Nov 202010
 

The Lives of the Alchemists

The great labor was always to efface oneself,
Reappear as something completely different:
The pillow of a young woman in love,
A ball of lint pretending to be a spider.

Black boredoms of rainy country nights
Thumbing the writings of illustrious adepts
Offering advice on how to proceed with the transmutation
Of a figment of time into eternity.
The true master, one of them counseled,
Needs a hundred years to perfect his art.

In the meantime, the small arcana of the frying pan,
The smell of olive oil and garlic wafting
From room to empty room, the black cat
Rubbing herself against your bare leg
While you shuffle toward the distant light
And the tinkle of glasses in the kitchen.

Fiordiligi

My mother sang opera all day long.
She made beds, shucked peas
And swore that not even death
Could change her heart’s devotion.

Her voice was like a police siren.
Her voice was like soft evening rain.
In the shed, the rabbits trembled,
The rooster looked admiringly at her.

Days of ecstasy, anguish, silence.
A year of long black dresses,
A year of white handkerchiefs,
Crumpled and strewn on the floor.

Once we took a walk in the cemetary.
The leafless old trees terrified me,
And so did her hands clenched into fists
As her chin rose higher and higher.

Grocers and mailmen ran from her
As from a sleepwalker
Who came after them in broad daylight,
Asking for the news of her lost love.

Nov 202010
 

(Translated from the Greek by Daniel Mendelsohn)

Nero wasn’t troubled when he heard
the Delphic Oracle’s prophecy.
“Let him beware the age of seventy-three.”
He still had time to enjoy himself.
He is thirty years old. It’s quite sufficient,
the deadline that the god is giving him,
for him to think about dangers yet to come.

Now to Rome he’ll be returning a little wearied,
but exquisitely wearied by this trip,
which had been wholly devoted to days of delight-
in the theaters, in the gardens, the gymnasia…
Evenings of the cities of Achaea…
Ah, the pleasure of naked bodies above all…

So Nero. And in Spain, Galba
is secretly assembling his army and preparing it:
the old man, seventy-three years old.

Nov 192010
 

Down, wanton, down! Have you no shame
That at the whisper of Love’s name,
Or Beauty’s, presto! up you raise
Your angry head and stand at gaze?

Poor bombard-captain, sworn to reach
The ravelin and effect a breach–
Indifferent what you storm or why,
So be that in the breach you die!

Love may be blind, but Love at least
Knows what is man and what mere beast;
Or Beauty wayward, but requires
More delicacy from her squires.

Tell me, my witless, whose one boast
Could be your staunchness at the post,
When were you made a man of parts
To think fine and profess the arts?

Will many-gifted Beauty come
Bowing to your bald rule of thumb,
Or Love swear loyalty to your crown?
Be gone, have done! Down, wanton, down!

Nov 192010
 

O bliss of the collector, bliss of the man of leisure! Of no one has less been expected, and no one has had a greater sense of well-being than the man who has been able to carry on his disreputable existence in the mask of Spitzweg,’s ‘Bookworm.’ For inside him there are spirits, or at least little genii, which have seen to it that for a collector – and I mean a real collector, a collector as he ought to be – ownership is the most intimate relationship that one can have to objects. Not that they come alive in him; it is he who lives in them. So I have erected one of his dwellings, with books as the building stones, before you, and now he is going to disappear inside, as is only fitting.

Dogma95 Manifesto

 Orts  Tagged with:
Nov 192010
 

Lars von Trier and Thomas Vinterberg co-wrote this as a response to the technological innovations that were democraticizing the production of film. It was also a statement to protect the avante-garde and affirm its importance at a time when anyone could make film. The principle tenets imposed a kind of chastity on the film-maker and was contra-Hollywood normative sensibilities: shooting was to be done on location, the sound must be recorded with the images, the camera must be hand-held, the film must be in colour, there must be no murders or weapons, temporal and geographical alienation must be avoided, genre movies are not acceptable, and the director must not be credited.

Vinterberg did “Festen” (1998) in this style and von Trier contributed, among others, his “Goldheart” trilogy: “Breaking the Waves” (1996), “The Idiots” (1998), and “Dancer in the Dark” (2000).