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November 28, 2005

Lars Gustafsson

15 Poems
Translated from the Swedish by Susan Howard

Mört

Det var det sällsamma ord
som jag sökte i drömmen
Och omöjligt kunde finna.

Jag vaknade
efter att ha drömt om en fisk
med röda ögon

lätt att fånga med tuggat bröd
på en krökt knappnål.
En mört, dödsorsak för Yvonne

Prinsessa av Burgund
så mycket trögare än de väna löjorna,
dessa varma strandvattnets danserskor.

Ja, denna dröm var fylld
utav skönhet och dans
och ingen i hela världen visste
att mörten heter mört.


Roach

That was the same strange word
that I searched for in a dream
and was unable to find.

I awoke
from a dream of a fish
with red eyes

easy to catch with a piece of chewed bread
on a crooked short nail.
A roach, cause of death for Yvonne

Princess of Burgundy
so much more indolent that the beautiful minnows,
those dancers of the warm water near the shoreline.

Yes, this dream was full
of beauty and dance
and no one in the whole world knew
that roaches are called roaches.





A.

Den sommaren så mäktig
att den dröjde ännu ett stycke

in i november. Din kropp
"ditt fasta hull," utsände

en doft av myror och upphettad barrskog.
De långa, de årstidsvändande dagarna

sedan länge förbi och mörkret i uppmarsch
någonstans bortom horisonten.

Redan en doft av avlägsna bränder.
Och den djupa mörka källan i denna skog.


A.

The summer so powerful
that it lingered on

into November. Your body
"this firm flesh," emitted

a scent of ants and hot pine forest.
Those long days of the changing of the seasons

long since past and darkness forming
somewhere beyond the horizon.

Already the scent of distant fires.
And the deep, dark spring of this forest.





Tidsfördrif

Hur skulle den kunna fördrivas?
Det finns inga tomrum.
Fången i sin cell
dresserar en fluga att komma.
Ett upprört möte,
en vild flykt.
En het omfamning.
Alla fyller de tiden fullt ut.
Det finns inga tomrum.

"Fördriva tiden" hette det.
Vi har så litet tid.
Och den vi har,
hur skulle den kunna fördrivas?


Killing Time

How could it be killed?
There are no empty spaces.
The prisoner in his cell
trains a fly to come.
A disturbing meeting,
a wild escape.
An ardent embrace.
All of these fill time completely.
There are no empty spaces.

"Killing time" it was called.
We have so little time.
and that which we have,
how could it be killed?





Tidsfördrif II

Tidskriften var tegelgul och snabbt läst.
Den var den billigaste i Brukshandeln

och jag upptäckte, elvaårig, snart
att där inte fanns mycket att hämta.

Dagdrömmar för hembiträden
och detektivhistorier från Rivieran

som då var ett avlägset land.
Men namnet stannade;

Kan man fördrifva tiden?
Och om man kunde det,

är det inte skada på ett enda liv?
Ändå vet jag att jag har fördrivit mycken tid.

De ändlösa tråkiga timmarna i skolan
och den envisa mtimvisaren som inte –

nej, inte ens minutvisaren ville röra på sig.


Killing Time II

The magazine was brick yellow and quickly read.
It was the cheapest thing in the company store

and I quickly discovered, at eleven years old,
that there wasn’t much to find there.

Daydreams for maids
and detective stories from the Riviera

which at that time was a distant land.
But the name stuck.

Can one kill time?
And if one could,

is that not a pity for an only life?
Still I know I have killed a great deal of time.

The endless boring hours in school
and the obstinate minute hand which never –

no, not even the minute hand wanted to move.





Genom Spegeln IV

Käraste
sovande så långt ifrån varandra
delar vi ändå natten

Och vi drömmer varandra.
Om jag vaknade nu
skulle jag inte finnas.

Jag drömmer dig
som drömmer mig.
Om jag väcker dig
kommer jag att försvinna.


Through the Looking Glass

Dearest
sleeping so far away from each other
still we share the night

And we dream one another.
If I awoke now
I would not exist.

I dream you
who dreams me.
If I awaken you

I shall disappear.





Vila Skymning

"Vila skymning"
Det hette så.

När kvällen kom
satt man där i väntan.
Och såg de välbekanta tingen
långsamt glida in i mörkret.

Man tände inte lampan
och satt helt stilla i det falnande ljuset
och såg kvällen komma,
som den nu blev.

Och detta glidande, detta falnande
var en tröst.


Letting Twilight Happen

"Letting twilight happen"
That’s what it was called.

When evening came
one sat there waiting.
And saw the familiar things
slowly glide into the darkness.

We didn’t light any lamps
and sat completely still in the fading light,
such as is was to be.

And this gliding, this fading
was a comfort.





Sensommarljuden

Den välbekanta humlan
bultade mot sitt glas
som var en världens vägg.
Medan lommen
flög från sjö till sjö
och bådade regn.

Det kunde vara sent eller tidigt
i mitt liv.
Det kunde vara
i vilket liv som helst.


Late Summer Sounds

The familiar bumblebee
rapped against its windowpane
which was a barrier to his world.
While a loon
flew from sea to sea
foreboding rain.

It could be late or early
in my life.
It could be in any life.






Brevet

När brevet kom
Och det är länge sedan

Såg det ut som ett brev
Vilket som helst.

I lampans svaga gula sken.
Och i det stod ingenting märkvärdigt.

Men det brevet var förebudet.


The Letter

When the letter came
And that was long ago

It looked like
Any other letter

In the lamp’s pale yellow light.
And there was nothing remarkable in it.

But the letter was the omen.





Skuldran

Smärtan i den högra skuldran
som nästan tycks mumla för sig själv
och störa sömnen
är vad denna kropp
sög upp, tog till sig,
intog,
ur mina egna ord.


The Shoulder

The pain in the right shoulder
which almost seems to mumble to itself
and disturb sleep
is what this body
absorbed, took in,
consumed,
from my own words.





Hamlet Prins av Danmark

Prins Hamlet av Danmark
Nu utan banesår
och klädd i god kostym från Savile Row
men slipsen självklart
ifrån Ruderklub der Universität Wittenberg
kom fram ur nattens djup och sade
Professorn förstår. Det är inte alltid så lätt
detta att komma tillbaka till sin hembygd
och se att allt är förändrat
och ingen, inte ens mamma
längre begriper ett ord.
Av vad man säger.

Men i det fall det kommer där
en liten otäck dvärg
med konstlat röda kinder
där just runt hörnet
då drömmer vi i samma dröm.


Hamlet Prince of Denmark

Prince Hamlet of Denmark
but now without his fatal wound
and dressed in a good suit from Savile Row
but the tie most certainly
from the rowing club at the University of Wittenberg
came out of the night’s shadows and said
You see, Professor. It is not quite so easy
to come back home
and see that everything is changed
and no one, not even Mama
understands a single word.
About what one says.

But in the event that
a little ugly dwarf
with cheeks painted red
appears just around the corner
then we are dreaming the same dream.





Vinden Slår i Böckerna

Sensommar, årstid
som passar min ålder.
Och de långsamma,
man kunde nästan säga,
de tålmodiga, vågorna
går endast tveksamt in
och gömmer sig
i de små mörka hålorna
under strandens stenar.
Det är bäst
att bara ösa båtarna
när de verkligen behövs.
En enkel visdom, detta.

Och inte olik detta;
Att läsa framtiden
den ofärdiga texten,
bara när det verkligen behövs.


The Wind Turns the Pages

Late summer, the time of year
that suits my age.
And the slow,
one might almost say,
the patient, waves
only go in with hesitation
and hide
in the small dark cavities
under the stones of the shores.
It is best
to bail out our boats
only when it is really necessary.
A simple wisdom, this.

And not unlike this one:
To read the future,
the unfinished text,
only when it is really necessary.





Kärlek i Början av Hösten

De skördade åkrarna
som mjukt gammalt guld
och honungsvarma dina ögon.

I det mörka vattnet
stiger de uråldriga grunden
snabbt mot ytan

som vore de hotfulla handflator
som ville fånga oss.


Love at the Beginning of Autumn

The harvested fields
like soft old gold
and your eyes, honey-warm.

In the dark water
the ancient shallows rise
far too quickly to the surface

as if there were threatening hands
wanting to capture us.





Västvinden Går

Västvinden går.
Västvinden
in genom öppna fönstret,
bläddrar i uppslagen bok.
Som alltså läser sig själv.
Fernissan på åran
torkar snabbare nu
och minst en fluga
blir alltid kvar
i den hårdnande, klara massan.
Liksom en fråga
utifrån den kristallklara, tomma och nattliga rymden.
Och boken läser sig själv
inte utan eftertanke.


The West Wind Blows

The west wind blows.
The west wind
through the open window,
turning the pages of the open book.
As if to read itself.
The varnish on the oars
dries quicker now
and at least one fly
always gets stuck
in the hardening, clear surface.
Like a question
from a crystal-clear, empty and nocturnal space.
And the book reads itself
not without afterthoughts.





Sång Fore Regnet

Daggen gick ur gräset.
Och ur den gamla lindens krona

Sången av tusen bevingade.
Livet var ännu inte slut.

Och en humla surrade
allt djupare inåt.


Song Before the Rain

The dew left the grass
and out of the crown of the old lime tree

The song of a thousand winged beings.
Life was not yet over.

And a bumblebee buzzed
deeper and deeper inwards.





Blankhet

Här härskade den stilla blankheten
som kunde störas av ett enda årtag.
Årstiden som långsamt svalnar.
Ljudet av en kätting som tas loss
och läggs på botten av en eka.
Och rädd att skada denna
vattenspegels sällsamt stora lugn
höll jag min åra svävande i luften.


Smoothness

Here the calm smoothness ruled
which could be disturbed by a single oar stroke.
The season slowly cooling.
The sound of a chain being taken off
and laid in the bottom of a rowboat.
And, afraid to disturb this
surface’s rare great calm,
I held my oar hovering in the air.


November 23, 2005

Michael Cowell

Posters & New Artwork


Posters


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New Artwork


Girl at Pere Lachaise


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Mourner at Pere Lachaise


mourner at pere la chez.jpg




Susannah


susannah.JPG






Artwork


from a series for Brecht and Weill's The Threepenny Opera


will become Silhouettes


will become shillouettes.jpg




Discarded Bouquet


discarded bouquet.jpg




Leading the Masses


leading the masses.jpg




Unofficial Alliances


unofficial alliences.jpg




from a series for an Edgar Allan Poe anthology


Haunted Place


haunted place.jpg




masque of the red death.jpg




jacket copy.jpg




from a series for Mary Shelley's Frankenstein


frank_burning hut.jpg




frank_dead mother.jpg




frank_mountain copy.jpg




frank_workshop1.jpg




Work is created using digitally manipulated printing ink and acrylic on heavy-weight watercolour paper.


Michael Cowell is an illustrator/artist based in Nottingham, England.

Contact: michael.cowell@gmail.com

Denis Mutter

Posters


circles.jpg




halow.jpg




jetage.jpg




jetage2.jpg




orangegirl.jpg




pig.jpg




pros.jpg




revheat.jpg




revheatgirl.jpg


Denis Mutter is a designer based out of Dayton, Ohio. Together with illustrator Skot Kustowski, he is part of FN Harsh Studios. More of his work can be seen at gigposters.com and at the FN Harsh site.

Website: fnharsh.com
Contact: den@fnharsh.com

November 16, 2005

Mike Garrick Jazz Britannia Orchestra

New Vortex Jazz Club, Dalston Culture House, London
7 November 2005

Despite the fact that pianist and arranger Mike Garrick has been at the forefront of progressive jazz in the UK for more than 40 years, in some ways, he is only just being discovered by the listening public. Originally, his records were put out on obscure specialist subsidiary labels of EMI such as Argo and Deram: they were rare at the time, and are even rarer now. I recently read an interview with Mike by renowned DJ Gilles Petersen in Jazzwise magazine, who explained that he had just paid £300 for one LP from the late ’60s. Mike replied that he would gladly have lent him the record, had he known he was so keen to hear it! It is largely due to Gilles’ persistence that a considerable proportion of Mike’s back catalogue has now been re-released on CD.

Mike’s music has always been blatantly uncommercial and uncompromising. Despite having a formal musical education, Mike was heavily influenced by Charles Mingus, who combined formally orchestrated passages with gospel chanting, clapping and free-form sequences for all instrumentalists. He worked with Indian musicians in the ’60s, whose improvisational techniques, scales and harmonies affected the way in which he wrote his music. He was also a collaborator with West Indian alto saxophonist Joe Harriott, who evolved free-form playing in the late 1950s in the UK, around the same time as Ornette Coleman in the U.S. – sadly, dying, in 1973, without seeing the effect of his work and the respect it has now garnered. Despite all these influences, Mike remains very British and has produced some beautiful variations on English folk music.

The concert at the New Vortex (known as “London’s listening jazz club”) kicked off with a new composition, “Tell me something new,” which provided Mike and his band of 15 talented musicians the opportunity to show exactly what they could do. As Mike explained during the performance, he does not have the finances to employ a band, so some of the musicians were indeed seeing the scores for the first time and presumably were working for nothing or just a cut of the door takings. Despite this, there were very few ragged edges, thereby bearing testament to the very high quality of musicianship in the city.

Not all the compositions were intended to raise the roof. “Silhouette,” written by Mike back in the '60s, featured lyrical trombone and tenor sax work. Mike seemed to spend most of his time conducting the band and moving the microphone to the optimal position for each soloist. “Second Coming” began with his wonderful rhythmic piano style. The crowd seemed to enjoy the flag-wavers, and “Two Trumpets” was an exciting, exhilarating piece, giving ample room for the members of that section to show opposing approaches to free-form playing – one, full of notes, demonstrating his dexterity, the other, laid-back and laconic. “Wedding Hymn,” written indeed for a nuptials ceremonial, began with a hymn-like motif, representing the solemnity of vows, followed by a true piece of swing, emphasising the joy of love, marriage and life thereafter. Mike concluded the first set with “Tonal,” a Joe Harriott composition. He had transcribed the original solos from the 1961 recording, orchestrated them and then provided spots for the band to embark on further improvisations.

Duke Ellington’s composing and arranging techniques have influenced generations of musicians and Mike began the second set with “For the love of Duke,” a tribute to Duke and tenorist Ben Webster, who had a wonderfully warm, unmistakable sound. Back in the ’60s, Mike recorded several albums that featured his own poetry and “A trick of the light” began with a reading of a poem, the ethereal feeling of which was emphasised musically by the band. “Echoes” was another thought-provoking composition, giving way to “Shambolism,” written by dedicated leftwinger Mike in 2000 as a response to the waste of money that was London’s Millennium Dome. This jaunt gave chance for the band to let off steam and featured an exciting tenor/baritone sax chase sequence. Somewhat surprisingly, the evening concluded with Fats Waller’s “Jitterbug Waltz,” as arranged by Mike in his own idiosyncratic style, giving opportunity for everyone to solo.

This was a most entertaining evening and let us hope that Mike’s work continues to achieve the recognition that it deserves.


-Neil Watson

November 15, 2005

Steve Chanks

Posters, Illustrations and Sketches


Posters


him_release-party1.jpg




guitar_pinup.jpg




dirty_hollow-een.jpg




hollow_stripper.jpg




catholic_guilt_poster.gif



Illustrations


dead_punkette.jpg




devil_girl.jpg




frankentstein.jpg




GW_BadGuitarists.jpg




GW_slashAlone.jpg



Sketchbook


clown.jpg




claudia_sketch9-11-03.jpg



Contact: stevechanks@hotmail.com
Website: www.stevechanks.com

Christopher Lands

Posters



EF Print Proof.jpg




masc.jpg




dc12.jpg





bhg.jpg




charge9x24.jpg


Contact: christopher@surrenderart.com
Website: www.surrenderart.com

November 14, 2005

More Monotonik Reviews

Lackluster, Queshi and Tatsu


mtk153.jpg


Lackluster - Zero Million Barrels Of Oil Per Day (mtk153)

Single song release, 9:52

Minimal idm/ambient, soothing strings/organ blend, hypnotic rhythm. After 1/4 of the song, a harsh industrial beat kicks in and out, then the song turns a bit more harsh. There is a nice blend of “cold” and “warm” sounds – then after about halfway through, a new harsh industrial beat kicks in. The song sounds a bit digital/spaced-out towards then end of the track.


mtk154.jpg


Queshi – The Eudemonic Homunculus (mtk154)

Atmospheric, melodic, instrumental space lullaby electronica. Queshi delivers a unique, refreshing sound while maintaining an enjoyable form of electronica, attaining a sound that you rarely ever hear in electronic music. This is not quite the music to blare while cruising with your homies, it is something people from ages 8-80 are likely to enjoy, very peaceful and original music that will soothe you in new ways. Queshi is positive, warm music, for the most part, uplifting. Take forty minutes out of your life and experience something new, listening to this stellar Monotinik release.

Favorite tracks: 3, 5, 7, 9

Track by track

Moshi Moshi Qeshi -
Pleasant little space lullaby, nice beat, very unique, positive-sounding music.
Islanddryad -
More unique Queshi, nice warm melody and a pleasant beat.
Nightly Hedped Promenade -
Catchy rhythm and melody, nice stereo mixing.
Tulip Litt -
A bit down tempo, atmospheric.
Kumo -
Down tempo, very melodic and rhythmic, nice bass line.
Take Care of Your Onaka -
Nice sampling, and stereo mixing, quicker tempo.
Seijin O Asobe -
Upbeat melody and rhythm, nice buildup.
Nattskimmerfly -
Slow initial buildup, down tempo, warm.
Vilda Och Delfinen -
Reggae-esque intro, nice breaks, perfect track to end the album with.


mtk152.jpg


Tatsu – August (mtk152), 40:49

Six-song EP. Instrumental synth electronica. Very melodic and warm music. Well put together. Lots of nice breaks, fantastic buildup and release. This music is perfect for relaxing and chilling at home. Nice use of 909/808 drum sounds. Recommended to anyone who likes relaxing electronica.

Favorite tracks: 1, 4, 5

Track by track

Stillness/Introspective ME -
Nice warm, soothing, relaxing solo synth piece, no percussion.

Sky and Sea/Daytime Dream -
Same soothing synth, but this time, nice little accompaniment of rhythm (think 909/808) – then the beat stops and restarts a few times, smooth, subtle finish,

Highland/Glass and Mountains -
Nice beat and synth intro, busier with synths than the first two tracks.

Evening/Setting Sun -
Nice, catchy beat, pleasant synth, nice slow buildup.

Deep and Calm/Falling Asleep -
Nice change of pace with different percussion sounds, with added samples, along with the same soothing music of the preceding tracks.

Memories of Summer/Goodbye August -
More of a “dance” beat, nice piano piece, sounds a bit like Robert Miles.


-Christopher Molaug

Contact: liquidsynthetics@hotmail.com
Liquid Synthetics can be found at: http://www.angelfire.com/indie/liquidsynthetics

John Warner

Posters



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shhh.jpg




snake.jpg




dancingskeletons.jpg




pyramid.jpg




frog.jpg




bike.jpg




collectall.jpg



train.jpg




monstah.jpg




gosee.jpg




atbitchwax_s.jpg


John Warner is a designer based out of Austin, Texas.

Contact: john_e_warner@yahoo.com


November 12, 2005

Dawn Grace

Posters


kasabian.jpg




S&honey.jpg




austincity.jpg




highdials.jpg




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schic.jpg




sound.jpg




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Dawn Grace is a designer and tattoo artist based in Chicago, Illinois. She has been designing concert posters since the 80s, and mastering her tattooing skills for the last decade, working now at the Tattoo Factory in Chicago.

Prints of her posters are available for $5 each plus shipping & bands can commission her for poster designs.


Contact: dawngracerussell@yahoo.com
Website: www.dawngrace.com


November 07, 2005

Bruce New

Paintings, Mixed Media and Photomontages


Paintings


Between a Painter and the Sun


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Kentucky in the Moonlight is like a Lunar Landscape


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Where Morning Meets the Night


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Mixed Media


Safety Deer


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Ode to Cremaster


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Over-bite


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Photomontages


Icarus


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I Should Never Eat Acid, Again


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The Ear-Ache


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The War Hero


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Portrait of a Vampire


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Angel with Rocket


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Bird Sorceress


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Spaceman


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Bruce New was born in 1970 in Somerset, KY. He now resides in the wilds of northern Kentucky, on a mountaintop, next to the sun, where he creates artwork high on butterfly wine.


Contact: newb@ipro.net
Website: brucenew.com

November 03, 2005

Magnus Larsson

Paintings, Illustrations and Posters



Paintings



Diver


diver.jpg




Evening in Prague


eveninginpraugex400.jpg




People, Dream and Fiction


people_Dream_and fiction mldesign05.jpg




Girl


girl.jpg




Manhattan


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Skulls study


skulls.jpg




Illustrations



Pencil drawing, part of school application on the subject of power


King_skull.jpg




The Penguin


The Penguin.jpg




Green Lady


greenlady_mldesign.jpg



Posters


EF_2005_mldesign.jpg




dozersunride.jpg




DozerMonster.jpg




Linda_spiral_opt.jpg




LindaM.jpg




Magnus Larsson started his career in art and design in 1996, but didn't take it up seriously until 1998, when he began attending Forsbergs School of Design and Illustration. In 2000, he graduated with a Bachelor's degree in design. After graduation, he began working at an advertising agency in Stockholm, then moved back to his hometown in Dalarna, just a short two hours' drive north of the city. Since then, he has been freelancing for a wide range of clients and painting.

Website: www.mldesign.se
Contact: magnus@mldesign.se

Tarot Readings

free from Llewellyn




Check out this site - it's pretty cool! If you're into the supernatural and magic, this site has a lot of articles and fun stuff!

November 02, 2005

Chuck Hadad

Photographs of Prague, Nicaragua and Brooklyn, New York



Prague

Brother in silhouette, Prague Castle


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Church in Prague Castle 1


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Church in Prague Castle 2


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Nicaragua


Beach hut in La Boquita, Nicaragua


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Construction on beach, La Boquita, Nicaragua


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The beach at La Boquita, Nicaragua


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Brooklyn
Rally against Nets stadium proposal in Park Slope

Brownstone adorned with signs stating the community's position


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Park Slope family watches the action on stage 1


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Park Slope family watches the action on stage 2


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Motley crew of musicians


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Chuck Hadad's photographs have been published in The New York Times, have won numerous regional photo contests and have earned wide-spread acclaim by professionals in the industry. Beyond his photographic endeavors, he's a producer in CNN's New York bureau, is a world traveler, a rock musician and an all-around Renaissance man.

Contact: Photos are available for sale by request through email at: cahadad@hotmail.com.

November 01, 2005

Ben Lareau

a phonetic translation of Catullus

Catullus # XLII

Adeste, hendecasyllabic, quo testis
omnes undique, quotquot estis omnes.
iocum me putat esse moecha turpis,
et negat mihi vestra reddituram
pugillaria, si pati potestis
persequamur eam, et reflagitemus.
quae sit, quaeritis. Illa, quam videtis
turpe incedere, mimice ac moleste
ridentem catuli ore Gallicani.
cirumsistite eam, et reflagitate,
“moecha putida, redde codicillos.
non assis facis? o lutum, lupanar,
aut si perditius potes quid esse.
sed non est tamen hoc satis putandum.
quod si non aliud potest, ruborem
ferreo canis exprimamus ore:
conclamate iterum altiore voce
“moecha putida, redde codicillos,
redde, putida moecha, codicillos.”
sed nil proficimus, nihil movetur.
mutandast ratio modusque vobis,
suquid proficiere amplius potestis:
“pudica et proba, redde codicillos.”


42

I dressed, then checked the syllabi. What is this?
“Om” on a Sunday? What? What is this Ominous
Yolk from me? But that S.M.O. chatterpiss
Ate nougat. My hives traded
Your amp, Aguilera. See Patty protest this
Purse. Aquamarine tree: flag it. Emus
Weighs it: “Queer it is.” Illaqua, my vet, is
Trippin’: “My mice sack moles to
Ride in them—cat you’ll be, or golly, can ye?”
Circumcist I am! Yet Reef’ll agitate
Moe: “didja put Ida’s redi codicil…oh…its
Ready? Put tide, Moe: Calk Odysseus.”
No Nazis face this? O lute, I’m loopin’ a rout!
Sea perditious! But the squiddess
Said an honest “amen.” Hawks ate his new tandem.
What, Is he not allowed protest? Rubber ‘em
For Rio Canis. Sex-free mama’s sore.
Can claim it rum, all to your “voce.”
Mocha Puttee: “The Red cod is ill? Oh.”
Red Puttee: “The mocha is ill? Oh.”
Said an ill prof: I see Imus.
Kermit and Astor show mod-esque crow-bisque.
I’d preface her ‘ample.’ I? You? Us? Protest this:
“Pudicate pro dared decode” is silly, yes?


Note on the poem: I originally created this as part of a seminar on translations. To be honest, phonetic translations struck me at the time as being little more than a silly exercise - which is why I chose to do one. I wanted to see if there was something I wasn’t getting as far as their seriousness was concerned. What I found was surprising, and rather enjoyable. Normally I work in prose, and so I had a kind of gut-level need to bring everything as close to grammatical correctness as possible. This made the results rather different from the usual string of nonsensical but right-sounding words one finds in a phonetic translation. For one, the repeated sounds of the original give rise to repeated sounds in the finished product, creating a recurring theme of complaint and protest. This theme is, oddly enough, deeply embedded in the original as well: in it, the speaker is arguing with a “lady of the night” who has taken his wallet.


Ben Lareau is an English teacher at Casper College in Casper, Wyoming, where he teaches composition and the occasional literature class. He and his wife live in a small apartment with three cats they rescued from the streets of Bangor, Maine.

Thibaud Thiercelin

Paintings from Valentin c'est moi



2005


20 x 16 inches



Bon Anniversaire



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Monsieur Machine



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Sur la frontière



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Untitled



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Dans ma chambre



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66 x 66 inches



Mommy at war

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Le ciel tombé sur la tête

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Dans le bleu du ciel

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Valentin

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12 x 24 inches



ASIL

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The rabbit behind the tree

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24 x 12 inches



Family


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Waiting for the bus

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Thibaud Thiercelin was born in Chatou, France. He is a self-taught painter who has exhibited regularly since 1987. He created the Atelier Lasson in 1993 and co-founded group “144” with whom he has participated in group exhibitions of public art outdoors. Artist-in-residence at the Arts Council of Princeton since February 2004, this most recent series of his work, "Valentin c'est moi" has just been exhibited in a solo show at the Bernstein Gallery of the Woodrow Wilson School at Princeton University. Over 250 of his pieces can be found in private collections around the world and he continues to exhibit his work regularly throughout Europe and the United States.

Contact: thibaudthiercelin@yahoo.com