Anthony
@timesflow
Reading toward disappearance. Distracted by everything that resists it.
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Awaiting a negative canon not (to be) available in English: 1. Unica Zürn Notebooks 2. Ingeborg Bachmann Tagebücher 3. Cixous’s Stigmata Notebooks 4. Anna Mendelssohn full archive 5. Lispector early Notebooks 6. Cioran Cahiers 7. Lars Norén Diaries 8. Artuad's Cahiers
Lukacs’ “Kierkegaard phase”, as described in his autobiography, included its “Regine Olsen” in Irma Seidler.
having HM fomo, but for those in London, check this launch for Sam Dolbear’s new translation of Berta Lask’s 1925 play Thomas Müntzer
"safety was a lost art, something / for play-pretend"
Today on Anthropocene new poetry by @harmlessfires 🌄🦕🦬 anthropocenepoetry.org/post/cave-dwel…
anthropocenepoetry.org
Cave Dwellers by Daniel Fraser
Nights in that housesafety was a lost art, somethingfor play-pretend.Strange carnivores, drunks and crockeryroared downstairs.Finding his grandmother’s bedthey sat together, cross-legged,in prehist...
“the work of some insane, sterile-fertile shaman”— the alchemical urges in Danilo Kis’s uncanny and magnificent worlds of words
“the potato is longer-lived and more perfect than we, than you, and that it will survive us; that it will survive the great cataclysm.” (Kiš) literature doing what only literature can do
Great books under 200 pages. 84) Lili is Crying by Hélène Bessette (trans. Kate Briggs) The reader me is devastated. The writer me feels exhilarated. Wow, what a book! ♥️🔥
Celan: — The forests are very old. The forests are older than man. They have seen the gods die. And man is naked in a forest of dust, dry leaves and roads covered with leaves and dust.
"All of a sudden, with no visible exterior cause, the defence mechanism that lets you live with the knowledge of human mortality goes to pieces, and a menacing lucidity comes over you—an absolute lucidity I would call it." — Danilo Kiš
Saturday evening: "If you get a taste for Kiš's work, nothing quite takes its place."
"One of those writers who are first of all readers, who prefer dawdling and grazing and blissing out in the Great Library and surrender to their vocation only when the urge to write becomes unbearable . . ." Sontag on Danilo Kiš
"Surround yourself with an unsatisfying circle of friends. Nothing precious. To be avoided. Never a perfect circle, if you need stimulation. Better to live surrounded by annoyance than to doze in what satisfies." Henry Michaux (tr. Lynn Hoggard)
“It is strange how the passage of time turns every work—and so every man—into fragments. Nothing whole survives—just as a recollection is never anything more than debris, and only becomes sharper through false memories.” — Valéry (quoted in Barthes, The Preparation of the Novel)
“What remains of the Book is the *quotation* (in the very broad sense): the fragment, the remainder that is *transported* elsewhere. … We are constantly creating ruins and feeding off them; in order to feed our imagination, our thinking.” — Roland Barthes (tr. Kate Briggs)
Moi je ressemble à tout le monde. Je crois que jamais personne ne s’est retourné sur moi dans la rue. Je suis la banalité. Écrire, Marguerite Duras
When Waits took the role of Renfield in Coppola's Bram Stoker's Dracula, he was toggling back and forth between filming his scenes as the unhinged asylum patient—a process that involved being hosed down and wearing shackles—and recording his Grammy-winning album, Bone Machine.
“Reality slips, intentionality falters.” In A Fictional Inquiry, Daniele Del Giudice walks the tightrope between writing and not-writing, fiction and memory. Trace this delicate balance in Anne Milano Appel’s crystalline translation here: tinyurl.com/2uezrf6u
“If it’s not me, it’s you, who are me, I say to myself. How you’re going to miss me! I mean: how I’m going to miss you. That is: how you miss me. That is: how we miss each other. I’m declining mourning and nostalgia.” In October 1991, Stigmata, Hélène Cixous; tr. Keith Cohen
Hélène Cixous (tr. Peggy Kamuf)
“All the time, a new past to recall.” Of Darkness, Josefine Klougart; tr. Martin Aitken
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