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about the maintenance and occupancy

"The parallel paths of peacekeeping and occupation" is the title of a sidebar in the 3-volume history Robert, I think. I do not know how it got there but I know exactly why. And I write "we" for to find that title, I was not alone.

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In May (June 2003) editions of Waiting invited me to come play in Bordeaux .* On this occasion, I met Isabelle Jelen, active personality Kitchens of immediate versatile artist (from video to culinary experimentation through the song) which I particularly like the short "texts" very conceptual .**

We said: "do something together!" and we did nothing. But we did with elegance, and that nothing in a name: The parallel paths of peacekeeping and occupation .

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If this is not the work potential that ...

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photo: page 29 of Private Collection Isabella Jelen

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* With Marie Rousset, that I saw her recently in Clermont-Ferrand.

** including the Read Wait: Dance card , The best way to go , Private Collection , New Hairstyle , my knowledge ...

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Quatrini

For too long since I've written anything on the "machinery" of Re- . Yet I think, I think ... And, especially since I wrote here I changed my tune about the length of worms, I had to review the structure I considered here .

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So what have I done?

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Having limited to four meters possible to (6, 7, 8 and 9), each type of trash appear So eleven times. How to organize? I chose to do this:

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I take a first pseudo-Quatrini * starting from the series 6 7 8 9:

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6 7 8 9

8 6 9

7 8 9 7 6 7

9 6 8

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and then a second pseudo-Quatrini starting from the series 6 8 9 7:

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6 8 9 7 9

7 8

6 8 6 9 7 7

9 6 8

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that runs on Alternatively swap but as my line of departure is different, they both end on the same suite 7 9 6 8 (it's not on purpose).

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16 +16 = 32, missing another 12 positions to reach my 44 poems.

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J'intercale therefore between the two pseudo-pseudo-starting of interrupted quenine Series 6 9 8 7:

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6 8 9

7 7 6 9 8 8

7 6 9

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This gives us in the end the following order ** - which is, I repeat, the order of the metrics used for each of the 44 poems - perhaps definitive, but you never know ...

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6 7 8

9 8 6 9 7

9 8 7 6

7 9 6 8

6 9 8 7

7 6 9 8

8 7 6 9

6 8 9 7

9 7 8 6

8 6 7 9

7 9 6 8

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* 4 is not a number Queneau, that is to say, it can give rise to an n-ine in the strict sense. But Jacques Roubaud has sought to extend this type of permutations to other numbers, including 4 (see also Sainte Catherine Harry Mathews, published by POL), hence the "pseudo".

** To read always from left to right.

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Beyond the volcano

I should tell you before the scheduled meeting Wednesday, April 28 with Emmanuelle Pireyre and Celine Geoffroy. But then, Emmanuelle, a trip to Japan, Tokyo is retained by a volcano. Ouch!

The ways of heaven is unfathomable, we preferred to cancel the meeting originally scheduled (where we have talked about books but also Emmanuelle radio creation with Celine Geoffroy).

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Anyway ... We will not give up an evening, anyway! As part of my home, ten were planned, there will be ten.

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I propose this: 20 pm precisely, Wednesday, April 28 at the Counter words (239, rue des Pyrénées, Paris 20th - métro Gambetta), I'll be there and read of poetry (not mine): extracts How to remove the earth Emmanuelle Pireyre to start. And I invite all those interested to come join us , the team's counter and I, for read out loud, what you see fit (as long as it is not you who will have written).

You can make your own library of books. But, fortunately, in the library of The Counter words, there are also books (what a coincidence!), so you can even come empty-handed.

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We read, we talk and celebrate. It said.

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Stealth Case Sylvain Prudhomme

I just read a great novel: The case Stealth by Sylvain Prudhomme, published Burozoïque in the collection "The directory of islands" of Matthew Larner. Text so great that I am a bit disappointed not being able to read it for the first time.

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I shall do neither criticism nor does summarize the plot: I do not know and I do not like it.

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But I really want to share with as many this immense pleasure of reading.

The book made me think - and to me is a compliment - to some texts by Georges Perec (The "W " of W or the Memory of Childhood , two or three "novels "The life of manual or a small something Loss (without lipogram)), the reader Perec Jules Verne adventure novels and adolescents. With its own color, watch out! which in my opinion not many people belong to more than Sylvain Prudhomme.

Trust me: buy it (8 €), devour it and then you will not, like me, just one wish: to talk and read!

Genital Warts Coming Up On Stomach

Tangos prose

The idea was simple (on paper): meeting the two hundred most frequent words in a significant body of Argentine tangos * to be an exclusive lexicon, a private language (private all other words) **.

- Composer

then tangos in prose, not songs, watch, tangos en prose poems that would try to talk about everything except classic themes of tango (lost love, exile, melancholy, loneliness, etc.).

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The question then was: how to express the concept of, say, "fork" in a language who do not have this word? The kind of things that fascinate me ...

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The problem is that my case fell apart in phase 1, the harvest "statistical" words of the tango. Do this by hand, oh no! it was really too painful.

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Too bad ...

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* Singing, of course, and their French translations.

** But the words were authorized tools.

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Polar

Polar

-

if

White Bear

before you

story

white

before you

of his adventures

(fast)

point

white

on

white

up to

the winter

before you

where it is

death and the

hole

the

more

cold

where

(fast) is

the

to bury a

other times

the mystery of

these

the ice

ice before you

imperturbable

the reason

who escapes

and (soon)

connects the contrary

of vertigo before

you are not

can not

not admit what

the benchmark

is melted

it does

there has not

of any benchmark

is

white

White

this

times (I remember April) and

as we prefer

the snow before

you

n '

is

this

not

the beautiful snow

oh

and

this mystery

this

that he

there has

below (quickly) and

in

below

we made a

hole before you

for

White Bear

in the White

before you

we

buried and then

not

c 'is

of the water

(fast)

of the ice

(fast)

a state

if we do

moves

not

liquid and freeze

and

run

is

rolling (fast)

in the snow

n '

this is not

appreciate

white

the cold

before you admit

and then

empty and full

the

position

abstract

(fast)

the

point

white

before

you

bear

if

White

and

the

hole (fast)

before you

white white white

white white white

white white white

White

white white white

white white white

white white white

white white white

white white white

white

white

white

white white white

white white white

white white white

white white white

white white white

white white

white white white

white white white

white white white

white white white

white white white

polar

-

-

-

-

-

-

-

-

-

-

-

-

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Very few items we are overshadowed

There had been first Schumann Lieder , which seemed like a good title for a collection of poems using as a "base" the formal Ching (!) * And then when I started composing poems ** a verse jumped out at me as being more appropriate to refer to all ***.

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Very few items we are overshadowed . The statement, first, is a octosyllable. Which is not uninteresting. Most importantly, it is ambiguous. Let

mean "very few items us from the shadows" or means "very few items we are overshadowed . And this is not the same thing.

In the first case, the vision "optimistic" wins: they are so small, the objects to us from the shadows, that life does not weigh. We are in the light almost all the time.

In the second case, of course, the opposite. Just a touch to come to darken the picture, a tiny patch of darkness just fuck up our lives.

Not that it bothers me that much actually. What interests me is the statement rather than suggesting the two, the light and dark, which seems a pretty good shortcut **** of the I Ching.

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* The Ching, or Book of Changes China, includes 64 "hexagrams". 64 is 8x8. I imagined writing poems 64. Each poem composed of 8 lines, each line consists of 8 segments. Would be allocated to the segments of two formal characteristics ranged from 1 to 8. One line to another 2x8 these characteristics would change positions by swapping two types of octine , two pseudo-quenines of order 8 on the model proposed by Jacques Roubaud in N-ines , ie quenines (yet) , Oulipian Library No. 66. It was not the pie, you say. And it's true: I did not arrive.

** More precisely the third attempting to write these poems ...

*** This is a very rare thing for me as an emerging after the onset of labor composition itself (but I already said).

**** And like any shortcut, necessarily reductive.

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Pull-One

It is with great pleasure that I announce here the first issue of the journal Line 13 * . Title Pull-a-line , the book is available in a lot of good bookstores, including the Comptoir words that will also both founders of review, Cohen and Francis Sebastian Smirou, and some of the authors who participated at (Marie-Louise Chapelle Daive Jean Christophe Mescolini, achieved and your servant, others maybe ...) Wednesday, May 5 at 20h for an evening of "launch" the boat **.

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Since I'm in, I will not tell you how much I think. But it itches.

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* You can subscribe by visiting the site.

** The magazine is beautifully illustrated by François Matton who forgive me, I hoped, the killing of his photographic cover design ...

My Breasts Have Veins

-related upheaval

past few weeks, Re- (or I) has stalled. This may be due, of course, has a dispersion of my activities is hardly compatible with the time of the composition of a book but also something else, I just realize it today.

Although the poems are not moving, I reread them often. In my head, or aloud, over and over again. It's always how I shall, as a test of reliability *.

And, therefore, re-reading my rubbish, I realized today what was wrong for a while in my head ** I could not identify it: the lengths to certain poems. More exactly, this: the short lines work fine (up to 9) but from 10, it starts to derail and 11 and 12, nothing is more ...

This may be a vision purely subjective, but I now know, the decadence, the Endeca-dodécasyllabes and, in the language that I use for this book, do not work. The poems become heavy, pompous ... it weighs a ton and I felt like I tell it. And it is certainly not the tone I want to give Re-.

What interests me and runs to me with short lines (6 to 9 syllables so) is a lightness, even some inconsistency, that worms "long" obliterate.

That may have something to do with a balance (harmony?): The ratio between the number and length of worms .***

The shape-trash (as I have set: 13 to ( 2 +6 +5)) is not the sonnet-form. If the Alexandrian and the sonnet are made for each other ****, like red wine and Camembert in a way, the trash it seems to cut to accommodate lightweight.

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short, the "beautiful" building that I developed here collapses on the field. I just have to go up another thing ... Here we are beautiful.

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* When I was last month in Clermont-Ferrand for the Week of Poetry, I often went to the Michelin factories in particular to strange constructs that being said the old ramps test where we tested the resistance of tires ... My ramp test to me, is the voice.

** I know, the term is ambiguous. But imagine a small alarm bell currently ringing.

*** Something like the golden ratio has come to play a role in there but I do not have time to go yet.

**** But the sonnet in history has used a variety of meters, do not forget.

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N / S

I met Ian Monk in May 2002 by François Caradec at a meeting of the Oulipo where I was "guest of honor"

.* A year later, In May 2003, returning to Paris for a week of vacation, I attended Jussieu, Amphi 24, a Thursday Oulipo after which I joined some Oulipians - Jacques Toy Fair Olivier, Ian Monk - and their friends (I remember that Mark Lapprand was present) for dinner on the terrace coffee. It was sweet that night.

I could not remember how the idea had first germinated in my little head, but it already existed since , abruptly I suggested to Ian collaboration. A proposal was three signs: 'N', '/' and 'S'. Because he lived in Lille and Toulouse to me, a title as cardinal axis: North / South.

Ian replied immediately that it was ok but he wanted to write in English .** And he began to scribble on the tablecloth in the form of bilingual stanza that we would start using a few days later to call our common book . After that I did nothing but follow suit.

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How many were there of combinations in a bilingual stanza with four verses in both English and French? 70.

Should we be content to compose a single sequence or we had to write it in another so that the symmetry is perfect? Answer 2: 140 poems so.

And these 140 poems were we not not translate into mirror so that readers could possibly find there uniglottes their young? Yes: 140 x 2 = 280 poems.

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We send e-mails once or twice a day along the North-South. At the end of summer, it seems, the book was written .***

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* That's how you say.

** It has been shown with Plouk town (Cambourakis, 2007) he could write in French.

*** Then published late 2004, editions of Waiting.

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Rrrrrrrrreeeeeeeee

I have noticed in recent days, the insistence of my son trying to bring me back, no less, to the basics: writing Re-. "... Re-Re-Re-... ..." I repeated it again just yesterday, when he had abandoned the term for quite some time in favor of "da", "ga" and others " awa. " It's a sign.

I was not aware that the experience took him to my heart but it is clear he noticed the slowdown of the project and encourages me * to, as I said, urging me to pull myself together to complete it.

Oh sure, if I asked him the question directly, he would answer some obvious signs (gominage hair dough to squash competition postillonage or attempt world record throw blanket) that walking is an operation who requires full-time and whether to take an interest in poetry, he must first learn to count his steps.

But I'm not fooled. He pushes me. "... Re-Re-Re-... ..."

So what do you want me to do? The delay increases, but I continue.

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* Yet he does not read the blog it.