La mia poesia "Una soluzione geniale", una delle opere selezionate per il concorso "COMUNItariSMO – pensare è oltrepassare", è stata pubblicata sul n. 9 (Dicembre) della rivista Versante Ripido. apsv
Maurizio Brancaleoni's blog. Reviews, interviews, and translations. Bilingual. Un blog di Maurizio Brancaleoni. Recensioni, interviste e traduzioni. Bilingue.
- Hai un testo da tradurre / revisionare? Need a Translator / Proofreader? Benötigen Sie eine Übersetzung / Korrektur?
- Tutti i contenuti del blog per categoria - All Blog Contents Sorted by Category
- Saggi e articoli - Essays and Articles
- Elenco delle pubblicazioni - List of Publications
- La mia arte - My Art
- La mia musica - My Music
giovedì 1 dicembre 2016
La mia poesia "Una soluzione geniale" su "Versante Ripido"
Labels:
comunitarismo pensare e oltrepassare concorso,
concorsi poesia,
maurizio brancaleoni versante ripido,
poesia italiana contemporanea,
versante ripido
* Writer and translator. My poems and short stories have appeared in several collections and magazines.
* Scrittore e traduttore, ho pubblicato racconti e poesie in diverse antologie e riviste.
domenica 27 novembre 2016
Il mio racconto "Termini, ultima meta" su IGEA NEWS
Il mio racconto "Termini, ultima meta", vincitore del terzo premio del concorso "In poche parole", è stato pubblicato sull'ultimo numero (ottobre-novembre 2016) del giornale romano IGEA News. apsv
"In serata sul 90, di ritorno a Termini, solita meta. Toni arancioni e rosa navigano nei finestrini; guardi i passeggeri inerti, demotivati ... "
(lo trovi a pag.9)
Labels:
associazione igea roma,
igea news,
in poche parole concorso,
in poche parole terzo premio,
maurizio brancaleoni racconto,
termini ultima meta
* Writer and translator. My poems and short stories have appeared in several collections and magazines.
* Scrittore e traduttore, ho pubblicato racconti e poesie in diverse antologie e riviste.
sabato 19 novembre 2016
My Poem "A Leviathan, In The End" In Peculiar Mormyrid 4
Yesterday another supreme example of subversive creature finally made it to the shore of this unreal world. It is the fourth one and its name is Peculiar Mormyrid. ssp
As the editors point out, "this issue presents
the results of a submarine inquiry in which surrealists from around the
world attempt to reclaim the sea from capitalist exploitation and,
in-tandem with global warming and rising water levels, re-colonize the
land with aquatic forms of being".
My modest contribution to its marvelous motley apparel is a poem in English and French, 'a leviathan, in the end' or 'un léviathan, à la fin' and a drawing, 'La mer'.
Now dive into its depths:
Labels:
maurizio brancaleoni poems,
peculiar mormyrid,
surrealism,
surrealist games,
surrealist journals,
the sea
* Writer and translator. My poems and short stories have appeared in several collections and magazines.
* Scrittore e traduttore, ho pubblicato racconti e poesie in diverse antologie e riviste.
venerdì 21 ottobre 2016
Recensione: " TRUMPED. Distopie prossime venture "
IL MURO DEL FATO di Luigi Pellini
Un'umanità
sbandata si abbandona alla violenza in attesa di Trump (non il Donald, non dico
di più per non rovinare l'effetto sorpresa). Stile ricercato e ruvido al tempo
stesso. Molto efficaci alcune metafore e similitudini, eccessive e fuori luogo
altre: l'abuso rischia di disturbare la lettura ed annullare la tensione
narrativa. Un buon racconto a cui però avrebbe giovato un lavoro di rifinitura.
GESTIONE DEL DISSENSO di Rubrus
Un manipolo
di eletti forgia la volontà del popolo (del web), che si tratti di Trump o di
batteri plasticofagi. Breve ma brillante, dalla dizione sincopata e frenetica
come la realtà che racconta. Punteggiatura da sistemare in qualche periodo.
MISS AMERICA di Luigi Lo Forti
Un agente
della sicurezza di origini messicane è chiamato a scegliere tra il bene del
Presidente e quello della nazione. Idea semplice ma buona, la narrazione si
regge perlopiù sulla conversazione tra i due protagonisti. Riuscitissimo il
finale sospeso.
AMALABOMBA di Marco Donna
Per
scongiurare l'avanzata dell'opposizione filoislamica, Trump, presidente di un
paese allo stremo, decide di ricorrere all'arma finale. Uno dei miei preferiti,
stilisticamente pulito e ricco di accenti satirici e grotteschi oltre che di
vari riferimenti intertestuali. Assolutamente credibile l'idioletto di Trump.
UN CASO D'OMONIMIA di Cristina Falzolgher
Mentre la
Cina e i nuovi sfavillanti Stati Uniti post-Trump si spartiscono il mondo,
Matteo, un immigrato italiano, si prepara a un estenuante colloquio. Scrittura
elegante che mescola formalità e quotidiano. Ho apprezzato l'idea di guardare
agli USA in un'ottica 'italiana' e di parlare (anche) del nostro paese.
IN CERTI CASI È MEGLIO ESSERE ATEI di Valentino
Peyrano
Un'alleanza
inedita con la Russia getta un'ombra sul mondo intero, ma il castigo divino non
è un concetto esclusivamente cristiano. Molti spunti interessanti per una
carrellata di presagi. Qualche errore ortografico da correggere.
EL MURO di Davide Schito
Un passaggio
segreto è l'ultima speranza di due fratelli messicani. Cosa potrebbe andare
storto? Tutto. Forse il racconto che più si concentra sulle conseguenze di
un'eventuale vittoria trumpiana coniugando orrore e normalità. Scrittura priva
di sbavature ed efficace, anche se forse qualche dialogo poteva essere
asciugato.
COSA SI ASPETTAVANO QUESTI GENI? di Fabio
Fracas
Una
giornalista ex-soldatessa e la cronaca del fallimento del progetto trumpiano di
separare uomini e donne nelle Forze Armate. Accattivanti la resa dei siparietti
e la rappresentazione del febbrile mondo giornalistico statunitense. Tanti
colpi di scena e non poca inquietudine. Peccato per quell'irritante virgola
posta troppe volte tra soggetto e verbo.
TRUMPLAND di Claudio Bovino
Trump ha
vinto le elezioni, ma è solo una Stonatura nella tempo-sfera che il Primo
Accordatore dovrà sistemare. Creativo e frizzante sia nel lessico che nella
trama, con elementi più propriamente sci-fi/fantasy rispetto ai racconti
precedenti. Invenzione non poco suggestiva la DTPD. Molto bello anche il
finale.
TU LO CONOSCI TRUMP? di Luigi Pellini
Cinque
personaggi aspettano di poter parlare con Trump all'American Dream Hotel (nomen
omen!). Un po' stephenkingiano, combina in maniera eccezionale ironia e dramma
e si legge davvero con gusto. Rispetto all'altro racconto dello stesso autore,
dove pure una serie di interrogativi venivano ripetuti per creare una certa
coesione narrativa, mi pare che qui la ripetizione della domanda funzioni molto
meglio. Difetto comune l'eccessivo ricorso a metafore (non quelle della trama):
se alcune risultano poetiche, altre mi lasciano perplesso.
LA TERRA DEI LIBERI di Luigi Lo Forti
Accoppare
Trump perché altro modo non c'è. Praticamente una riscrittura/rielaborazione
dell'altro suo racconto: la donna misteriosa è accompagnata dagli stessi
profumi di Miss America più su, è lo stesso personaggio. Lui è diverso, ma
anche molto simile. Anche qui finale sospeso, ma le intenzioni sono ben più
chiare.
Giudizio
complessivo
Encomiabili e
curiosi alcuni racconti, buoni ma con meno verve altri. Non ci sono
strafalcioni, ma personalmente avrei apprezzato una cura maggiore nell'editing.
***
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Labels:
claudio bovino,
cristina falzolgher,
davide schito,
dbooks,
fabio fracas,
luigi lo forti,
luigi pellini,
marco donna,
recensioni,
rubrus,
trumped,
trumped distopie prossime venture,
valentino peyrano
* Writer and translator. My poems and short stories have appeared in several collections and magazines.
* Scrittore e traduttore, ho pubblicato racconti e poesie in diverse antologie e riviste.
giovedì 6 ottobre 2016
English Version Of My Poem "Medea" in Fine Flu Journal
The fourth issue of Fine Flu Journal, committed
to publishing fiction, poetry and photography, is out!
I am very happy to announce that it features the English version (my own translation) of my poem
"Medea". ssp
Read "Medea" in English
Read the whole issue (highly recommended)
to publishing fiction, poetry and photography, is out!
I am very happy to announce that it features the English version (my own translation) of my poem
"Medea". ssp
Read "Medea" in English
Read the whole issue (highly recommended)
* Writer and translator. My poems and short stories have appeared in several collections and magazines.
* Scrittore e traduttore, ho pubblicato racconti e poesie in diverse antologie e riviste.
martedì 2 agosto 2016
My Humble Contribution To A Storehouse Full Of Athletes
It all started with some old pics that Steven Cline had gathered. ssp
Go and see how it ended up.
With the participation of Stephen Kirin, Karl Howeth, Jason Abdelhadi, Casi
Cline, yours truly, Maria Brothers, Dale Houstman, and Craig S
Wilson.
* Writer and translator. My poems and short stories have appeared in several collections and magazines.
* Scrittore e traduttore, ho pubblicato racconti e poesie in diverse antologie e riviste.
venerdì 1 luglio 2016
My Short Piece "Bulb(e)'s Girlfriend" For A Bulb-Themed Association Game
Of late I took part in a word association game launched by the surrealist journal Peculiar Mormyrid.They were "looking for text, visuals, audio, and video submissions". The word was 'BULB'. ssp
I wrote a short piece whose title parodies the Italian novel La ragazza di Bube (Bube's girlfriend) by Cassola and whose plot is a travesty of my vague memories of Bubu de Montparnasse. Yes, I don't know what I was thinking. All misconceptions and imprecisions are well intended.
...
Labels:
bubu de montparnasse,
bulb,
la ragazza di bube,
light bulb,
maurizio brancaleoni prose poems,
parody,
peculiar mormyrid,
surrealism
* Writer and translator. My poems and short stories have appeared in several collections and magazines.
* Scrittore e traduttore, ho pubblicato racconti e poesie in diverse antologie e riviste.
venerdì 13 maggio 2016
My Short Story "Red-Penning Slips" in Peculiar Mormyrid #3
I am very excited and not a little proud to announce that the third issue of the fantabolous surrealist journal Peculiar Mormyrid is now available both online and as a hard copy. ssp
It features the literary and visual works of no less than 61 people from 15 different countries, including a specific section dedicated to the bemourned French artist and writer André Breton on the occasion of the 50th anniversary of his death.
This issue contains my short story Red-Penning Slips and two pieces homaging Breton, a poem simply entitled To Breton and a partly unfaithful visual rendition of his dream-like La femme à la chevelure de feu de bois.
Here is a passage from Red-Penning Slips:
“How about going to the cinema tonight?”
“Sorry, I’m busy tonight. I have to clean my ears.”
“Wednesday night?”
“I’ll have to listen to my mobile ringtone.”
I decide to try a different approach.
“What about the new Dupobs album? They’re so beyond.”
“Who the fuck are they supposed to be?”
After work, both because today is my birthday and because I feel particularly depressed, I decide to buy me a gift and purchase a human being steak at the delicatessen. On my way home I eagerly anticipate the moment when I’ll sink my teeth into that dainty flesh and I feel unusually euphoric ...
Labels:
andré breton,
la femma à la chevelure de feu de bois,
peculiar mormyrid,
surrealism,
surrealist journals
* Writer and translator. My poems and short stories have appeared in several collections and magazines.
* Scrittore e traduttore, ho pubblicato racconti e poesie in diverse antologie e riviste.
mercoledì 2 marzo 2016
Dirk van Bastelaere su "Fischi di carta" (Traduzione di Maurizio Brancaleoni)
Esce in questi giorni il #35 della rivista di poesia Fischi di carta. Nella sezione Migrazioni dedicata alla poesia straniera trovate la mia traduzione di due poesie di Dirk van Bastelaere, autore fiammingo.
Fischi di carta viene distribuito nelle facoltà universitarie di Genova e Bologna, oltre che in molti teatri, locali, cinema, librerie e biblioteche di Genova.
Riporto qui le due poesie insieme a una breve biografia.
Riporto qui le due poesie insieme a una breve biografia.
Dirk
van Bastelaere,
poeta, traduttore e saggista belga di lingua nederlandese, è uno dei
più acclamati interpreti del postmoderno. Nato nel 1960 a
Sint-Niklaas, nelle Fiandre orientali, studia Filologia Germanica
prima a Lovanio e poi ad Anversa, lavorando
nel frattempo come bibliotecario, redattore per varie riviste e
responsabile stampa al Ministero per la posta e le telecomunicazioni.
Con la sua prima raccolta di poesie Vijf
jaar (1984)
vince il Premio fiammingo per il miglior debutto letterario. Seguono
Golden
Boys (1985)
e Pornschlegel
en andere gedichten (1988),
dove risalta la natura fuorviante della lingua al servizio di una
realtà caotica e frammentata. Nel 1994 esce Diep
in Amerika,
particolarmente ermetica, e nel 2000 Hartswedervaren,
incentrata sul simbolo del cuore, ad oggi la sua opera più riuscita,
con cui si assicura il Premio della cultura fiamminga per la poesia.
I suoi saggi, raccolti nel volume Wwwwhhoooosssh.
Poëzie en haar wereldse inbedding(2001),
seguono le orme di figure chiave del post-strutturalismo come Lacan,
Barthes e Kristeva. Nel 2005 una selezione delle sue poesie viene
tradotta in inglese.
Di
fronte al precipizio
Che io mi rivolga a te,
cuore muto,
è naturalmente un'assoluta follia, tu
sei
un dato generico preso dalla storia della
cultura.
Ciò significa: una nebulosa,
girini che galleggiano, un percorso
d'incidenti
un sole che si fa nero,
napalm, Ordine, un mondo coordinato
e noi scriviamo entropia.
È una parola,
cuore,
di fronte al mondo. Allo stesso modo di
fronte
al precipizio posso mettermi a urlare, un
canyon dove
in punti precisi
è stata collocata una cornicetta di
legno
con la scritta Take Pictures Here. KODAK
Tegen de afgrond
Dat ik je aanspreek,
stom hart,
is natuurlijk complete waanzin, je bent
een generiek gegeven uit de
cultuurgeschiedenis.
Dat betekent: een sterrennevel,
drijvende paddesnoeren, een parcours
d'accidents
een zon die in het zwart verkeert,
napalm, Reihung, een nevengeschikte
wereld
en we schrijven entropie.
Het is een woord,
hart,
tegen de wereld. Net zo goed kan ik tegen
de afgrond gaan schreeuwen, een canyon
waarlangs
op zorgvuldige plaatsen
een houten framepje werd opgesteld
met de vermelding Take Pictures Here.
KODAK
La
donna dell'incubo
La luna nervosa è la sua infiorescenza
più bella. Lei vaga come un'ombrellifera
sui prati bagnati della notte.
La sua schiena si raffredda e diventa
di carne. Il sogno
le si legge ancora
in faccia, come sudore freddo.
Non posso raccontarle delle cisterne
nella notte, lei stessa ci passava
accanto
per restare con me. Lei dava
il suo corpo ronzante all'indifferenza
e viveva un tempo accelerato.
La camera somma il suo tragico destino
a tutta la mia insufficienza
e la rende ovvia.
Allora posso vedere le lesioni,
non spariranno.
Poiché quel che di lei so,
lo so per la prima volta.
Ciò mi si rivolta contro
e non cambia niente,
né rende liberi.
De nerveuze maan is haar mooiste
Bloeiwijze. Ze wandelt als een
schermbloem
Op de natte weiden van de nacht.
Haar rug koelt af en wordt
Van vlees. De droom
Staat nog op haar gezicht
Te lezen, als koud zweet.
Ik kan haar niet vertellen van de
regenputten
In de nacht, ze liep er zelf langs
Om mij bij te blijven. Ze gaf
Haar gonzend lichaam aan de
onverschilligheid
En leefde een versnelde tijd.
De kamer telt haar noodlot op
Bij al mijn ontoereikendheid
En legt haar voor de hand.
Dan kan ik de kwetsuren zien,
Ze zullen niet verdwijnen.
Want wat ik over haar weet,
Weet ik voor het eerst.
Dat keert zich tegen mij
En dat maakt niets uit,
En niets vrij.
***
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Labels:
dirk van bastelaere,
dirk van bastelaere poesie,
fischi di carta,
fischi di carta migrazioni,
letteratura nederlandese,
maurizio brancaleoni traduzione,
poesia fiamminga
* Writer and translator. My poems and short stories have appeared in several collections and magazines.
* Scrittore e traduttore, ho pubblicato racconti e poesie in diverse antologie e riviste.
martedì 2 febbraio 2016
Interview with Casi Cline
Hi Casi,
thanks for agreeing to be interviewed!
I'd like to start by asking you about yourself and your activity as
an artist. Who is Casi Cline and what does Ephemerality Art
represent for her?
Well, I am a human like any other with complex thoughts and
emotions, though perhaps a little more anxious than most. If I were
an animal, I would be a frightened doe rabbit running from the beast
of time, grateful for my safe and glowing burrow with my warm buck
inside where I can forget for a time until I have to dip back into
the dark. Ok, goofy animal metaphors aside, I am a graphic designer
during the day and create art whenever I can. I am married to Steven
Cline, my favorite artist. I see myself as darkly enlightened, but
have been told I am innocent. Just another aspect of the infinite
list of opposites that I am, I suppose.
Ephemerality Art is an external transcript of the ideas and
thoughts swarming through my subconscious. I think it is important to
experience the subconscious minds of others. It lets you see from
other perspectives and helps you get a little closer to that
indefinable something at the center. So, Ephemerality Art is my
contribution. My tiny little piece of the equation. Even if I don’t
get there, maybe I can help someone else. The perfect metaphor would
be from the novel Mount Analogue by René Daumal. Each traveler
prepares the way for those who come behind.
However complex and intricate, your pieces possess a striking
elegance and show a perfect balance among elements as different as
harmonically integrated. Diverse entities coexist in a mysterious
universe whose depths are unfathomable. Encyclopedic illustrations of
pterodactyls soar over arcane messages about unexplained omens.
Geometries both of the flesh and of the mind are visited by moths and
rifles. Legions of circular shapes and decorative elements
reminiscent of the Victorian era meet and interweave to create
majestic systems. What are your favourite image sources?
My favorite kinds of materials are old books with interesting
patterns or diagrams. These can be scientific textbooks, manuals,
medical encyclopedias, etc. I look for books from the time period
before photography became the norm and hand drawings were mostly
used. I love shapes and lines, which is why old sheet music is also
one of my favorite sources. There is something especially magical
about searching through a pile of ephemera or a box of books at a
yard sale and finding images that resonate with you. I especially
love taking the kinds of drawings and diagrams that are solely
utilitarian in purpose, such as a machine blueprints and giving them
a violent rebirth as art.
When did you begin making collages and drawings with a view to a more
or less coherent project?
I started making collages late in 2013. However, to this day, I
don’t purposely create a certain style. I go into each piece with
no intention. Each piece is a reflection of my thoughts and state of
being when I am in the act of creating it. As I go through mental
epochs, the pieces evolve. For instance, I have increased my use of
color over time, and the types of patterns I draw go through stages.
However, my preference for certain materials lends a degree of
unintended coherence to my pieces.
To what extent is a collage the result of a predetermined sketch? Is
it more a matter of conscious spontaneity or of a well-defined plan?
When I start a piece, I usually have no idea about how I want the
finished piece to look. Exceptions would be if I were doing a custom
commission with specifications, which is very hard for me considering
I don’t usually plan, or if I found a special image while out
collecting materials. Normally, I try to keep the flow of work as
effortless as possible. I will start by picking my background: old
paper, music notes, book pages, or whatever I am feeling like. I make
sure to leave a blank area to draw in. Then I will go through my
materials and cut out whatever strikes me. Sometimes it is just
images I find and sometimes I also find bits of text I like. After I
have applied all of the paper pieces, I start to draw. This usually
takes me the longest. I don’t usually plan the drawing, either. I
have plenty of shapes I like to draw and sometimes I see something
new I like and draw my interpretation of it. For instance, I have
lately taken to the patterns in insect wings. Once I have a style
going, I just keep drawing until I have filled in as much of the
blank spot as feels right, usually all of it. I have a hard time
leaving empty space.
What were your earliest experiences with art?
As far as my personal art goes, though I did not know it at the
time, I have been practicing for my current pieces since I was a
child. I kept a journal, which, in addition to containing terrible
poetry, was also filled in every margin and available space with
small drawings and wild patterns. Even up through college, every
notebook I owned, instead of being filled with class notes, was
filled, inside and out, with shapes and patterns. I was discovering
favorite motifs then, which I still use now. My experience of the art
of others was mainly from art books. We didn’t go to museums very
often when I was growing up, but we did go to the library every week and check out
the maximum allowance. That was back when we still had library cards.
I also remember a large set of art books, which my uncle gave to me.
I would pore over beautiful and sometimes dark and frightening
pictures in the book. It was the terrible pictures that I couldn’t
tear my eyes away from. I remember a painting of hell I would go back
to again and again, and a picture of a tiger with its claws in a
man’s skin. The agony displayed in these images expressed feelings
I could neither identify or explain. My uncle was an artist, and I
often regret that he died before I could share my art with him.
My husband, Steven Cline, has inspired me through his
encouragement and the vast knowledge he has shared with me. I love
patterns, and whenever I see something that resonates with me, it
finds its way into my drawings. The Surrealists have inspired me, not
in a visual way, but in an ideological way. My greatest inspiration
is simply the world of books and paper I have always lived in. My art
is an expression of my subconscious and the things that fill it.
As a math teacher, do you feel your art and mathematics are in some
way connected?
I love math. It is an abstraction of patterns in the world around
us. As something I feel a connection with, it finds its way into my
art, sometimes subtly and sometimes overtly. I am no longer a math
teacher, but the math is still there, influencing me. In addition, I
do believe that there is a philosophical place of deep understanding
where all arts and sciences become on knowledge. Things are not so
separate and sharply delineated as they would seem. I see no
disconnect between science and art.
This is how you introduce your first novellette, Chimaera Obscura:
in this book "[...]we journey through a mysterious forest to
reach the top of a tall mountain, meeting others along the way who
are flighty, wise, beautiful, sinister, and cranky. But above all
else, Chimaera Obscura is a journey to find what one is." Where
did the idea of Chimaera Obscura come from?
Like most of what I do, Chimaera Obscura comes from the place of
deep uncertainty, constant questioning, dark anxiety, and hopeful
idealism that is my mind. We can never know what is true, and my mind
refuses to resolve on an arbitrary choice. Because of this, I am a
perfect split of opposite answers in stalemate. Chimaera Obscura is
an expression of the inner voice looking for truth. In the end of the
story, a solution of sorts is given, but it is just one possibility
of infinitely many.
Some of your artworks and poems have appeared on the surrealist
journal Peculiar Mormyrid. What is your personal notion of
"surrealism"? Why is surrealism important to you, whatever
form it takes?
Surrealism has been for me a refuge and a release. Surrealism has
helped me brush away the doubts that had kept me from doing art for
so long. Art to me now is a distillation of human thought rather than
an obscure talent guarded by a select few, and as such exists in
every human subconscious waiting to be tapped. In the words of
Lautreamont, “poetry should be made by all, not by one.” It has
always struck me how vast the universe is when each mind contains an
infinity of possibilities. Because of the philosophy of the movement,
I have discovered a world in which I can be myself ever more freely.
Before I found Surrealism, any odd idea would usually be dismissed or
find no hold. I had always been yearning for something, and, while
the yearning is still there, I now have a compass with which to
search. With a little practice the mind can see many marvelous things
in our very ordinary world.
Your recent experiments with sound poetry are particularly
fascinating in that they seem to evoke a primordial world where an
ancestral and almost magic language was spoken. These lulling albeit
slightly unsettling pieces reverberate with semantic units of primal
significance which take us back to the dawn of civilization. Are
these tracks part of a wider project?
I have no big plans at this point. I am excited to find a new
channel for artistic experimentation. But it all started the fateful
day that my encyclopedic husband introduced me to Kurt Schwitters!
“Rakete rinnzekete!” When I heard sound poetry, of which I was
embarrassingly ignorant, I was instantly inspired. I went around for
a couple of days just repeating Kurt Schwitters and then started
making my own sounds. I have always loved playing with the sounds of
words, but now I don’t have to be distracted by the meaning. I had
also been listening to industrial, gamelan, and experimental music,
so the sound poetry just fell in well with it to me. I find it
amazing how much you can do with household items, free audio
software, and an affordable microphone. As you can tell, I really am
a little excited.
Thanks again for your time!
Related links:
***
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Labels:
casi cline,
casi cline interview,
chimaera obscura casi cline,
ephemerality art,
peculiar mormyrid,
sound poetry casi cline,
steven cline,
surrealism
* Writer and translator. My poems and short stories have appeared in several collections and magazines.
* Scrittore e traduttore, ho pubblicato racconti e poesie in diverse antologie e riviste.
sabato 23 gennaio 2016
"Notturno & altre poesie" di Ab Visser - Traduzione di Maurizio Brancaleoni
Oggi su "Rivista!Unaspecie" potete trovare la mia traduzione di tre poesie dello scrittore olandese Ab Visser.
Ab Visser (1913-1982), poeta, romanziere, critico e giornalista, nasce a Groningen, nei Paesi Bassi. Il suo esordio ufficiale nel mondo letterario viene considerato il romanzo De mens wikt (1936). Seguono De buurt (1953), De vlag halfstok (1955), God in Frankrijk (1957), De valstrik (1959) e De hel met negen deuren (1962. Con Kaïn sloeg Abel (1963),
spinto sia dalla necessità che da un interesse particolare per i lati
oscuri dell’essere umano, Visser inaugura un filone dedicato alla
narrativa gialla anche con l’intento di promuovere e nobilitare il
genere.
Notturno
La sera non ha nulla di amabile in questo Paese;
la luce si affievolisce come in occhi infiammati,
l’aria pesa grigia e acre come sabbia bagnata...
Labels:
ab visser,
ab visser poesie,
letteratura nederlandese,
letteratura olandese,
maurizio brancaleoni traduzioni,
poesie inedite,
rivista!unaspecie
* Writer and translator. My poems and short stories have appeared in several collections and magazines.
* Scrittore e traduttore, ho pubblicato racconti e poesie in diverse antologie e riviste.
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