Den hjerteskærende afmålthed

Marie Kudahl har tidligere været gæsteanmelder her på prmndn, nu er hun det igen, gudskelov. Hun anmelder (trods søvnmangel) den allestedsnærværende Rolfs to digtsamlinger:

Rolf Sparre Johansson er i sine to digtsamlinger, søvn (debut, 2015) og begravelse (2016) bekendende i et modus der i den grad forstår at være upyntet, svøbelsesløst. Samlingerne skriver sig fint ind i tidens aftabuiserende digtning. Læs resten

“Nej!”

– sagde jeg øjeblikkeligt og straks, uden tøven og så at sige instinktivt, for det er efterhånden ganske naturligt at vore instinkter fungerer stik imod vore instinkter, at det så at sige er vore modinstinkter der virker i stedet for, ja, som var de vore instinkter – siger jeg åndfuldt, hvis det da kan kaldes åndfuldt, det vil sige hvis den nøgne, begrædelige sandhed kan siges at være åndfuld – fortæller jeg altså filosoffen der kommer gående imod mig, efter at både han og jeg er standset op i den hensygnende og af sygdom, måske af tuberkulose, næsten hørbart stønnende bøgeskov, bøgelund, eller hvad man skal kalde den: jeg må indrømme, at jeg er hjælpeløst uvidende med hensyn til træer, kun fyrretræet er jeg i stand til at genkende, og det alene på grund af dets nåle

Imre Kertész (1929-2016), begyndelsen af Kaddish for et ufødt barn

Why write in many languages?

by Uljana Wolf

Uljana WolfFor my talk on “Why write in many languages“ I want to focus on the translingual poetry of LaTasha N. Nevada Diggs, whose poems continue to be a source of inspiration, confusion, activation, exhilaration, multiplication, and makkaronization; in doing this, I would like to also think about how to translate such translingual writing, or rather, how the failure of translating such writing can turn into most multi-tongued truths. I want to begin by trying to describe what kind of translingual writing these poems present, what they look like, what they sound like, and into what experience they invite the eye and ear of their readers. LaTasha N. Nevada Diggs poems from the 2013 collection “TwERK“ are written in a deliciously disorienting mix of languages: English, Spanish, Japanese, Hindi, Urdu, Maori, Hawaiian, Samoan, Caribbean dialects, Swahili, Runa Simi (Quechua), Yoruba, Portuguese, Cherokee (Tsa’lâgî), Tagalog, Chamorro, Papiamentu. Diggs Læs resten

Goddag,

vi vil regere ved paralipser, havde vi nær sagt. Vi ville aldrig synke så dybt som til at nævne, at vi kunne finde på at tage jeres smykker eller internere jer. Husk på noget med dette ubeslægtet: I gamle dage ved det kinesiske hof fik eunukkerne det hele skåret af, ikke bare testiklerne, og skulle som ID opbevare ’de tre skatte’ i en krukke og jævnligt fremvise dem for kontrollanter. Kontrollanterne sagde: Så rige I er på jeres gamle selv! Tænk over det, mens vi laver noget andet. Tanken er enkel: folket er selvidentisk og konstant sammen med sig selv for at forhindre andre i at være det. Være hvad? Såvel ”folket” som ”sammen med sig selv”. Åh, knæl for vor overlegne ånds evigt konsistente udsagn. Eller bæv når det halter lidt. Pantsæt nu lidt fremtid med os.

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Laudatio for Uljana Wolf, Copenhagen on September 26th 2015

by Yoko Tawada

Yoko Tawada

In German, people talk about a “word treasure.” Words that we know and that know us are precious treasures. Among these, there are words that sit heavily on the stomach or are carved into the heart. Most words we keep in the brain, however, and though this is the organ of knowledge we don’t know how they are stored there. Are they arranged in alphabetical order, or thematically? Or, like in a botanical dictionary, ordered by color or by season? In any event, for each new language we attempt to build a new word treasure chamber. I myself am particularly anxious not to mix up the meaning of English words with those of German words. Apparently, I must have built a watertight wall between the two languages. Otherwise I cannot explain why I never heard the English word “eagle” in the German word “Igel” until I read Uljana Wolf. She developed a new order (or disorder) for the chambers in the language center. She is an excellent interior designer of multilingual poetry. When she interconnects words with elegant lines and steps over the borders between languages, an unexpected formation appears as poetry. It’s like the constellations: between the individual stars there is a distance of millions of light years but because their light reaches our present at the same time, we can detect an image.

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Head to tongue through revolving doors

by Cia Rinne

Cia RinneLangue et style sont des forces aveugles;

l’écriture est un acte de solidarité historique.[1]

Why write in different languages. This is a question I have frequently been asked. My texts are mainly composed in English, German, and French, not because I pursue to write translingually – the pieces just evolve in these certain languages rather than in others. In the more documentary texts, the reasons for using several languages seems more apparent, as for instance in Bluetide[2] that deals with a disappearing fishing community in Portugalm the text is bilingual (Portuguese/English), or in The Roma Journeys[3], a book on the Roma of seven different countries, where fragments of different languages are used to give an immediate sense of the aural atmosphere (to the extent this can be achieved through the site-specific language so to say) or because it is essential to the information.

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The Polyglot Poetics of John Skelton’s Speke Parrot

by Eugene Ostashevsky

Eugene OstashevskyThe text I will speak about is Speke Parott (or “Speak, Parrot”), a 520-line satire by the English poet John Skelton, the poet-laureate of Henry VIII, composed mainly in 1521. The first half of it is a monologue spoken by a parrot in seven-line ababbcc stanzas. After introducing himself in a remarkable and very alive way, the parrot decries the political machinations of the king’s favorite Cardinal Wolsey and also the language-teaching methods associated with the Humanists. However, his attack is wrapped in so many learned allusions, whether to the Old Testament or the university curriculum, that one scholar has described at as “a cryptogram of which we have lost the key.”[1] Indeed, as with experimental poetry today, excess of learning hobbled the political efficacy of Speke Parrot from the start, for the satire’s subsequent, weaker sections bemoan the hostile reception of the first part by the “nodypollys [fools] and gramatolys of smalle intellygens” [l. 318], whose “dull abusyd brayne” [l. 383] either cannot or will not follow the poet’s “metaphora” and “allegoria” [l. 202].[2]

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“Tag selv mælk, jeg kommer måske tilbage. Mor”

I mandags på Hovedbiblioteket præsenterede Litteraturkritikernes Lav de tre kandidater til Kritikerprisen 2015, som er Ursula Andkjær Olsens Udgående fartøj, Dennis Gade Kofods Nancy og Hanne Højgaard Viemoses Mado.

Vores nyindfangede medlem, Martin Gregersen, præsenterede Mado som han også anmeldte i Kristeligt Dagblad, da romanen udkom. Denne tekst er en udvidet udgave af dagbladsanmeldelsen. Værsgo! Og tak til Martin!

Hvem er hovedkarakteren/fortælleren i Hanne Højgaard Viemoses Mado? Spørgsmålet er vanskeligt at svare entydigt på, fordi hun er en kaoskarakter. Ligesom den delvist selvbiografiske backpackerroman Hannah (2011) og den uregerlige Gellerup-dagbog Helhedsplanen (2015), der i øvrigt indgår som et kapitel i Mado, har vi således her at gøre med en person, der i den grad bakser med at finde sig til rette i tilværelsen og sin egen krop. Det er med andre ord ikke kun læseren, der har problemer med at svare på, hvem hovedkarakteren/fortælleren er. Læs resten

WHY WRITE IN SEVERAL LANGUAGES?

In September 2015 the international poetry festival REVERSE took place for the second time in Copenhagen. As for the 2014 festival I was moderating a panel – in 2014 the overarching theme was Conceptual Poetry, and in 2015 the panel was on Multilingual Poetry. Caroline Bergvall (NO/FR), Yoko Tawada (JP), Eugene Ostashevsky (RU/US), Cia Rinne (FIN) and Uljana Wolf (DE) all participated this year and gave a talk on poetics as a response to the question: Why write in several languages? These talks will all be published at Promenaden. The first talks will appear shortly.Panel samlet

Of course language is crucial to an author. For obvious reasons. Different languages allow different possibilities, different access to and understanding of the world. Whatever that is. Also history leaves different traces in different languages, as does the language in the bodies that are to speak them, to live them.
Panel samlet closeup
We can all think of remarkable authors such as Joseph Conrad, Vladimir Nabokov, Joseph Brodsky, Samuel Beckett, August Strindberg, Milan Kundera or Rosmarie Waldrop who – also – work in another language than their mother tongue. But usually they do it in one language at the time. The authors who are present on this panel today – how different their work might be from each other’s – all share a multilingual poetic practice. They’re all polyglots, and seem to be operating in what has been termed a post-monolingual condition. But why, how, and what does such a practice entail?

– Martin Glaz Serup

12. december 2015

I dag var vi i Grand Palais; der ligger et væld af museer dér, alle slags, og hvert museum rummer flere afdelinger, der i sig selv er hele museer, udstillinger der virkelig er ganske overvældende. Vi var på det naturhistoriske Palais de la Découverte; vi nåede at se nogle fantastiske, mekaniske, brølende, rystende dinosaurtableauer og at lege med levende lys, hvordan skal man forklare det. Og lidt frøer, rotter og planter også, inden Emmy blev træt og ville videre. Jeg tænkte virkelig på kultur dér; at et land viser sin storhed igennem sin kunst, sin videnskab, sit overskud til at tilgængeliggøre det også. Og hvad har vi i Danmark nu – og om nogle få år – massive besparelser på kunst, videnskab, hvordan går det med [ulæseligt – måske institutionerne, måske integrationen], med dét overskud, at vise det frem, at være nogen, hvordan går det med den danske kultur.

 

[20. marts 2003, 5. maj 200824. september 201116. november 2011, 2. april 201226. juni 201228. september 2012, 15. april 2013, 10. oktober 2013, 3. marts 2014, 26. marts 2014, 22. juli 2014, 25. juni 2015]