You've got to dig to dig it, you dig?
Alejandro Chacoff, in New York Review, on Clarice Lispector and Brazilian crônica and fiction.
“… crônicas do feed on a certain amount of friction—strange incidents, uncomfortable interactions with strangers, conversations with cab drivers (Lispector has a couple of very good pieces on this topic). […] The crônica demands a certain capacity for boredom, for being open to fleeting, small scenes of the quotidian.”
In New Yorker, a Lispector lost interview. An article (2015).
“… thinking is not something that one person can do alone. It takes two people to have a thought” Rachel Aviv, New Yorker.
“the glory of the garden” (RS)
Legna Rodríguez Iglesias, Fácil, via theverseverse
EASY
You touch a woman
and she trembles
you spit her out and she comes out
covered in saliva
you can destroy
a woman
how do you destroy her?
easy
touch her
spit her out
touch her
spit her out
between one thing and another
tell her that all of a sudden
you have begun to love her
that simply
you just love her
and that’s it
finally touch her
and spit her out.
Also, An Interview with Legna Rodríguez Iglesias about Her Book My Favorite Girlfriend was a French Bulldog by Amanda Uhle (2020). “… I cannot conceive a piece without laughter or play. In that laugh and in that game is all the sadness, all the restlessness, all the anguish in the world.”
Founded in 1878, Translated by Serafina Vick.
Rum produced and matured in Cuba
is pleasing to the throat
of the man produced and matured in Cuba
the label of authenticity
that they put on the bottles
has a woman with a sword
and a lovely dress
that seduces men and women
white rum or dark rum
is pleasing to the throat
of the white man or the dark man
but the knot in the throat
no one can get rid of.
… A good day, then;
the voice as fresh as I remember.
I close my eyes to savor it
[…]
No wonder Orpheus, when he heard
the voice he’d played his lyre for
in the only season of his life that mattered,
could not believe she was anything
but who she’d always been to him, for him. . . .
Eurydice, Turning written by Rita Dove (Playlist for the Apocalypse); On Being 041122, read by Pádraig Ó Tuama.
“This, I think, is one of the intelligences of this poem, which is to find a way to allow yourself to change and, perhaps, to look for the stories that will support that.” Pádraig Ó Tuama.
Heterotopias, place that opens behind the surface, holds an over-there-ness, represent a “reservoir of imagination” (MF). Within the fold. A garden as a microcosmic world build out of the juxtaposition or arrangement of elements. Place with temporal shifts and/or fragments. A cruise ship. An airport.
L’imaginaire de mon lieu est relié à la réalité imaginable des lieux du monde, et tout inversement. L’archipel est cette réalité source, non pas unique, d’où sont sécrétés ces imaginaires : le schème de l’appartenance et de la relation, en même temps.
Glissant, Édouard, Philosophie de la Relation, Paris, Gallimard, 2009.
“the imaginary of my place is related to the imaginable reality in all places …”
Releted(?) : heterotopias–“In Of Other Spaces Foucault coined the term “heterotopias” to signify “all the other real sites that can be found within the culture” which “are simultaneously represented, contested, and inverted.” For Foucault, heterotopic spaces were first of all spaces of crisis, or transformative spaces …”
Nicholas Britell, Song of Hal: Conclusio in C Minor, The King, 2019.
Nicholas Britell, Marche – Agincourt, The King, 2019.
“The order that matters most is not spatial but temporal […] time itself as patterns, recurrences, the rhythmic passage of days, […] lunar cycles and the tides, birth and death” (RS)
“Becoming American would remain an incomplete project” (HH); especially with a preference for Congo peas.