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Cinque poesie sulla poesia / Five Poems about Poetry

1

IL GESTO

La domanda è: come tieni una mela
Se ti piacciono le mele

E come si maneggia
Lo sporco? La domanda è

Come si tiene a mente
Qualcosa che si vuole

Afferrare e come fa il venditore
A reggere un gingillo che vuole

Vendere? La domanda è
Quando non ci saranno più cento

Poeti a scambiare quel gesto
Per stile.

Continue reading ‘George Oppen, da “Naufragio del singolare”’

works by perry kulper

le immersioni / ugo la pietra. 1968-1972



Un estratto da Tecniche di liberazione, Benway Series, 2017
Scheda e informazioni qui:
https://benwayseries.wordpress.com/2017/11/04/mariangela-guatteri-tecniche-di-liberazione-techniques-de-liberation-benway-series-10/

north dakota / drew kunz. 2009



shower / konstantin kasatoff. 2005 [music: mujuice]



postasemic / miron tee. 2017

da “bubuluz” / rodolfo zucco. 2017

Artusi

Anguilla

Delle vecchie
anguille, poi, che sono scese al mare,
non si sa che ne avvenga.

(Forse, restando nella profonda
oscurità degli abissi marini,
muoiono, sotto
quell’enorme pressione –

o si modificano
per adattarsi.)

*

Pavone

Quando Alessandro
il Macedone, invasa
l’Asia Minore, vide questi uccelli
la prima volta

dicesi rimanesse così
colpito dalla loro
bellezza, da interdire con severe
pene di ucciderli

*

Piccione

Una signora prega
un uomo, che le capita per caso,
di ucciderle un paio di piccioni

ed egli, lei presente,
li annega in un catino d’acqua.

* * *

Rodolfo Zucco, serie Artusi, da Bubuluz,
Edizioni del verri, Milano, 2017

 

per oggi basta / ugo la pietra. 1974



 

according to a classic aesthetic model, the artist forms an already existent matter, turns nature into art, gives matter form. the paradigmatic example in this context would be sculpture, but poetry too is ultimately understood in similar terms. for what, as it were, distinguishes a poem from a non-poem, poetry from that which is not poetry? as various historically conditioned attempts to provide poetry with an essential determination little by little have proved to be untenable, the one thing remaining is an implicit notion of human agency, the very idea that the poet in one sense or another organizes the non-poetic matter and turns it into poetry.

which particular methodological premises that are underpinning such an organization of matter is, in this particular light, of secondary importance. what it comes down to is, above all, the fundamental aristotelian distinction between form and matter, and its still strong influence on concepts such as ”art” and ”poetry”.

bearing this in mind, it becomes one of the most crucial tasks for contemporary writing to subvert or dissolve the distinction between that which is produced by man and that which is produced by nature, or between the ”universal artist” (universalis artifex) and the ”universal matter” (universalis materia), to use the terminology of florentine neoplatonist 15th century philosopher marsilio ficino.[1]

for this to be possible, another understanding of the relationship between form and matter seems to be required. which? Continue reading ‘zu der blühenden allmaterie (abbozzo) / gustav sjöberg. 2017’

1194D^3 / raven kwok. 2013-17

“lettere grosse”, draft 02, mar. 2010

episode in a small town library / ian breakwell. 1970






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