eclectic international authors

TANGO SOLO

Richard Jurgens

MIRROR

how strange it is to know
to realise that you’ve been seeing
something without seeing it
that it’s been staring you in the face
the whole time

usually you look at yourself but can’t
put off the mask somehow
can’t see yourself as you are
as if all you see in a mirror is
a history of reflections

 

 

LIFE BEYOND MARS

why do scientists keep saying
where there’s water there’s life?
because that’s what they know
that’s what they’ve seen

 

we’re mapping the universe
men walked on the moon because
we got the calculations right
and water we say is life

yet what if out there
intelligences are looming
like nothing we know
like nothing we’ve ever seen?

with no words to describe them
anything we say will be a metaphor at best
when those ships appear
one day on our horizon

BRION GYSIN, MAGICIAN

Eddie Woods

Enter Brion Gysin. The famed painter, anti-poet and self-proclaimed misanthrope (“Man is a bad animal”); the man who’d turned Burroughs on to the possibilities of cut-up writing (a notion he himself had filched from the Dadaist antics of Tristan Tzara) yet later called William “Master,” and who years earlier had been unceremoniously evicted from the surrealist movement by André Breton...Brion Gysin was back in town, brought to Amsterdam by Benn Posset for a duet at the Melkweg with très avant-garde soprano saxophonist Steve Lacy. I’d gotten to know Brion at P78, had visited him a couple of times in Paris, and for sure wanted to catch this dynamic twosome strutting their stuff. As ever (i.e., when all else failed), my press pass got me in. 

ALWAYS MERRY AND BRIGHT

Eddie Woods

Written for, and delivered at, the Henry Miller centenary celebration, December 19th 1991 (one week prior to Henry's actual 100th birthday), at the Literair Eetcafé Miller, Binnen Bantammerstraat 77, Amsterdam, the Netherlands.

Would you believe I got specially dressed up for this? No, sillies, not to come here. You should see me when I get dressed up. Though most of you won't. And some of you definitely won't. Henry Miller's motto was: "Always merry and bright." Eddie Woods's motto, till further notice (and don't hold your breath), is: "Yes, we have no bananas." Tut-tut, the ideas people get.

And bananas is what Henry would be going, were he alive and listening to this. Indeed, he started turning over in his grave last night, the moment I reached for the black net stockings. As for the rest—the flimsy negligee top, the silk panties, the fringed skirt, la-di-dah; once I had those on and was sashaying down to the office in my little Chinese slippers with a bunch of Henry's books tucked under my armpits...well, by that time half the cemetery was awake! And don't go spoiling my metaphors by telling me Henry was cremated. If so, his ashes were exploding. One orgasm Henry never dreamed of having.

The other side of Alain Claret

EDEN, his next thriller
Einar Moos
Alain Claret
We entered Le Select on that rainy afternoon. The trees bared of its leaves, water running down the gutter,  few pedestrians out on the boulevard Montparnasse, a few tourists in their bright colored attire under bright colored umbrellas. They could've been anywhere else in this world. Not in Paris.
 
In the skylit backroom we take the corner table, Alain seated on the banquette from where he watches the movement on the trottoir. The tables are empty except the cat, an old friend, lying on the banquette near the heater. The boulevard under the rain drips memories reflected in the mirrors on the walls. You can have a good look around, it is quiet this afternoon.
 
Now, for his new book being edited by Robert Laffont, he has little to say, ah ...so that he refers to the publisher's public relations department. Oh, we were going to talk about some other things, of the past, as in old times, over a glass of sparkling Pouilly.

ODA A VALLEJO

Carlos Henderson


gran césar, gracias, gracias, me dan valor tus palabras

me ayudan a salir del fondo

del hastío y los absolutos

ayer por ejemplo

caminé

debajo de ese metro aéreo

no, no era el de la película que toda mi generación vio, era un barrio modesto

L'ŒIL DE LA PIERRE

Carlos Henderson
apprendre à l’œil à voir
non ce feu qui nous amène à voir
la chair déchirée le corps déchiqueté
 
le sang le sang flétri et ce jardin
de la mort qui verdit dans l’horreur
 
apprendre à l’œil à voir
à revoir
la lumière
la pierre de la transusbstantiation
 
de l’instant en infini
elle sait sa puissance
elle se sait transparence, herbe haute
tension tout ouïe
éclat, seuils
 
sur mon dos, vastes espaces étourdies
épuisées
 
il faut continuer
 
joyeuse
 
(Publié en espagnol en 1991 ;
réecrit en 2003)

A LA MANIERE DE GERTRUDE STEIN

Carlos Henderson

je veux tout envoyer

au diable

je voudrais penser

mais comme une pierre bête

ou une bête pierre

penser et ne regarder

sinon le vent

ou le temps qui passe

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