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Monday, May 25, 2020

Photosensible de Yan Kouton and my transversion of his poem into English - Atget



17 quai d'Anjou - l'Hotel Lauzon - photo Atget






Photosensible

Par Yan Kouton

 

Vers l’intérieur

Des motifs

Que l’on porte

 

Vers la ville

Qui sécoule

 

Comme une lumiére

Qui se répand

 

Le vue promise

Aussitôt disparu

 

Vers l’intérieur

Des motifs

Que l’on écrit

 

Comme cette rue

Où le soleil s’écrase

Aveuglante

 

Repatrié

De l’oubli

 

 

 

 

 

Atget

Transversion after a poem by Yan Kouton

 

 

Towards the interior

Of motifs

Which we carry

Within

 

Into the trembling

 City

 

Lights spilling

Out

 

Into the interior

Illuminating

The Motifs

 

Which we

Reinstate

 

Like this street

Which the sun

Hammers

 

Blindingly

 

Repatriating it

From the Lethe

Friday, May 22, 2020

Osama Esber Translates Four of my poems into Arabic



Osama Esber ( Syria ) poet, photographer, translator and editor


I first came into contact when I was guest editing Live Encounters Poetry & Writing for Mark Ulyseas. Osama submitted some poems for inclusion in the magazine and I was immediately struck by their power and beauty. Living in exile in California due to the ongoing war in the country of his birth, you could sense the deep pathos and loss coming from his work. Though no trace of bitterness. To be honest, I was amazed. A less forgiving writer would perhaps be irretrievably lost after experiencing what he went through. This is one of the reasons why you do what you do - CREATE. As it allows you the time, like the alchemists of old, to properly distill the raw content or matter of experience, in all of its particular manifestations, and from it to extract the poison necessary in order to get to the matter most pressing at hand. Baudelaire, as usual, probably says it best- Tu m’as donné ta boue et j’en a fait de l’or.

Well, we got to talking and eventually Osama, after reading some of my poetry, asked me if he could translate some of my work. I was very happy, as Osama has translated some of the great writers of our times into Arabic from the English speaking world. He has translated works by Noam Chomsky, Michael Ondaaje and Raymond Carver to name just a few. To date my writing has been translated into French, Italian, German and now Arabic. For a writer, there is no greater possible honour to be translated into another language as your ideas and words will be introduced to a whole new set of readers for perhaps the very first time. Who knows what that kind of event could lead to? The possibilities of such encounters are simply unlimited. Call it the contagion of words which are viral, in the best meaning of the sense. Many thanks to you Osama, for starting off this little pandemic. 87 or so likes after only a day! That means 87 more people are reading me in the Middle East.



Tuesday, May 19, 2020

Le Flacon par Baudelaire - and my transversion into English; The Gleaning, a new sonnet, both appearing in Ragged Lion



The wonderful Edwin Sellers who edits and prints the poetry journal Ragged Lion has included Baudelaire's poem Le Flacon with my transversion into English. The journal comes out tomorrow,
20th May, 2020. There is also a translation of a poem by Nerval and Cocteau by R J Dent who translated a text by Bataille in the previous issue. There is a piece on the Marquise de Sade and the Gothic novel by Maurice Heine, again translated by Dent. So, I am in with good company. 

I also have a recent sonnet included The Gleaning. Its taken from April is the Cruelest Month, the collection I am currently engaged on. Personally, I think its one of the best sonnets I've written this year. Certainly worth 6 Euros, on its own. My old friend Antonia Alexandra Klimenko also has a poem in here, so another reason to get yourself a copy. 

Ragged Lion is that rarest of beasts, these days; a literary review which actually has a bit of personality, a bit of soul. 

If you would like to get yourself a copy, click
on the link below.



Here is a short film of me reading Le Flacon /The Flask by Charles Baudelaire. This is for Sandy Yannone and Elizabeth Ann of Cultivating Voices.





Sunday, May 17, 2020

The Second Bilingual Poetry Reading hosted by Nina Kossman Live from New York



                                                


                                                                           

The Voices in my Ear[1]

For Nina Kossman

 

The rhythm of the words rises upon

The air like waves upon the sea,

Your breath mixing with the air

Could be a useful analogy.

 

 They are totally unfamiliar

For they are clothed in another language,

Atomised upon the viral air.

Their contagion affects, suffice it to say.

 

Despite the meaningless nature of the sounds

To my sense of reason, the sound of the phonemes

Resonate in a place far beyond meaning.

Where they rest in me is where they sound,

 

And it is a place which I trust instinctively.

What do the words say?

From them I detect emotions, mood and feelings,

As well as curses blasphemies and possible

 

Invocations. Hopes too, and so many of them

Cruelly trashed. In truth, the more I listen

To them the more I understand the clothing.

I recognise this language; it is called being human.



[1] This poem was written to commemorate the Second Bilingual Reading hosted online by Nina from New York during the Covid 19 pandemic, May 16th, 2020. The readers were predominantly reading poems in Russian which they then had translated into English. 

                                                                               
( If you wish to see the reading in its entirety, click on the link below. ) 


Thursday, May 14, 2020

TWO POEMS BY CHRISTOPHE BREGAINT WITH TRANSVERSIONS LIVE ENCOUNTERS




                                                                                      

 

Born in Paris in 1970, Christophe Bregaint is the author of four collections of poetry; Route de Nuit ( 2015), Encore une nuit sans rêves ( 2016), A l’avant-garde des ruines ( 2017), and finally Dernier atome d’un horizon ( 2018).

I have been transversing the micropoems of Christophe Bregaint and Yan Kouton for some years now. I told them both when I was in Paris a couple of years ago that I would work on a book collecting some of the transversions that I made from their work over the years, and sure enough as the years go by the collection grows and grows. This micropoem project works alongside my other translation project involving Baudelaire. As both Christophe and Yan could be described as children of Baudelaire, his influence on contemporary French poetry being all encompassing. 

The first poem published here, to my mind, is one of the greatest lyrical accounts of the Covid 19 pandemic that I have read. This is a shared quality, this inherent lyricism, that both poets have. The French language is so receptive to lyric poems such as these, such is the very plasticity of the language creating these wonderful aural scapes making transversion an exercise in lyric abandon. Mark Ulyseas enjoyed them too, as he published them in Live Encounters bringing Christophe's micropoems to a wider English speaking audience.  


 

 

 

1.

C’est venu
Comme une pluie soudaine et vive
A l’abordage d’une lumière
Ornée de morsures
A l’heure qu’il est
Dans le halo de l’ordinaire impérieux
On attend là
Le poème d’une autre gamme chromatique

 

It came

Like a rain sudden and alive

Boarding with the light

Adorned with moisture

Timely

In the halo of both the imperious

And the ordinary

We await

The poem of a completely different register

 

 

 

2.

 

 

Vers des rives épuisées
Il y eut ces routes
Tuméfiées
Dont les visages sont devenus verdâtres 
Au fil du temps 
Peu enclin à retenir les souvenirs des sillons des horizons consumés
A l’approche des côtes qui bordent les rivages de ces mers gonflées par les naufrages
Le vent reproche aux siècles le calme des silences des chemins 
En déshérence
Dans l’espace sémantique des perspectives meurtries
Pas après pas
Comme la peau du ciel sent la mémoire de ce qui n’est plus
Qui dégouline sur les terres d’ombres
Qui rassemblent les affaires des empreintes d’une existence qui se marie
Avec l’avènement des ruines

 

 

 

 

Towards the exhausted banks

There are these roads which tumefy

So that faces turn green

In time

Little inclined to return to the memories

Of furrows of consumed horizons

Approaching the coasts which break the banks

The sea swelling with waves

The wind reproaching the centuries

The calm of the silence of the paths

Dormant in the semantics of dead perspectives

Step by step

Like the skin of the sky which feels the memory

Of what is no longer there

Dripping onto the earth shadows

Which resemble the affair of traces

Of an existence which is wedded

To the advent of ruins

 

 

 

Transversions into English, Peter O’Neill, 2020.


https://liveencounters.net/le-poetry-writing-2020/05-may-pw-2020/christophe-bregaint-two-poems/

Wednesday, May 13, 2020

MARK ULYSEAS & LIVE ENCOUNTERS POETRY AND WRITING




Editors come in all shapes and sizes, you can get a feel for them in the first
email that they send you back. If the news is good obviously it helps in the
overall context of the discussion. But, there is more than that. At least for me.
Like in all relationships, business or otherwise, I need to like what the person
is all about. With editors this is usually very clear, as their personality, at least
the idea(l)s that they stand for, should be very clear. If not, there's something
not quite right there. 

I don't remember exactly offhand when I first contacted Mark in connection
with publishing some of my writing in Live Encounters. I think it must have
been three years ago now. No, it was two!



It seems longer ago now, so  much has happened since then. I loved the way
he had included the images, particularly of the Swoop Owl. It just showed
some vision and initiative. Then there was the inclusion of the image of the sheep
for my Ballybaa sequence, I had done a study of the appearance of the motif
of the sheep in Beckett's Molloy its very much a derogatory symbol with the 
naming of the town then Ballybaa just another sign in the set or paradigm.
I must post that essay that I wrote about this most marvelous novel here
someday. 





COVID 19 READINGS







Since I was made redundant due to the Covid 19 pandemic in the second week of March,
one way of dealing with the whole quarantine is meeting up with other poets online
getting involved in open mics and open readings. The medium really suits readings,
as literally hundreds of people can get to see you read /perform in the comfort of
their own home. Cultivating Voices is the brainchild of poets Sandy Yannone and 
Elizabeth Ann in the States. This short 15 minute film, sound a bit funny in places,
got 259 hits which as far as I know is my biggest audience. So, this was very much 
appreciated. Sandy was even kind enough to invite me back, so who knows, I may
be doing another reading Live for them before the month is out. 

As this whole reading session was dedicated to the memory of Eavan Boland, I 
decided to open with her wonderful poem War Horse. This is followed by
a poem in French written by me with its accompanying transversion which 
seemed to go down very well, judging from the feedback. Its not a common
thing, apparently, multilingual readings. Then I read Destruction one of my
favorite sonnets by Baudelaire which was actually the first one I ever
translated many years ago. I finish up then with some more poems from
The Dark Pool. I wanted to acknowledge some other great poets from
Boland's generation, so I read Atomic Sonnet dedicated to Derek Mahon
and The Night Watch which is dedicated to Thomas Kinsella. I finish up
the reading with the opening poem of the same collection The Drinker
which I wrote in the old Lord Mayor's Bar in The Shelbourne Hotel at
the height of the boom. Happy days!... 





VERS - YAN KOUTON ET LES COSAQUES DES FRONTIERES and FURROWS my transversion




                                                                                                                             

 Lee Miller as the Muse in Jean Cocteau's

Sang d'un poete



Vers

 

 

 

La part Maudite

De la poésie

S’impose á nouveau

 

Son régne est absolue

Elle se promène nue

 

Les deux pieds dans la boue

Sortant doucement

Du paysage diverti

 

Derriere la trachée

Prête à tirer

 

Comme une desertion

A l’intérieur de soi

 

Cette form tragique

De l’écriture

 

 

( Yan Kouton )

 

 

 

 

 

 

Furrows

 

 

The cursed side

Of poetry

Freshly imposes

Itself

 

Mnemosyne parades naked

Her reign is absolute

 

With both her feet in the mud

She slowly exits

From the different fields

 

Behind her trail

Like a plough

 

The broken up

Old earth

 

Making the tragic mask

On the face of every poet




https://lescosaquesdesfrontieres.com/2020/05/13/furrows/?fbclid=IwAR1gWxiq42FLbQ6pw_n9KDeJcNVxfEYV_AAWQxE4orYS3jwjRPh0Hh-auM4

Monday, May 11, 2020

Quarantine & Corona - Two Pandemic Poems published in Pendemic Journal



Photo by Hengki-Lee

I started a chapbook in mid-March, just when I was made temporarily redundant like so many others, 
and it seems it has come to an end. So, either I change track and start an entirely new work, or I
continue on with the present work and just broaden it out into a much larger collection, which is
a real possibility. Plague literature has been around since Lucretius, and probably even earlier. I
don't see what some people have against it. Daniel Defoe wrote about the great plague of London,
fictitiously penning it as a survivor and so helped create the first modern novel in A Journal of
the Plague Year which was Albert Camus's template for his La Peste an allegorical account of
the Nazi occupation. So plague literature has always been around, I haven't even mentioned
Boccaccio and his Decameron. 

For poets the topic is a wonderful one, as you can concentrate on the great theme of death
normally reserved for eulogies, giving it the epic dimension one ordinarily would disdain. I
really went for it in this one Quarantine. I have been following the news pretty well, particularly
in the USA, the figure of Trump and his mishandling of the crisis is the stuff of pure 
nightmare. I have also been transversing a lot of Baudelaire, so combine the two and 
what I came up with was the following. This is the second of my pandemic poems
that Pendemic have published, the last was Corona which featured a couple of weeks
back. Many thanks to them. I love the image by Hengki-Lee above, it just seems to capture
the mood of the times so well.      


Friday, May 8, 2020

Tea at the Berghof

       

    






Tea at the Berghof

 

We used to spend the spring evenings drinking tea

By the great fireplace on the ground floor,

Häelssen & Lyon I seem to recall.

 

From the thirty- metre window you could look out

At the vertiginous panorama of the Austrian Alps,

With Salzburg in the distance.

 

Titian’s Venus hung on a far wall,

While the finest Persian carpets lay beneath our feet.

We felt invulnerable up there,

 

The sales of Mein Kampf, which had been made

Compulsory reading, had seen to that.


It was all so far from the house of men,

It was all so far from the pits of Ypres.






The novelist Carmen Francesca Banciu was the Editor responsible 

for publishing this poem coming from my Heraclirean phase

some years ago now. I thought she was fearless a- as indeed an Editor must be.

See link for more poems in this cycle, taken from the collection The Gombeen ( unpublished)

http://levurelitteraire.com/peter-o-neill-3/

 






RUMOR - SILVA MERJANIAN - A REVIEW 2015


                                                                                           



 One of the best things that happened to me, upon finally getting published in 2013/4, was getting to engage with other writers. Silva Merjanian is one whom I immediately felt an affinity to; all of the writers I connect with have suffered trauma, deep human trauma. 

This is not something willed, believe me. Though, nor is it the plea of the tortured artist. Let us just say that some shit is simply REAL, and writing is but one way of dealing with it. Catharsis is the word Aristotle uses in his Poetics. Silva Merjanian is a cathartic writer. I was very happy to befriend her on Facebook where indeed I met a lot of fellow writer-poets, whatever about Zuckerberg the company he created sure helps to make some real world connections possible. When Silva's second book of poems came out some years ago I was only too happy to write a short review of it for The Galway Review - whatever the hell a 'Ppoeteter' is ??? What is that, something between a poet and a potato?

Must definitely be Irish that....   


AU LECTEUR - FOR THE READER - PREFACE TO LES FLEURS DU MAL





Charles Baudelaire 1821-1867

photo by Etienne Carjat



                                         

 AU LECTEUR

 

La sottise, l’erreur, le péché, la lésine,

Occupent nos esprits et travaillent nos corps,

Et nous alimentons nos aimables remords,

Comme les mendicants nourrissent leur vermine.

 

Nos péchés sont têtus, nos repentirs sont lâches;

Nous nous faisons payer grassement nos aveux,

Et nous rentrons gaiment dans le chemin bourbeux,

Croyant par de vils pleurs laver toutes nos taches.

 

Sur l’oreillier du mal c’est Satan Trismégiste

Qui berce longuement notre esprit enchanté,

Et le riche metal de notre volonté

Est tout vaporisé par ce savant chimiste.

 

C’est le Diable qui tient les fils qui nous remeuent!

Aux objets répugnants nous trouvons des appas;

Chaque jour vers l’Enfer nous descendons d’un pas,

Sans horreur, à travers des tenèbres qui puent.

 

Ainsi qu’un débuaché pauvre qui baise et mange

Le sein martyrisé d’une antique catin,

Nous volons au passage un Plaisir clandestine

Que nous pressons bien fort comme une vielle orange.


Serré, fourmillant, comme un million d’helminthes,

Dans nos caveaux ribote un people de Démons,

Et quand nous respirons, la Mort dans nos poumons

Descend, fleuve invisible, avec des sourdes plaints.

 

Si le viol, le poison, le poignard, l’incendie,

N’ont pas encore brodé de leurs plaisants dessins

Le canevas banal de nos piteux destins,

C’est que notre âme, hélas! n’est pas assez hardie.

 

Mais parmi les chacals, les panthers, les lices,

Les singes, les scorpions, les vautours, les serpents,

Les monstres glappissants, hurlants, grognants, rampants,

Dans la menagerie infâme de nos vices,

 

Il e nest plus laid, plus méchants, plus immonde!

Quoiqu’il ne pousse ni grands gestes ni grands cris,

Il ferait volontiers dee la terre un debris

Et dans un bâillement avalerait le monde;

 

C’est l’ENNUI – l’’oeil chargé d’un pleur involontaire,

Il rêve d’echaufauds en fumant son houka.

Tu le connait, lecteur, ce monstre délicat,

-Hypocrite lecteur, - mon semblabe, - mon frère.

 

 

 

 

 

 

Preface to Les Fleurs Du Mal

 

 

 

 

 

Stupidity, ignorance, laziness and vice

Prey upon our bodies and our minds,

And we feed our short-lived remorse

Like the homeless do their lice.

 

Our vices are obstinate, our repentance insincere;

We pay far too generously our Doctors,

While we enter gaily into the mire,

Thinking that a few token tears will clean the slate.

 

Upon the bed of evil lies Satan (Ha!)

Who gently rocks our enchanted spirits,

And the rich iron of our souls

Becomes vaporised in his company.

 

It is our own private demons which subdue us,

In all repugnant acts we find our delight.

Every day, we take a step further into our own Hell,

Without horror we track the subterranean depths which stink.

 

Like poor debauchees we fuck and gorge ourselves

Upon the martyrized breasts of some old whore

Seeking only a short cut to our clandestine pleasures,

Which we drain like bloody matutinal oranges at some lost buffet.

 

Pressed in, we swarm like a million Helminths

In our minds, which solely nourish our psychosis.

And, when we breathe Death alone enters our lungs

Like some ghastly river of tar bearing cancer.

 

 

Amongst the paedophiles, embezzlers, corrupt politicians,

Greedy property developers, and Bankers;

Mafia, extortionists, bullies and total and utter chancers-

All of the assorted Zoology which inhabits us.

 

Yet still, in the infamous menagerie of our collected vices,

 

There exists one that is even more ugly, more

Truly repugnant. One who makes no great dramatic

Gestures or cries, and yet one which makes of the earth

A desolation, and which, inexorably, consumes the whole world.

 

It is BOREDOM! –  from its eye drips an involuntary tear,

As it dreams of scaffolds while firing up its Bong.

You know this delicate monster of which I speak,

Dear reader -You Hypocrite- mon semblabe, mon frère!





This transversion available from 

https://sites.google.com/a/lapwingpublications.com/lapwing-store/peter-o-neill