CONTACT WITH POETS

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how does it sound? 1. why would one produce the sound of a mountain? 2. what is it that tells me that this horizon should be documented? will it not be there forever? 3. is it an attempt to describe something eternal and solid that has been there for ages, long before man managed to put its knowledge of the mountain into systems like language, drawings, maps, geological and geographical methods? 4. isn’t art the desire to shape and describe something that cannot be grasped, and doesn’t this apply to all academic disciplines? 5. where is the relationship between art and science at this point, and how do human factors and inaccuracies come to question when the premises are added and selected by ourselves? is it choice or chance? 6. has modern man lost its ability to combine factual knowledge in, i.e. mathematics, with an intuitive sensitivity to the basic correlations? 7. what challenges and constraints does the notational system provide us? 8. where lies the need to systematize and represent nature? is music always a mime of nature or is it an abstract autonomous form? 9. is there an isomorphic relation (a similitude) between nature and language; the shape of the mountains and the sound of it? 10. and how does it sound? 29
* alison turnbulls spring snow—a translation (2002) is a page by page response to the colour palette of yukio mishimas spring snow as soon as i encountered the book i was both anxious and thrilled with spring snow—a translation turnbull reads mishimas original not for plot for character or for any other traditional reading trope instead she reads simply to record the occurrence of more than 600 colour words she then lists each of these words by page number and chapter the published edition takes the cataloguing even further by presenting a chart of 12 blocks on each page—each swatch representing a different colour from mishimas original in the order it occurred reading here is not a search for a narrative-driven epiphanic moment it is simply a charting of encounter with the text on the page mishimas spring snow is loosened from signification—the words no longer point at a larger narrative they point only at colour turnbulls translation of spring snow focuses not on the narrative nor on the problems of moving from one written language to another—she treats the language itself to a filtering embodying becketts defense of joyces work in progress: [h]ere is direct expression—pages and pages of it the colours through repetition build a suspense and crescendo which is loosened from traditional narrative derrida writing on blanchot asked how can one text, assuming its unity, give or present another to be read, without touching it, without saying anything about it, practically without referring to it? each page of spring snow is a completely unique diagrammatic representation of the occurrences of certain words by reducing reading and language into a paragrammatical statis- 30
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Page 5 and 6: if p then q classics 41 Fulford Str
Page 8: For Madeleine
Page 12 and 13: That’s not writing “That’s no
Page 14 and 15: transcend transcribe transfigure tr
Page 16 and 17: (1966) and the people mover: a demo
Page 18 and 19: creating an inundation of descripti
Page 20 and 21: face. another takes one in the hand
Page 22 and 23: and correspondence bervins work in
Page 24 and 25: gysin and burroughs collaborations
Page 26 and 27: * judith copithorne has published o
Page 28 and 29: ties with middle english in the gen
Page 32 and 33: tical analysis content is subsumed
Page 34 and 35: populations around public squares w
Page 36 and 37: pageant, these rows of lines or vin
Page 38 and 39: [...] when i let the letters shift
Page 40 and 41: juring of texts within texts czechs
Page 42 and 43: these contemporary concrete and con
Page 44 and 45: codes and QR Codes to expedite the
Page 46 and 47: a little-known second line (as incl
Page 48 and 49: script is no longer the fictional o
Page 50 and 51: Poetic Representations of the Holoc
Page 52 and 53: have picked any period because the
Page 54 and 55: transcript is a collection of page
Page 56 and 57: ments which eerily reflect Bäcker
Page 58 and 59: You’re out of Excuses 17 years ag
Page 60 and 61: Type Cast: Darren Wershler Can’t
Page 62 and 63: we are blinded to the media technol
Page 64 and 65: Visuality and Conceptualism Instead
Page 66 and 67: ping. Over a year I mapped the occu
Page 68 and 69: Auster’s 1986 novella Ghosts. Wri
Page 70 and 71: populace once a month. Each month t
Page 72 and 73: duced by stripping away all sense o
Page 74 and 75: focuses on the geographic layout of
Page 76 and 77: lock of assigned colour. The viewer
Page 78 and 79: With now we are friends Fitterman h
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as they may be are not only constan
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the same prohibitions—moral, alim
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not. At every moment, a continuous
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a sentence overheard by a witness
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The Text Festival: An Interview wit
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silence what about the visual art c
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highpoint was the headline gig with
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and text function as objects on dis
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materiality, and it’s quite liber
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language from myriad sources snaggi
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Having said all that, I think there
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the categories themselves are a bit
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Simpson: I think the difference may
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ly, I’ve been writing almost excl
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head ... so then, what lines are ap
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sistent publisher to include full c
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lations and so on) that we refer to
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technologies and tools. I do worry
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useful affinity between the politic
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Acknowledgements These essays, in v
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_____. Draft Notation. New York: Gr
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Perloff, Marjorie. “Afterword.”
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v
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CONTACT WITH POETS

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