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Thursday, January 30, 2020

The Misanthrope published in Live Encounters, February issue 2020



                                                           
                                                           

My friend David Rigsbee opens the February issue of Live Encounters, so typical of him, writing about another writer whom he admires... I've said this before, generosity of spirit in this fashion, for me, is one of the sure hallmarks of a writer of quality, as David assuredly is. Another sign, and it comes from the same selfless servitude to his art, is the fact that he also translates, Dante in his case... So a respect for tradition, craft and the importance of the Other inhabiting different languages...appreciating difference, and the importance of multiple cultures... all of these further hallmarks of a true writer, in my opinion. David Rigsbee, like so many of his generation, is engaged politically, socially and, of course, artistically.

Other familiar names in this issue to me are John W. Sexton and Richard Krawiec, the latter whom I met through David, Richard comes also from/lives in North Carolina. Richard, as well as being a poet, is a novelist and an editor, running a publishing firm and an online magazine ( One ). While John is based down in Kerry, the Kingdom, but who has also strong links to my hometown of Cork. While Richard has edited some of my work, he published a broadsheet of six of my sonnets from Henry Street Arcade, for example, I have in my own turn have had the pleasure of including a smaple of John's work in an anthology which I edited - The Gladstone Readings. But John and I go back further, he was responsible for getting me my first paid reading gig down in Cork when my first book came out in 2014 - The Elm Tree. 

Mark Ulyseas is the man behind Live Encounters, a wonderful editor and free spirit he is too. I have never had the pleasure of meeting Mark but he has published quite a fair bit of my writing up to now, and we have had a good time of it so far... Mark and I are kindred spirits, and I see us journeying forward together as long as Live Encounters is around, hopefully...

I'm including the link below so you can read my latest publication The Misanthrope which is a poem I wrote for my son Liam who lives in Paris, his home city which is going through some considerable turmoil at the moment. I wrote this poem for Liam after having visited him in Paris two years ago. Eamon Mag Uidhir, poet and editor of Flare, was kind enough to film me reading the poem last night in the Lord Edward pub last night, opposite Christchurch Cathedral. I really enjoyed reading this poem aloud. I hope you enjoy it too...  




https://liveencounters.net/le-poetry-writing-2020/02-february-pw-2020/peter-oneill-the-misanthrope/?fbclid=IwAR2WcB2ecwZ3LvUCEp9Jz9iZLitfY7sRFeWlLIupvtIR-





https://www.dropbox.com/s/9w2wumqh35tjs7x/VID_20200129_200055.mp4?dl=0&fbclid=IwAR2f5lvVAVZpUf15P_MU54XCLs5pd1m_QiWxo7mcnkpK7OaWt_Yjckhd7Hc

Sunday, January 26, 2020

The Crown of Pain - Some Transversions from Les Fleurs Du Mal by Baudelaire













The Crown of Pain
Some Transversions
From
Charles Baudelaire’s
Les Fleurs du Mal

A note of the transversions

I first published The Enemy – Transversions from Charles Baudelaire in 2015 ( Lapwing ). I used the term transversions very explicitly in the title and a note in the preface explaining what I meant by the term, distinguishing what I was doing as opposed to merely ‘translating’. Trans being indicative of change, verse being self- explanatory, so literally ‘changing verse’, or perhaps better ‘changed verse’… Well, the idea was quite clear. Literal translation was an impossibility, so change was the order of the day. Version not being ideal either because what one was attempting to do was render to the original as fully possible in ones own language, but also updating to make further comprehensible for the contemporary reader.
Take the transversion of the poem Sisina in the cycle of poems published here and which I have transversed as Wonder Woman.  In place of the name Théroigne which according to my Flammarion notes is a reference to Théroigne de Mericourt ( 1762 – 1817) who was involved in the French revolution in 1792, the poem makes reference to a particular incident which happened upon a staircase. This same woman appears in the famous French historian Michelet’s Histoire de la Révolution francais, and she also appears in the poet Lamartine’s Histoire des Girondins. Baudelaire was inspired apparently by a drawing by the artist Raffet depicting the incident and which was published by Pommier & Pichois. As the historical connection would be completely lost on contemporary readers, I have supplanted it with the reference to the movie Wonder Woman. You have to choose your battles. I was particularly impressed by the character in the film while watching it with my ten- year old daughter, as I thought it was a very good role model for young girls. This, I believe, is in direct accordance with the symbolism and underlining metaphor in the poem.  Baudelaire’s reference is to another actress, Elisa Neri, who played the role of Théroigne, from what I understand, in theatrical productions during Baudelaire’s day. The poet came into contact with her through his attachment to Mme Sabatier who was to have such an impact on him. I am of course referencing the climax of the Marvel movie when Wonder Woman, played by Gal Gadot, confronts Ares the God of War.

Much in the same way, I have changed the title of the whole book Les Fleurs du Mal – traditionally translated as The Flowers of Evil to The Crown of Pain. Why? My transversions of Baudelaire’s work are made for the 21st century. Whereas, in 19th century France, that of Baudelaire’s time, when his book cam out, evil was a term which still had some significance. Yet, a century and a half has passed and in this time we have seen two world wars, the second culminating in almost the systematic annihilation of a whole people. And now, in the 21st century, sociologists have had to include the term omnicide to that of genocide, in relation to human activities which are now decimating whole continents of wildlife, one only has to look at Australia today. So, evil, as Hannah Arendt well knew, was a mere platitude when compared to the banality of human indifference in the face of complete and utter horror.

In the same way, while working on these transversions over the years, I hope to transverse the complete Fleurs du Mal, it soon appeared quite apparent to me that pain, not evil, was the underlying theme unifying the whole body of work and that Baudelaire’s suffering, in other words his inherent masochism had to be drawn out much more than it previously had, if indeed one wanted people to read his work in a different way. That is to say in a novel way, far from the stereotypical readings of the translations which are constantly been made. For Baudelaire, as I was told by one of the editors of one of the most respected periodicals involved in translation, is one of the most translated figures these days. And for what? if you are not going to get readers to re-engage with him, making him relevant to today?


Peter O’Neill

26/01/2020





























Le Tonneau de la Haine
La Haine est le tonneau des pâles Danaïdes;
La Vengeance éperdue aux bras rouges et forts
À beau précipiter dans ses ténèbres vides
De grands seaux pleins du sang et des larmes des morts,
Le Démon fait des trous secrets à ces abîmes,
Par où fuiraient mille ans de sueurs et d'efforts,
Quand même elle saurait ranimer ses victimes,
Et pour les pressurer ressusciter leurs corps.
La Haine est un ivrogne au fond d'une taverne,
Qui sent toujours la soif naître de la liqueur
Et se multiplier comme l'hydre de Lerne.
— Mais les buveurs heureux connaissent leur vainqueur,
Et la Haine est vouée à ce sort lamentable
De ne pouvoir jamais s'endormir sous la table.


















 A Barrelful of Hatred


Vengeance is distracted by a woman’s strong arms
Holding up the mythic Barrel of the Danaid’s,
Precipitating into the void of darkness
Bearing bucketloads of blood and all the tears of the dead.

The demons wove discreet holes into the veils covering the abyss
Where a thousand years of their sweat and effort have flown,
Wherein they would somewhere roam
Resuscitating the dead only to bleed them out again.

Hatred is like a drunk in the backroom of some bar
Who always senses a latent oncoming thirst
Multiplying like the Hydra-headed beast of Lerna.    
 
                     But happy drinkers know and recognise their conqueror,
                  
                             While all Hate is doomed to its lamentable faith;
              
                             Never knowing when to let sleeping dogs lie.
                
                  










Le Flacon
II est de forts parfums pour qui toute matière
Est poreuse. On dirait qu'ils pénètrent le verre.
En ouvrant un coffret venu de l'Orient
Dont la serrure grince et rechigne en criant,
Ou dans une maison déserte quelque armoire
Pleine de l'âcre odeur des temps, poudreuse et noire,
Parfois on trouve un vieux flacon qui se souvient,
D'où jaillit toute vive une âme qui revient.
Mille pensers dormaient, chrysalides funèbres,
Frémissant doucement dans les lourdes ténèbres,
Qui dégagent leur aile et prennent leur essor,
Teintés d'azur, glacés de rose, lamés d'or.
Voilà le souvenir enivrant qui voltige
Dans l'air troublé; les yeux se ferment; le Vertige
Saisit l'âme vaincue et la pousse à deux mains
Vers un gouffre obscurci de miasmes humains;
II la terrasse au bord d'un gouffre séculaire,
Où, Lazare odorant déchirant son suaire,
Se meut dans son réveil le cadavre spectral
D'un vieil amour ranci, charmant et sépulcral.
Ainsi, quand je serai perdu dans la mémoire
Des hommes, dans le coin d'une sinistre armoire
Quand on m'aura jeté, vieux flacon désolé,
Décrépit, poudreux, sale, abject, visqueux, fêlé,
Je serai ton cercueil, aimable pestilence!
Le témoin de ta force et de ta virulence,
Cher poison préparé par les anges! liqueur
Qui me ronge, ô la vie et la mort de mon coeur!








The Flask

There are strong perfumes for which all matter
Is porous. You’d think they might penetrate the glass.
While opening some oriental casket
Whose lock grimaces and balks before crying out,

Or, in a deserted house in some old armoire 
Full of the acrid odour of time, blackened with soot,
Where you might find an old flask
In which pulses the soul of one still alive.

A thousand thoughts sleep, funerary crystals,
Gently trembling in the leaden darkness
Spreading their wings finding their essence,
Azure tinted, crystalized rose, burnished tears.

And so the memory stirs gathering voltage
From the troubled air; the eyes close; vertigo
Seizes the vanquished soul and pushed by both hands
Towards the obscure abyss of human miasms.

They terrace there on the edge of a secular gulf
Where foul smelling Lazarus rips his shroud,
Mute in his awakening like the spectral corpse
Of a rancid love, charming and sepulchral.

Like so, when I become lost to memory
Among men, just like in the corner of some sinister
 Old armoire where someone last left me,
Like some decrepit, dirty, abject, dusty old vicious flask.

I will be your coffin, amiable pestilence.
A testament to your force and violence. 
Dear poison prepared by the angels, the liquor
Which gnawed at both the life and death of my heart.























Le Poison
Le vin sait revêtir le plus sordide bouge
D'un luxe miraculeux,
Et fait surgir plus d'un portique fabuleux
Dans l'or de sa vapeur rouge,
Comme un soleil couchant dans un ciel nébuleux.
L'opium agrandit ce qui n'a pas de bornes,
Allonge l'illimité,
Approfondit le temps, creuse la volupté,
Et de plaisirs noirs et mornes
Remplit l'âme au delà de sa capacité.
Tout cela ne vaut pas le poison qui découle
De tes yeux, de tes yeux verts,
Lacs où mon âme tremble et se voit à l'envers...
Mes songes viennent en foule
Pour se désaltérer à ces gouffres amers.
Tout cela ne vaut pas le terrible prodige
De ta salive qui mord,
Qui plonge dans l'oubli mon âme sans remords,
Et charriant le vertige,
La roule défaillante aux rives de la mort!
















 The Poison


Wine can often redress the most sordid dive
With its miraculous luxury and re-invigorate,
 More so than any fabled gateway,
Through the alchemy of its reddish vapour
Like a Sun setting in the nebulous sky.

Opiates can broaden the expanse of any borders,
Further infuse the unlimited,
Deepen time, aid the voluptuary,
And further enhance the dark and mournful pleasures
Which the soul mirrors at full capacity.

But all of this is nothing compared to the poison which flows
From your eyes, your emerald eyes,
Those twin lakes which further unhinge one…
Causing my dreams to escalate in a screaming riot
To desalinate the bitter gulfs which encroach.

Again, all of this is nothing to the atrocious prodigy
Of the saliva parting from your lips,
 Through your parting kiss, remorselessly
Infecting to the point of a hallucinatory vertigo
The defective roulette played out on the tide of Death.





Sisina
Imaginez Diane en galant équipage,
Parcourant les forêts ou battant les halliers,
Cheveux et gorge au vent, s'enivrant de tapage,
Superbe et défiant les meilleurs cavaliers!
Avez-vous vu Théroigne, amante du carnage,
Excitant à l'assaut un peuple sans souliers,
La joue et l'oeil en feu, jouant son personnage,
Et montant, sabre au poing, les royaux escaliers?
Telle la Sisina! Mais la douce guerrière
À l'âme charitable autant que meurtrière;
Son courage, affolé de poudre et de tambours,
Devant les suppliants sait mettre bas les armes,
Et son coeur, ravagé par la flamme, a toujours,
Pour qui s'en montre digne, un réservoir de larmes.



















 Wonder Woman


Imagine Diana and her gallant retinue
Charging through the forests bursting through the thickets,
Mane and throat to the wind, drunk on uproar,
Superbly defiant the best riders!

Have you seen Wonder Woman, lover of carnage,
Happily defending the down-trodden,
Cheek and eye aflame, enfevered in her role,
Assaulting, sword and shield in hand, the staircase?

Just like Gal Jadot! But the gentle warrior
Is as much a charitable soul as she is a seasoned killer;
Her courage, panicking in the explosions and drums,

Is to know when to put aside weapons before suppliants,
And her heart, ravaged by both fire and pain, is always,
For those who have some dignity, also a reservoir of tears. 









Harmonie du soir
Voici venir les temps où vibrant sur sa tige
Chaque fleur s'évapore ainsi qu'un encensoir;
Les sons et les parfums tournent dans l'air du soir;
Valse mélancolique et langoureux vertige!
Chaque fleur s'évapore ainsi qu'un encensoir;
Le violon frémit comme un coeur qu'on afflige;
Valse mélancolique et langoureux vertige!
Le ciel est triste et beau comme un grand reposoir.
Le violon frémit comme un coeur qu'on afflige,
Un coeur tendre, qui hait le néant vaste et noir!
Le ciel est triste et beau comme un grand reposoir;
Le soleil s'est noyé dans son sang qui se fige.
Un coeur tendre, qui hait le néant vaste et noir,
Du passé lumineux recueille tout vestige!
Le soleil s'est noyé dans son sang qui se fige...
Ton souvenir en moi luit comme un ostensoir!


                                                        
















Night of Harmony


Here comes the night when the stems vibrate
And every flower burns like incense;
 Sounds and perfumes permeate the air,
A melancholy waltz plays languorously vertiginous!

Every flower burns like incense;
The violin trembles like an afflicted heart;
A melancholy waltz plays languorously vertiginous!
The sky is beautifully sad like a great repository.

The violin trembles like an afflicted heart;
A tender heart craves the great black abyss!
The sky is beautifully sad like a great repository.
The sun is drowning in its own blood which freezes.

A tender heart craves the great black abyss,
The vestiges of a once luminous past are shifting!
The sun is drowning in its own blood which freezes.
The memory of you in me still struggles like a monster.  

Omnicide









Omnicide*


My ten -year old daughter took a day off school last week
Due to depression over what happened in Australia.
Greta Thunberg is her hero;
No One is too Small to Make a Difference.

I told her I will buy her the little Penguin this week.
Nobody listened to kids when I was growing up,
And we all knew that grown- ups were idiots.
You just had to look at history!

Now, they have an all- female led government in Finland.
Again, Scandinavian! They seem to have it
All figured out up there. Put it down to

Scandi- Noire Syndrome. Only the ones
Who live in an ideal society can dream up, by necessity,
The very worst Hells - which is why their old men are finally silent.





* Omnicide is a term coined by the Sociologist Danielle Celermajer in an attempt to define recent events in Australia.

Sunday, January 19, 2020

XLVII.- Night of Harmony ( From The Crown of Pain - Les Fleurs Du Mal by Baudelaire )








XLVII. –  Night of Harmony


Here comes the night when the stems vibrate
And every flower burns like incense;
 Sounds and perfumes permeate the air,
A melancholy waltz plays languorously vertiginous!

Every flower burns like incense;
The violin trembles like an afflicted heart;
A melancholy waltz plays languorously vertiginous!
The sky is beautifully sad like a great repository.

The violin trembles like an afflicted heart;
A tender heart craves the great black abyss!
The sky is beautifully sad like a great repository.
The sun is drowning in its own blood which freezes.

A tender heart craves the great black abyss,
The vestiges of a once luminous past are shifting!
The sun is drowning in its own blood which freezes.
The memory of you in me still struggles like a monster.   

Innana - poem from Mallus published in SurVision




                                        With the Belgian poet & rapper CeeJay in L'Etiquette
                                                     cave a vin sur l'Ile Saint Louis a Paris
                                               commemorative reading for Baudelaire, 2017.


Another poem from Mallus finds a home, this time in the biannual online surrealist magazine SurVision edited by Anatoly Kudryavitsky. A big thank you to him. Curiously, the poem which gets its title from the Persian Goddess of Love and War, rather like Athena in ancient Greece, was published the day the Iranians fired a salvo of missiles at an American army base in Iraq some days ago in retaliation for the assassination of their Chief General Qasem Soleimani...

  http://www.survisionmagazine.com/Issue6/peteroneill.htm

Saturday, January 18, 2020

The Sad Page Three Girl



                               

                                                     Fitzgerald's Park, Cork



This poem was written in the mid-nineties in Cork, so around twenty five years ago! That makes you think... I was a very young man in my mid to late twenties. Jesus!.. Water on the old proverbial Lee now. But, I remember that I was staying in some old bedsit on Wellington Road, I was on the first floor just above the door of this old house, very grand affair at one time, digs for English officers I believe at one time ; the barracks just up on the hill behind it. But, while I was living there it was just full of single men. Typical bedsit land. The area had been in the news at the time as there had been a murder in the environs, the day I moved into this particular building Gardai were looking for body parts in the parking area... I kid you not. So, yes, a colourful kind of place alright.
Anyway, I was just back from France and my head was full of Rimbaud and Raymond Chandler and, well other things too... its in the title

https://the-scum-gentry-alternative-arts.com/peter-o-neill-poetry-page-3-girl/

A word about the publisher The Scum Gentry. There is a great need for publishers like this in Ireland. It is run by Ross Breslin who is a young writer himself and is very much trying to keep true to the spirit of punk in the seventies. So, punk-lit. This movement was in direct contrast to the 'perfect' poem school of the eighties and which continues to dominate in official poetry journals in a lot of countries, but particularly here in Ireland. Anyway, not going to get into all that now...

Monday, January 13, 2020

XLVI. – Dawn ( Transversion from Baudelaire's The Crown of Pain - Les Fleurs du Mal )








XLVI. The Dawn


Whenever burnished dawn passes through the sluices
Clarifying debauchery, by a strange and vengeful process
Ideals upheld by society also prowl
And the brutal vertigo induced by the angels awakes.

From this phenomenon the inaccessible azure
Can terrace a man who dreams and so is prone to suffer,
For his sport lies in reaching deep into the abyss.
And so, dear Goddess, lucid and pure,

On the smoking debris of such senseless orgies
Your memory becomes clearer, rosier and more charming,
At least to the fevered vision of one who is spiralling.

To such a setting the sun nourishes the morning lamps,
And so, always the vanquisher, your phantom appears

Resplendent and like dark matter unbounded.  


Sunday, January 12, 2020

LIX. - Wonder Woman - transversion of a sonnet by Baudelaire from The Crown of Pain










LIX. – Wonder Woman


Imagine Diana and her gallant retinue
Charging through the forests bursting through the thickets,
Mane and throat to the wind, drunk on uproar,
Superbly defiant the best riders!

Have you seen Wonder Woman[1], lover of carnage,
Happily defending the down-trodden,
Cheek and eye aflame, enfevered in her role,
Assaulting, sword and shield in hand, the staircase?

Just like Gal Jadot[2]! But the gentle warrior
Is as much a charitable soul as she is a seasoned killer;
Her courage, panicking in the explosions and drums,

Is to know when to put aside weapons before suppliants,
And her heart, ravaged by both fire and pain, is always,
For those who have some dignity, also a reservoir of tears.  


[1] In place of the name Théroigne which according to my Flammarion notes is a reference to Théroigne de Mericourt ( 1762 – 1817) who was involved in the French revolution in 1792, the poem makes reference to a particular incident which happened upon a staircase. This same woman appears in the famous French historian Michelet’s Histoire de la Révolution francais, and she also appears in the poet Lamartine’s Histoire des Girondins. Baudelaire was inspired apparently by a drawing by the artist Raffet depicting the incident and which was published by Pommier & Pichois. As the historical connection would be completely lost on contemporary readers, I have supplanted it with the reference to the movie Wonder Woman. You have to choose your battles. I was particularly impressed by the character in the film while watching it with my ten- year old daughter, as I thought it was a very good role model for young girls. This, I believe, is in direct accordance with the symbolism and underlining metaphor in the poem. 
[2] Baudelaire’s reference is to another actress, Elisa Neri, who played the role of Théroigne, from what I understand, in theatrical productions during Baudelaire’s day. The poet came into contact with her through his attachment to Mme Sabatier who was to have such an impact on him. I am of course referencing the climax of the Marvel movie when Wonder Woman, played by Gal Gadot, confronts Ares the God of War. 

Saturday, January 11, 2020

Freedom, sonnets, form and the importance of numbers ( 3/4)




                                     

                                          Detail from The Taking of Christ by Caravaggio
                                                    in the National Gallery of Ireland







Freedom


Freedom is a cage, embrace the bars.
Consider it, did you ever ask to be born?
Were you ever personally consulted in the matter?
And what about death? apart from the obvious-
Suicide was for Camus the ultimate
Expression of human freedom –
Again, what freedom do you have?
Even breathing, again it is out of your control,
Apart from regulating; your heartbeat the same!
You see, you are on autopilot my friend.
Now, take any other part of your anatomy…
Yes. Think about it? So, you see,
There is very little freedom there.
Freedom is a cage, embrace the bars.



I’ve been meaning to write the above poem for a long time. I had the aphorism which begins and ends the poem for a long time now and I just needed the right idea to come along so I could sandwich it, as it were. The formulation follows another fourteen liner which was published by Fly on the Wall Press in the UK just before Christmas last year. This brings me to the sonnet as form, again.
Normally, I follow a 4/4/3/3 variation in verse, even when I’m not, if you get me. 

I wrote an essay recently about the importance of the numbers 3 and 4 in ancient Hebraic geometry and its significance for both Joyce and Beckett in relation to Finnegans Wake and Comment c’est/How It Is. Their interest goes back to people like Leonardo Da Vinci and Vitruvius who were concerned as both scientists and artists about the ratio of perfect forms, wo/man being one in terms of physical beauty.

The number four is symbolic of God, or total knowledge. The solid shape being robust enough to withstand the pressures of the world. Three then being synonymous, at least for thinkers like Beckett according to my research, with human knowledge, or human capacity. In other words, somewhat to be found lacking… the missing quarter!

To return to sonnets. The opening eight lines usually treat some theme, lofty enough, usually. Love or freedom being typical. Both transcendent notions, evocative of “God”, or the unlimited beyond if you prefer, In other words, somewhat out of the reach of us poor mortals. The last two verses then, in the 3/3, bringing the theme crashing back to earth, grounding us in reality. Hence the almost kick in the teeth punchline effect of a good sonnet. Baudelaire was a genius at it. Of course, he had vision. Man was doomed from the very beginning, in his eyes…   

A note on this post, and others like it. This post is only temporary, as I will be taking it down as soon as I decide which journal or magazine I decide to send it out to. I have been doing this now for some time. This is the ‘benefit’, if I may call it that, of following my blog. As you will get access to material that you would not have if you were only to look at it from time to time, as it were!

This poem is taken from malus the collection I am currently working on. So far three poems have been published from it. One, as mentioned, in the UK another, written in French, in France, and most recently another has been published in a biannual online international surrealist journal here in Dublin. But that is another story

/post.