literature

Andrés Monreal (1932-2012)

A vision in the mirror
Einar Moos

Andres Monreal

 

He left as he came into my life - a rumor.

Few will dispute the fact that he was a genius. To some he was known as the Casanova of Ibiza. He liked to think of himself as the Michaelangelo of the Baleares.

Ibiza had been his home since the early 1960s, when he began working in films. He cast convincingly as the Bedouin freedom fighter Ahmed in "The Lost Command" (1966), Mexican captain Herrera in "Villa Rides" (1968), or captain Ahab of Nantucket on the seven seas.

He had star quality, much like Anthony Quinn, and exploited his good looks grooming his beard every morning before an original ink drawing by Picasso hung next to his mirror. Picasso's graceful lines were his music. Since coming to Spain he had incorporated the qualities of his surroundings, its sensuous lines, nuanced warm colors, all absorbed in his unique, visionary paintings.

"They are a vision in the mirror".

This rumor preceded his stepping into my life. It came from the Mexican Illuminati Berta Dominguez and her brother "Poncho", both great painters and great drunkards. We had a great time, all of us, and it seemed at times, as though Tequila floated through the air.

EDEN

a review of Alain Claret's latest novel
Einar Moos
The lady and the unicorn

Guns, Alain Claret's main character Eden realizes, had replaced books. Von Clausewitz claimed that “War is the continuation of politics by other means”; means dissected in EDEN, a cutting-edge thriller about todays globalised neoliberal economic practices.

The corrupt Mexican Senator Perez Estrada sends his daughter Juana to Paris, to trace money belonging to the Sinaloa cartel. On the day of the dead, the cartel declare their war of “economic expansion” in Paris, leaving a bloody mayhem and the political system in disarray.

Alain Claret flourishes in Paris, knows its ins and outs, transforming real Paris into the stage of deadly entertainment.

EDEN is Alain Claret's 7th “roman” under the auspicious banner of Editions Robert Laffont, Paris. Unknown in English, his writing is closer to Bret Easton Ellis, to Jim Thompson or Raymond Chandler than his French counterparts. There are hints of Mario Vargas Llosa and Carlos Fuentes in EDEN. It is contemporary action-packed mystery writing at its best.

THE THIRD EARL

Richard Jurgens

Hilton Ellis is a renegade white South African who leaves his native country at a young age to escape the military draft. With his world in chaos around him, he arrives in Amsterdam full of high hopes for a life in the city's thriving alternative cultural scene. While living there he experiences a series of comical adventures that challenge his ability to overcome the often surprising obstacles involved in becoming an artist—and more importantly, in gaining greater maturity as an individual.
Written in the tradition of the episodic novel, The Stolen Scenario follows this complex and ironic character as he gradually acquires an increased understanding of the complexity of human nature and of the ironies of his own existence. 'The Third Earl' is chapter eight.

I

‘A storm had gathered at the borders of the garden. Giant blue stick men stalked stiffly among the dense clouds on the horizon, stooping here and there to aim lightning bolts at street lamps, roofs, trees. With each step they drew nearer.

‘Inside the imposing Victorian villa lurked a boy. He was in the library overlooking the lawn, staring wordlessly at the gathering darkness. Rain was beating against the leaded casements. All around him the old house groaned under the weight of the wind.

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.

Richard Jurgens

Photo of Richard Jurgens © 2012 by Susan Janssen

L'ŒIL DE LA PIERRE

Carlos Henderson
                                                            LAS PIEDRAS
                                                            CLARAS van por el aire, las clari-
                                                            blancas, portadoras
                                                            de luz.
                                                                             PAUL CELAN



apprendre à l’œil à voir
non ce feu qui nous amène à voir
la chair déchirée le corps déchiqueté

JE PARLAIS À L’INSTANT AVEC TOI VALLEJO

Carlos Henderson

Quelle prétention : régler mes comptes avec toi Vallejo 

Et comme tous les poètes des années 60 j’ai dit :

il faut tuer Vallejo /  mais pour dire nos propres contradictions, nos propres interrogations? 

Sans doute car il ne s’agit plus d’écrire les attachements suaves et désincarnés

il y a urgence même aussi jouissance au centre de tumultes du dedans

La poésie c’est plus que de la conjoncture

c’est soupeser les mots / cette chose si concrète –si fuyante—

que sont les sentiments

Est-ce trop ou trop peu pour commencer  à comprendre que l’on écrit --sans admettre la présence de la mort--

à l’instant même où un souffle de vie appelle la vie?

ODE À VALLEJO

Cesar Vallejo

grand césar, merci, merci

tes mots me donnent du courage

je me demande si derrière ces vers

tu n'es pas là, toi
ici-même, oui sûrement et bien là

cependant que ma vie tous ces jours

est sur le fil du rasoir
et je monte et descends, moi

du fond des eaux

blessées et ferventes

quand parfois tout va trop vite

et qu’ il me faut vaincre
la terreur d'exister
la plongée dans mes incertitudes

et leurs ramages
hier par exemple
je donnais raison à quelqu'un
qui disait «ça va, je connais ton jeu

et il n'est pas ludique "
moi je me disais à moi-même: on m' a collé

une étiquette

je suis entré dans un café et j'ai demandé « un demi »

j’avais pour compagnons

Alain Claret

Alain Claret

Taken in the forest of Fontainebleau

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