these are the timesdirty beloved


W.S. Merwin at home

...who am alone
From all Eternitie, for none I know
Second to mee or like, equal much less.

Who is like God but God? And who exists
for God to love? No one, for God is One.
Milton imagines the infinite loneliness

of an infinite being. But God relents.
And in the creation of Eve, Milton
reveals the blessing of our finitude....

Eric Charles LeMay
The Loneliness of God
Poetry Daily August 2 2003


Former Fellow of TNI, Berger is an acclaimed novelist, playwright, screenwriter, painter and art critic. His innumerable books, include G., for which he was honoured with England's Booker Prize and the James Tait Black Memorial Prize; Seventh Man (with Jean Mohr) about migrant workers in Europe, translated into all the languages of the subjects, including Bengali, Turkish and Arabic; Ways of Seeing, a product of his popular BBC television critical art series; and Into their Labours, a fictional trilogy about peasant life, a favourite read by Sub-Commandante Marcos to the children in Chiapas! His latest book is King: A Street Story (Bloomsbury, UK 1999, paperback due May 2000 and Editions Olivier, France 1999; also published in Germany, Sweden and soon out in Spain, Greece and Turkey). King is a story of the new urban homeless. In Sweden, the book is sold for a 50% commission on the streets by the homeless magazine sellers, and in Germany, the proceeds of various readings go to homeless peoples’ organisations.

John Berger profile
Transnational Institute Festival at The Edge

le refus
à un certain moment, face aux événements publics, nous savons que nous devons refuser. Le refus est absolu, catégorique. Il ne discute pas, ni ne fait entendre ses raisons. C'est en quoi il est silencieux et solitaire, même lorsqu'il s'affirme, comme il le faut, au grand jour. Les hommes qui refusent et qui sont liés par la force du refus, savent qu'ils ne sont pas encore ensemble. Le temps de l'affirmation commune leur a précisément été enlevé. Ce qui leur reste, c'est l'irréductible refus, l'amitié de ce Non certain, inébranlable, rigoureux, qui les tient unis et solidaires.
Le mouvement de refuser est rare et difficile, quoique égal et le même en chacun de nous, dès que nous l'avons saisi. Pourquoi difficile? C'est qu'il faut refuser, non pas seulement
le pire, mais un semblant raisonnable, une solution qu'on dirait heureuse.

Maurice Blanchot, 1958.

InterTran (over 25 word count):
him refusal
a certain moment , face at the event open , we know as we have to decline. Him refusal am absolute , categorical. He ne argues not , neither ne does hear her motivations. Is at what he is noiseless and lone , Mrs as s'affirme , as he him blame , outdoors day. The men thanksggiving decline and thanksggiving are liés forcibly any refusal , know qu'ils ne are not yet in concert. Time about the affirmation common their has precisely been enlevé. What their remainder , is l'irréductible refusal , the friendship of this No certain , steadfast , inclement , thanksggiving the holds unison and solidaires. Him gesture about decline am infrequent and difficult , notwithstanding alike and him Mrs at anyone about ourselves ds as ourselves lawyer seizure. Why difficult? Is qu'il blame decline , no not just worst , but a show affordable , a solution qu'on shall say blissful.
Maurice Blanchot, 1958.

ibiblio proceeds apace


Southland of The Heart
Maria Muldaur

Pahinui Aloha
on In the Name of Love

...Some writers devoted much of their lives to revisiting a single book. Walt Whitman frequently amended "Leaves of Grass," softening or even deleting the earthy language and images of the first edition, published in 1855. William Wordsworth's classic autobiographical poem "The Prelude," first came out in 1799. He issued an expanded edition in 1805 and continued working on it for decades, with another version out in 1850.
When writers die, publishers often decide which text works best. Norton has released an edition of "The Prelude" that includes all three versions...

Hillel Italie Contra Costa Times Jul 31, 2003
sort of neutral piece sort of about Joyce Carol Oates' revision of Garden of Earthly Delights'

"...the story of that peculiar institution, whose fortunes, since man first etched a symbol in stone, have been governed as much by mass uninterest and bureaucratic incompetence as by war and natural disaster. 'Libraries are as much about losing the truth ... as about discovering it,' writes Battles, pointing out that much of what has survived through the ages is owing not to public institutions but to private collectors, who were better able to weather the tides of biblioclasm - the destruction of books - that have periodically swept the world."

National Post (CA) July 31 » 2003
link from ArtsJournal
biblioclastic rampage

Heart Heart Heart Heart Heart Heart Heart
Albert Goldbarth at Poetry Daily 7/30/03
(archives after date)


Photo:(AFP)Greg Wood

A Sotheby employee inspects a giant Aboriginal collaborative painting titled the "Ngurrara" canvas, in Sydney, prior to a two-night auction of Aboriginal paintings.

AFP Actualité Jul 30, 2003


...Tinsel the precincts of the winter sun.

What loftier organ than these pipes of beech,
Pillars resounding with the jackdaws' speech,
And poplars swayed with light like shaken bells?

Wings that could be hands, but are not...
Cries that might be pleas yet cannot
Question or disinvent the stalker's gun,

Be your own hammerbeam angels of the air...

Carol for the Birds
Anne Stevenson
Verse Daily

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