Monthly Archives: March 2020

Eclipses and Breaks of Light (Arturo Desimone)

A translation of Eclipses y Fulgores, an interview of Argentinean surrealist Olga Orozco, with new preface.

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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Thoughts on the press in postmodernity

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.

Arturo Desimone,
Málaga 2020

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