series: Binoculars, Thousand why and let's grow. As a television worker wrote, directed and filmed over six hundred shows. One of the most popular series for children and Fittings fore had a hundred and forty-two episodes. In addition to programs for children and has done several series of documentary programs. This is a series of diagonals - the story of miracles and nature, in which Ršumović talking about some ethnic groups, allowing members of these groups to give a characterization of their own brethren. These are shows about: Mijač Brsjaci, Malis, Torbesh, Bunjevci, Eram, tulips, Dubrovnik, Bodul, shops, Gorani, Piper and many others.
   
He has published 72 books, mostly for children. Among them, the best known titles are: Whatever you said to me, Pričanka, Pevanka, All we need are dragons, News from the unconscious, invisible birds, homeland defense is the beauty, splendor in the doorway, pockmarked angel, call of capercaillie, gardens rise, Songs prostitute, Northwest Crocodile, Since you sell what you mean, dangerous witness, do not drag me to the language, Gujina rocks, Foundations of children's rights, secret caves and icy white packages. In the theater was performed several of his works: The forest that walk, Blind Bird, Baba Roga, Rock and Roll for Children, Sleeping Beauty, Au, which is a nice school, The Emperor Trojan has goat's ears, Snow White and the Seven Dwarfs, Ršumdani, Mouse got a grip, Three knots in an eyelash, Tandara mandara ... He has won literary awards: Neven, The young generation, award Zmaj Children Games, prizes Brankova, October Award of Belgrade, Goran plaque, Vuk Award, Golden Ring Festival poets for children in Crvenka, Clear Brooks Family Award Writers' Association of Serbia, the first prize for drama The text of the Emperor Trojan has goat's ears at the Festival Theatre for Children in Kotor, the prize for the book Politikin Zabavnik three knots in an eyelash, awards and titles Dusko Radovic Associate Sun, Instel Prize for poetry 2008th and as a reward Miroslav Antic 2008th The white book packages for the award of child Prince Empire Tamaris in Banja Luka, the 2009th He has received two outstanding international awards: Award of Puglia in Bari, the overall creativity of children and the UNESCO Award for Foundations of children's rights in the global competition for a book that promotes peace and tolerance. His works have been translated into several foreign languages. He is the author of three textbooks for primary school: Children are special people, and Azbukvar Pismenar.
 
Along with the literary work he did the sport. He is the founder, first president of the athlete and karate club Red Star. He was president of the Karate Union of Serbia and the federal judge in karate.
 
Since 1986. to 2002. was a theater director Bosko Buha.President of the Cultural and Educational Community of Serbia and co-founder and board member of the Dositej Obradovic.
 
One of the founders and first president of the Committee for Protection of Child Rights of Serbia, the organization Friends of Children Serbia in which the current President of the Assembly. It is no longer a member of the Association of Writers of Serbia.
 
He lives and works in the free territory, not far from Belgrade.

Jack Hirschman



http://www.sfcall.com/issues%202002/5.24.02/hirschman_poems_5_24_02.htm





TWO
In the beginning I was soused with words, the page wasn't wide
enough to hold my spillover, I ran and ran and the puns and
brashbrandy flew out of my mouth slantrhymed.
In time I looked at her. The lines
broke. Look at mine, look at hers. And neither died of it.
That Irishman, they say, sang best
at seventy-seven.
It isn't easy
to write the word, love,
and mean it
to speak open.

From Black Alephs (New York/London: Phoenix Bookshop/Trigram Press, 1969)


"Philosophically I'm an internationalist who knows that neither homelessness and poverty globally and specifically here in San Francisco, which the mayor is much concerned with, as well as war and violence will ever end until and unless the wealth of this world is redistributed and or appropriated for the benefit of all according to our needs as human beings," Hirschman explained.
"All of my poetry and intellectual expression is, in one way or another, directed to that end.
"And since I believe that all human beings are poets in fact, and the writing of a poet is the most powerful action given to humankind, because unviable and unsellable in essence, and because a child of five years and a man or woman of seventy years in the act of writing a poem evoke the quality that is love at the heart of the world.
"I write to unfold the future of that equality with all my brother and sister human beings.
"The simplest thing in the world, imagine, three lines in Japan, thousands of leaves of grass of our own American bard, millions of variations throughout the world even unto intricate rhymes hip-hopping down the street, in schools, in prisons, slipped under your door, on the page or off the page, published between your ears, the simplest thing is the greatest weapon against the chaos, the fear, and war."
Hirschman became the fourth Poet Laureate of San Francisco under the program Mayor Willie Brown initiated in 1998.

André Cruchaga- El Salvador





El poeta, profesor e investigador André Cruchaga nació en Chalatenango, El Salvador, en 1957. Su obra poética abarca numerosos títulos publicados en libros y también en publicaciones periódicas, y una parte significativa de ella ha sido traducida a otros idiomas. Es encomiable su quehacer en la promoción de la poesía en general, de lo cual da fe su antología on line Arte poética. Rostros y versos, de la cual ofrecemos un enlace directo a la entrada de su propia obra. De sus trabajos de pensamiento puede ver una muestra en su blog Laberinto del Torogoz, y en su bitácora Álbum nocturno, un poema suyo. También pueden apreciarse sus versos accediendo a sus blogs personales El cielo a caballo y Cuaderno del zorzal. Como se verá, Cruchaga se desenvuelve fundamentalmente en la poesía en versos libres, pese a lo cual accedió fraternalmente a nuestra solicitud enviándonos estas décimas, para las que escogió el difícil metro 
decasilábico.


The poet, professor and researcher André Cruchaga was born inChalatenango, El Salvador, in 1957. His poetry covers many titles published in books and periodicals, and a significant part of it hasbeen translated into other languages. It is commendable their workin promoting poetry in general, which attests to his poetic art onlineanthology. Faces and verses, which offer a direct link to the entry ofhis own work. Thought of their work can see a sample on his blogTorogoz Maze and Night album on his blog, a poem of his. His poems can also be seen by accessing their personal blogsHeaven Notebook riding and thrush. It will be seen primarilyCruchaga unfolds in free verse poetry, yet they agreed to our request by sending fraternal these tenths, for he chose the difficultdecasyllabic meters.http://www.artepoetica.net/datos.htm







Zeilton Alves Feitosa

http://www.feitosa.net/




ZA Feitosa - Writer

Does anyone remember the unusual pleasure That dyed ZA Feitosa's poetry and the throbbing eroticism, sometime obscene, That permeated his prose? The Fact Is That ZA Feitosa was a virtual unknown in 2006 rediscovered When the literary creation, the relative notoriety Despites That Reached ITS texts in the early '80s. The work of ZA Feitosa is strongly marked by the rare combination of lyricism and fri. It is truth, However, That this mixture of elements, although Several, just widen the artistic dimension of his prose and his poetry. What's better in ZA Feitosa is, without doubt, his imaginative and irreverent side, regionalism and a captivating and unusual metaphors, Which temper his work. That is the formidable ZA Feitosa is on the Internet, surrendered unconditionally to the power of the net after breaking in 2007, of an unfair literary silence of 22 years.



ZA Feitosa - Writer

Is there any record of that voluptuousness unusual dyed ZA Feitosa's poetry, and eroticism throbbing, sometimes obscene, that permeated their prose? The fact is that ZA Feitosa was a virtual unknown in 2006 when rediscovered the literary production, despite the relative notoriety reached its texts in the early 80's. ZA Feitosa's work is strongly marked by the rare combination of lyricism and sex. It is true, however, that this mixture of elements, although different, it simply amplifies the artistic dimension of his prose and his poetry. Best of ZA Feitosa is undoubtedly his side imaginative and irreverent, and regionalism captivating and unusual metaphors, which temper his work. The formidable is that ZA Feitosa is on the Internet, surrendered unconditionally to the power network, after breaking up in 2007, an unfair literary silence of 22 years.



ANDRÉS MORALES


LA PÁGINA DE ANDRÉS MORALES


martes 6 de septiembre de 2011



PRESENTACIÓN DE "ANTOLOGÍA BREVE" DEL POETA CHILENO ANDRÉS MORALES (MAGO EDITORES) EL JUEVES 15 DE SEPTIEMBRE A LAS 19:00 HORAS EN "LA CHASCONA" (FUNDACIÓN PABLO NERUDA)


Tuesday, September 06, 2011

Mistletoe

from "Pleroma's dew"





Pine needles have bloodied your feet
you are in Love I see and pleased so much I am

nor do I see any regret from your innocent Love; for
in this balance I breath and stretch my wings
to the heights of the white cloud

my habitat below the crown of the Oak;
we salute each other and receive growth
from your Love;

radiates everything good including blessing
the breeze and the smell of resin fulfils; not only you

the bushes shakes and hides the coitus
of the rabbits and

the strawberries blooms the red fruits full of passion
with their secrets exposed on their skins

Forest is a vast Ocean for those in Love
bare naked you may walk; the evergreen

shall cover your shyness; if you are so;



Phillip Larrimore




ARTIST STATEMENT

These are paintings which can be literally looked into, layer by layer, with altering fields of depth, which change according to the angle of approach, and which recombine when one stands still. They are in a real sense a record of problems set and problems solved. My first work originated in a fascination with Leonardo's deluge drawings, which seemed to x-ray the motion of water and animate it on a page. How to make the visual equivalent of the polyphonic music of the Renaissance was my other initial concern. I wanted to make a painting like a fugue. I wanted to make a painting which the viewer animated. And I wanted to do this using little or no technology, unlike a hologram. My first work was studies of fire and water. Someone compared them to animated Monets. I have since explored depth, and pattern, perspectival space and multiple perspectives, architectural subject matter, and most recently realist and figurative work, all of this building to the future work I hope to do. Several meticulous copies of Audobons executed on six scrim layers were done in order to understand wing structure and pterolography-- or the proper placement of feathers--prefatory to paintings I plan to do representing birds in flight. A long-term obsession with Kaspar David Friedrich's "Arctic EXpedition" (improperly but more accurately called "The Wreck of The 'Hope'") lead to a series begun but not ended about the Shackleton expedition. And a sense that my more abstract pieces did not engage my sense of history, and historical tragedy, lead to a series of paintings --studies for an ongoing project--depicting the Dresden bombings and the killing fields of Cambodia. Each of these explores depth and space in a different way, according to the subject matter. To "pun" with the ship's riggings among the different layers of screen became part of the problem in the Shackleton paintings. To dimensionalize the shimmer of feathers of a great Tern. This is why I have gotten to human bodies only recently. Why do I work this way? My argument with artists statements--beyond the fact that the prose is usually execrable and the philosophy specious--is that we don't really know why we are haunted by certain questions and indifferent to others,and so such statements tend to be elaborate edifices around unanswered questions. Years ago, I did a year's drawings attempting to translate the imagery scintillating on what is called in Ashram circles "the third eye". Each dot of these drawings was done uttering a prayer. That seemed direly necessary then, and then it seemed something that I had learned to do, and no longer needed to do. Likewise the studies of water motion, of bird feathers, of Giambologna's Mercury Taking Flight--who I have skimming the waters of the Styx. Do the next thing.
PROCESS
The screen paintings initially used three to four layers of aluminum screening, each painted with a different but related image, which were hung at four inch intervals before and/or behind each other. The four layered paintings of this first period of my work hung 12 inches off the wall, the first screen usually being hung on the wall itself. I have consistently modified the process according to the area of inquiry and subject matter. The most "realist work" of the last year hangs four inches off the wall with an interval of an inch between each layer. The paintings investigating the use of perspective are about six inches deep[ but appear much deeper. The paintings investigating the play of pattern against pattern are about three inches deep. Usually the screens are hung with wire from the ceiling. I like to keep them "loose" so that the circulation of air causes them to "breathe".
MIRRORS
The mirrors are two panel corner pieces, each panel reflecting into each other. I have recently started to adapt some of these earlier pieces to make three-sided pieces in boxes.