My report on trouble in Córdoba, Spain during the quarantine measures became a story for the Aruba Today newspaper’s “Arubans Abroad” section.
My thanks to AruToday journalist Linda Reijnders!
*much-used-photo credit : Margo Van Berkum
On the website of Arrowsmith Press, from Boston, find
two translations of influential Peruvian surrealist Blanca Varela’s poem “Monsieur Monod No Sabe Cantar” one mine and the other by Lisa Allen-Ortíz
I had previously written a short essay about Blanca Varela for the series “Notes on a Journey to the Ever-Dying Lands”in the blog of Anomalous Press. https://medium.com/anomalyblog/notes-on-a-return-to-the-ever-dying-land-da2c4b74690a #Anomalous #Arrowsmith #Areosmith #BlancaVarela #Peru #poet
Three poems from the collection Mare Nostrum / Costa Nostra
and drawings, in Berfrois, British poetry magazine, link here
Thanks to the editor @RussellBennets and Paul Hawkins, my publisher aka Hesterglock
Review by Leonardo Boix, British-Argentinean cultural critic of the Morning Star.
In the article, Boix reviews fiction by Jorge Consiglio; poetry by Arturo Desimone; and Argentinean dramatists
To T.S. Eliot
Eminence becomes you. Now when the rock is struck
your young sardonic voice which broke on beauty
floats amid incense and speaks oracles
as though a god
utters from Russell Square and condescends,
high in the solemn cathedral of the air,
his holy octaves to a million radios.
I am not one accepted in your parish.
Bleistein is my relative and I share
the protozoic slime of Shylock, a page
in Sturmer, and, underneath the cities,
a billet somewhat lower than the rats.
Blood in the sewers. Pieces of our flesh
float with the ordure on the Vistula.
You had a sermon but it was not this.
It would seem, then, yours is a voice
remote, singing another river
and the gilded wreck of princes only
for Time’s ruin. It is hard to kneel
when knees are stiff.
But London Semite Russian Pale, you will say
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Born to the Pampas in 1920, Olga Orozco spent her adolescence in the coastal city of Bahía Blanca in Argentina, and made her artistic debut in the so-called “Generation of the 1940s” alongside authors like Enrique Molina and Edgar Bayley, as well as Alejandra Pizarnik (perhaps the internationally most-famous Argentinean poet) after whose tragic and youthful suicide Orozco dedicated the poem “Pavana del hoy para una infanta difunta que amo y lloro”
Pavanne for a girl-child who I love and mourn today.
Orozco’s encounter with European and Latin American schools of surrealism redefined her poetry—the surreal, the strange, and the nocturnal became, perhaps, her poetry’s most defining characteristics. Fond of talismans, masques and pseudonyms — she was said to be juggling about 8 of them at a given moment — she used…
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We have reached a point at which we all act as agents of the Press– no non-journalists can be found. There is only a prevailing hierarchy of journalists, the vast majority unpaid, and yet networking assiduously on social media. This does not merely count for Western societies–perhaps to the contrary, the rule holds doubly so for the non-Western societies, making the hierarchy of total enlistment in mass-journalism all the more apparent when every citizen of the Arab world or in Africa acts a journalist via social media. In the mass of journalists, only anti-authoritarian and anti-hierarchical slogans and self-definitions can be heard. The established press lords, through salaried pundits, simultaneously support censorship, while making claims of preserving “the Truth” against the “post-Truth” of an authoritarian dictatorship’s state of exception to the establishment. The word “pundit” harks back to its etymological meaning, from Hindi “pandit” which entered English thanks to the bureaucracy of colonialism.
The opponents and competitors of the established press, meanwhile make similar claims. The amateur press we all belong to (without the rights granted by a press card and without other journalistic freedoms, only duties ) by definition identifies as liberal, or progressive, even when promiscuous with authoritarianism and fetishistic towards “expert opinion”, and contemptuous of free thought. The audience itself is enlisted and militates, at least virtually.
Publication of my review of the book of poems and photography ”Album of Fences” by Mexican-US poet contemporary artist Omar Pimienta, with the editor’s selection from the Album, published in bilingual edition with Cardboard House Press
(In the audio files, Pimienta recites his poems in Spanish, I recite the English)
where even the hypocrisy is sweet.” Arturo Desimone travels fearlessly between genres, too, with sketches deepening the reading experience and a postscript essay on Tunisia
before and after the ‘Arab Spring’ adding context to the poems (and offering the controversial but sound claim that the Arab Spring was catalysed by the events of 2003 in Iraq). Desimone is wholly original: his poems simultaneously draw on a breathtaking, freewheeling sense of linguistic innovation, and on a timeless well of imagery and mythology.”
link url to African Books Collective (distributor) http://www.africanbookscollective.com/books/ouafa-and-thawra-about-a-lover-from-tunisia