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Poetry. First published in 1999 in an edition of 300 perfectbound
copies and 26 spiralbound copies lettered A-Z and signed, PILLAGE
LAUD by "Erin Moure" is a lost cult item that now returns to print.
As the 1999 edition announced, PILLAGE LAUD selects from pages of
computer-generated sentences to produce lesbian sex poems
(cauterizations, vocabularies, cantigas, topiary and prose) by
pulling through certain found vocabularies, relying on context: boy
plug vagina library fate tool doctrine bath discipline belt beds
pioneer book ambition finger fist flow. It used MacProse, a
freeware designed by American poet and jazz musician Charles O.
Hartman as a generator of random sentences based on syntax and
lexicon instructions internal to the program; the program worked on
Apple systems prior to OS X and is now in the dustbins of computer
history. In 1999, the news was shocking: Moure's poems are written
by a computer. In 2011, now that everyone is a computer, the book
can be read anew.
My Beloved Wager gathers essays by noted poet and translator Erin
Moure, and records a quarter century of writing practice emerging
from a city of exhilarating poetic and translatory possibility:
Montreal. In her essays and linguistic-sculptural interventions on
what poetry makes possible, Moure reveals why she has placed her
bets on poetry as a way of life. In these works, the richness of
poetry is laid bare as Moure challenges us to think more deeply
about who we are as speakers, readers, writers, and citizens of the
world.
Rosalia de Castro (1837-1885) is considered the founder of modern
Galician literature. She wrote three major books of poetry: two in
Galician, Galician Songs and New Leaves, and one in Spanish, On the
Banks of the Sar. Nourished by the popular songs the author heard
around her, Galician Songs was first published in 1863 and
dedicated on 17 May, the date that a hundred years later, in 1963,
would become and has remained Galician Literature Day, when the
work of a particular Galician author is celebrated. Galician Songs
marks the first full publication of any of Rosalia de Castro's
books of poetry in English and is accompanied by a translator's
introduction that argues for the importance and contemporaneity of
the author's work and poetics, not just in Galician, but in
English.
There was death and death entered love; writing mutated. Even so,
when the poem writes itself, it is loyal only to its own wound;
this is its law of gravity. Hordes of Writing, the third book in a
projected pentology, "Method," is an essential book from one of the
most abysmal, mutant, indispensable and rupturist contemporary
European poets.
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M-Tala (Paperback, New)
Chus Pato; Translated by Erin Mour e
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R456
R399
Discovery Miles 3 990
Save R57 (13%)
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Out of stock
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In 2000 in Galicia, in a maelstrom of rupture from her previous
poetics, well-known poet Chus Pato gave readers a startling new
book that instantly demarcated the literary landscape. This book
was a reverberative crescendo, a roar and clamour of genres and
fictions for the multipled "I" in a time of unspeakable
catastrophes: m-Tala.
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Charenton (Paperback)
Chus Pato; Translated by Erin Mour e
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R506
R442
Discovery Miles 4 420
Save R64 (13%)
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Out of stock
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In Chus Pato's poems, language is a cognitive-emotive artefact, and
this in every living sense of the word: explosive. Her language
welcomes cognition's pathways, and stylizes history, literature,
myths of origin, lineage, friendship, and the realities of
nationalism in one huge breath. When her poems foreground elements
of Galician culture and reality, these turn out not to be private
and enclosed, but elements of our reality too. She explodes forms,
explodes the lyric and what lyric possibility is (races it onward
in prose poems, invents avatars that bear the place of the I: the
she-author, Horda, Brenda, ), engages myth as active in the present
tense. In her various works, Ashurbanipal's library at Nineveh
still exists, cuneiform is readable, Ophelia speaks Galician. In
"Charenton", Pato presents the locale of Weiss' Marat/Sade as a
play of shadows, light, beauty and intensity that enacts Galician
being and the agonies of its history, and of a woman writer in whom
this history is chiselled. Its language is lucid, fervent,
beautiful: Chus Pato's "Charenton" is not just Galicia, it is
Earth, our earth too.
In Flesh of Leviathan, Chus Pato alters her cadence to record, in
sombre lyric form, the direct address of a singular voice that
seems to emerge from time itself. In these poems, worldly things
are largely absent and those present are iconic: birds, skies,
winds. Through them, Pato articulates the possibility of thinking,
the foreignness of any thinking subject, the borders to be crossed
to move thinking forward, and the relation of thinking with time as
humanity approaches-or not-time's end.
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