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Yes, magic exists!
Yes, magic exists!

Antonin Artaud, Stephen Barber (ed.)

A Sinister Assassin

Antonin Artaud’s very last work, prior to his death in March 1948, is the most extraordinary element of his entire body of work – and is the element now most enduringly inspirational, for contemporary artists, filmmakers, musicians, writers, choreographers, and others inspired by Artaud – through its fiercely exploratory, extreme and combative forms, along with its dissolutions and negations of forms, focused above all on the human anatomy, as well as on sonic experimentation and on provocations for innovation in...
  • poetry
  • Modernism
  • literature
  • autobiography
  • avant-garde
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Diane Williams

How about some string?

I said “Would you like a rope? You know that haul you have is not secured properly.”
“No,” he said, “but I see you have string!”
“If this comes into motion—” I said, “you should use a rope.”
“Any poison ivy on that? ” he asked me, and I told him my rope had been in the barn peacefully for years.
He took a length of it to the bedside table. He had no concept for what wood could endure.
“Table must have broken when I lashed it onto the truck,” he said.
And, when he was moving the sewing machine, he let the cast iron wheels—bang, bang on the stair.
I had settled down to pack up the flamingo cookie jar, the cutlery, and the cookware, but stopped briefly, for how many times do you catch sudden sight of something heartfelt?
I saw our milk cows in their slow...

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Jean-Luc Nancy

Ζένοι και Zah και Zuh

Ξένος extraneus του έξω όχι του μέσα (intraneus) όχι της οικίας unheimlich όχι του heim όχι της εστίας της άλλης πλευράς της πόρτας – fores, foreigner όχι υπερβολικά στον ρυθμό, odd όχι κανονικός όχι συνήθης σπάνιος ιδιάζων seltsam παράξενος besherat γενναίος κομψός απρόβλεπτος στραβός verschroben

λοξός αναπάντεχος εξαιρετικός εκπληκτικός

 

Είναι εκπληκτικό πόσες λέξεις εκφράσεις τρόπους διαφορετικούς έχουμε για να μιλήσουμε για τον παράξενο ξένο τον ausländer τον έξω από τη χώρα και όχι «pays avec nous» όπως λέγαμε κάποτε στη Γαλλία «c’est un pays à moi» για να πούμε κάποιος από το χωριό μου τη γειτονιά μου την περιοχή μου την πατρίδα μου

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Angelika Meier

Your story begins with a tunnel.

I’m standing in my perfectly fitting uniform with its freshly-pressed swastika armband in a long line at an American office. I’m waiting to submit my Application for Total War. Then, after standing in line for hours, the friendly clerk tells me that I need The Application for Foreign Aggressions in the next office over. Since I’m a depressed fascist, I don’t keep my chin up for long—despite my spiffy brown uniform—so I decide that’s enough for today and to try again tomorrow. The very next morning, I’m valiantly standing in the correct line, but then I’m missing some paperwork for the correct submission of my Application for Total War. Besides a birth certificate (the original, no copies allowed!), I’m still missing two recommendation letters from American citizens. Five are necessary. But—I thought just three… No, five in total! With a smile, the clerk raises her right hand, her fingers spread...

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Artaud’s Last Unpublished Work
Artaud’s Last Unpublished Work

Antonin Artaud, Stephen Barber (ed.)

Watchfiends and Rack Screams

I had a dream last night, scrambled, yes indeed, for a scrambled dream it sure was scrambled. But so meaningful on the other hand, so meaningful. Jean Dequeker was dragging himself along the earth with short and truncated legs, and he said: Am I a beast, a pebble, a branch or a meat stall? But after all what is a tree? What is a tree? Madame Dequeker was behind a cage with her stomach pressed against the flange of this...
  • avant-garde
  • literature
  • Modernism
  • poetry
  • autobiography
Current Texts

Zoran Terzić

Everything new is a pose in the alcoves of capital

In the late nineteenth century Alfred Jarry created a prototype of the modern wannabe in his pot-bellied Père Ubu, a figure that raises entitlement to a high art. Ubu doesn’t want to be king; others urge him to it. But he is also the others. And when he does become king, CEO, or US president, he doesn’t know what it means, or if it means anything at all. He just states his claim. And so he shimmies from statement to power. And having obtained power, Ubu decerebrates the world, exposing the grounds for groundlessness, to paraphrase Ortega y Gasset. Ubu is a tautomaniac, that is, he can be explained in his own terms and is thus always in the right (being in the right is all he is). He needs no proof, but on the contrary wants “to turn the absurd into the highest power of thought” (Deleuze & Guattari)....

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