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Archive S-T

«« Previous page · Georg Trakl: Abendländisches Lied · Because I love you, I become war. Poems & Uncollected Poetics Prose by Eileen R. Tabios · Genevieve Taggard: With Child · Simultaneities and Lyric Chemisms by Ardengo Soffici · Pit Lullabies by Jessica Traynor (Poems) · Genevieve Taggard: The Vast Hour · Genevieve Taggard: Skull Song · Edith Södergran: Skönhet · Edith Södergran: Jag · ‘Shakespeare Was a Woman and Other Heresies’ by Elizabeth Winkler · Edith Södergran: Ord · Georg Trakl: Grodek (Gedicht)

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Georg Trakl: Abendländisches Lied

Abendländisches Lied

O der Seele nächtlicher Flügelschlag:
Hirten gingen wir einst an dämmernden Wäldern hin
Und es folgte das rote Wild, die grüne Blume und der lallende Quell
Demutsvoll. O, der uralte Ton des Heimchens,
Blut blühend am Opferstein
Und der Schrei des einsamen Vogels über der grünen Stille des Teichs.

O, ihr Kreuzzüge und glühenden Martern
Des Fleisches, Fallen purpurner Früchte
Im Abendgarten, wo vor Zeiten die frommen Jünger gegangen,
Kriegsleute nun, erwachend aus Wunden und Sternenträumen.
O, das sanfte Zyanenbündel der Nacht.

O, ihr Zeiten der Stille und goldener Herbste,
Da wir friedliche Mönche die purpurne Traube gekeltert;
Und rings erglänzten Hügel und Wald.
O, ihr Jagden und Schlösser; Ruh des Abends,
Da in seiner Kammer der Mensch Gerechtes sann,
In stummem Gebet um Gottes lebendiges Haupt rang.

O, die bittere Stunde des Untergangs,
Da wir ein steinernes Antlitz in schwarzen Wassern beschaun.
Aber strahlend heben die silbernen Lider die Liebenden:
Ein Geschlecht. Weihrauch strömt von rosigen Kissen
Und der süße Gesang der Auferstandenen.

Georg Trakl
(1887 – 1914)
Abendländisches Lied

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Because I love you, I become war. Poems & Uncollected Poetics Prose by Eileen R. Tabios

The title poem, “Because I Love You, I Become War,” is a poem of feminist genius, deserving to be in the pantheon of all-time brilliant poems!

Sascha A. Akhtar, author of #LoveLikeBlood

Raw[ness] exudes from this collection of poems and poetics prose about love and war, both corporal and terrestrial. Whether speaking of “rose petals yawning like little girls, like the daughters I never bore,” or a California wildfire’s “yellowed skies” and “smoke taint,” even color is narrative in Eileen Tabios’ dexterous hands.

Eileen R. Tabios has released over 60 collections of poetry, fiction, essays, and experimental biographies from publishers in 11 countries and cyberspace. DOVELION: A FAIRY TALE FOR OUR TIMES (AC Books, 2021) is her first long- form novel. Her 2020 books include a short story collection, PAGPAG: The Dictator’s Aftermath in the Diaspora; a poetry collection, THE IN(TER)VENTION OF THE HAY(NA)KU (Marsh Hawk Press, 2019); and her third bilingual edition (English/Thai), INCULPATORY EVIDENCE: Covid-19 Poems.

Her award-winning body of work includes invention of the hay(na)ku, a 21st century diasporic poetic form, and the MDR Poetry Generator that can create poems totaling theoretical infinity, as well as a first poetry book, Beyond Life Sentences, which received the Philippines’ National Book Award for Poetry. Translated into 11 languages, she also has edited, co-edited or conceptualized 15 anthologies of poetry, fiction and essays. Her writing and editing works have received recognition through awards, grants and residencies.

Because I love you, I become war
Poems & Uncollected Poetics Prose
by Eileen R. Tabios
Pub Date: 5/30/2023
Publisher: Marsh Hawk Press, Inc.
ISBN-10 ‏ : ‎ 099865826X
ISBN-13 ‏ : ‎ 978-0998658261
Binding: Paperback
Pages: 332
Price: $ 22.00

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Genevieve Taggard: With Child

With Child

Now I am slow and placid, fond of sun,
Like a sleek beast, or a worn one:
No slim and languid girl—not glad
With the windy trip I once had,
But velvet-footed, musing of my own,
Torpid, mellow, stupid as a stone.

You cleft me with your beauty’s pulse, and now
Your pulse has taken body. Care not how
The old grace goes, how heavy I am grown,
Big with this loneliness, how you alone
Ponder our love. Touch my feet and feel
How earth tingles, teeming at my heel!
Earth’s urge, not mine,—my little death, not hers;
And the pure beauty yearns and stirs.

It does not heed our ecstacies, it turns
With secrets of its own, its own concerns,
Toward a windy world of its own, toward stark
And solitary places. In the dark,
Defiant even now, it tugs and moans
To be untangled from these mother’s bones.

Genevieve Taggard
(1894 – 1948)
With Child

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Simultaneities and Lyric Chemisms by Ardengo Soffici

A vital reconstruction of Italian Futurist poet Ardengo Soffici’s visual poetics, presented for the first time in English in Olivia E. Sears’s exacting translations. With a foreword by Marjorie Perloff.

With unexpected lyricism, buzzing between the entropic and the erotic, Soffici’s unrelenting poems manifest his milieu’s fascination with the metropolis. Guillaume Apollinaire called it “very important work, rich in fresh beauties.” This facsimile-style edition—with a foreword by Marjorie Perloff, helpful annotations, and an informative afterword by the translator—offers a glimpse into the vibrant early avant-garde, when modernity held tremendous promise.

Ardengo Soffici (1879-1964) was an Italian painter, poet, and art critic associated with Florentine Futurism. Years spent in Parisian artistic circles spurred Soffici to champion an artistic renewal in Italy, introducing French impressionism and cubism and a vibrant magazine culture.

Olivia E. Sears is a translator of Italian poetry and prose, specializing in avant-garde women writers. She founded the Center for the Art of Translation and the journal Two Lines, where she served as editor for twelve years.

Simultaneities and Lyric Chemisms
Ardengo Soffici
Olivia E. Sears (Translator)
Pub Date: 09/15/2022
Publisher: World Poetry Books
Product Number:9781954218055
ISBN978-1-954218-05-5
SKU #: I17G
Binding: Paperback
Pages:120
Poetry.
Translation.
Italian Studies.
Price: 23,99 euro

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Pit Lullabies by Jessica Traynor (Poems)

Pit Lullabies is Jessica Traynor’s third collection, following Liffey Swim (2014) and The Quick (2019).

These intimate, visceral and often wickedly funny poems journey through the darker days of new parenthood, teasing out the anxieties which plague us when night falls. Violence against women, the destruction of our environment, the poisons and pitfalls of 21st-century living are explored here in poems by turns lyrical and earthy, yearning and angry. They mine gold from the darkness and seek luminescence in the deepest oceans.

Jessica Traynor was born in Dublin in 1984 and is a poet, essayist and librettist. Her debut collection, Liffey Swim (Dedalus Press, 2014), was shortlisted for the Strong/Shine Award and in 2016 was named one of the best poetry debuts of the past five years on Bustle.com. Her second collection, The Quick, was a 2019 Irish Times poetry choice. A Place of Pointed Stones, a pamphlet commissioned by Offaly County Council,was published by The Salvage Press in 2021. Her third collection, Pit Lullabies, was published by Bloodaxe Books in March 2022. It was a Poetry Book Society Recommendation and was an Irish Times poetry books of the year choice for 2022. Pit Lullabies was shortlisted for the inaugural Yeats Society Sligo’s Poetry Prize in 2023.

She has received commissions for poems from BBC Radio 4, The Arts Council of Ireland, The Model Gallery Sligo, The Salvage Press, VISUAL Carlow, Dún Laoghaire–Rathdown County Council and The Poetry Programme (RTÉ), and awards including the Hennessy New Writer of the Year, the Ireland Chair of Poetry Bursary, and the Listowel Poetry Prize. In 2016, she was named one of the ‘Rising Generation’ of poets by Poetry Ireland. She is the recipient of the Lawrence O’Shaughnessy Award for Poetry 2023.

She reviews poetry for The Irish Times, RTÉ Radio 1’s Arena, and for Poetry Ireland Review. She is an inaugural Creative Fellow of UCD, where she completed her MA in Creative Writing in 2008, and has held residencies including the Yeats Society, Sligo, and Carlow College. She was Dún Laoghaire-Rathdown Writer in Residence for 2021-22 and is University of Galway Writer in Residence for 2023. She is poetry editor at Banshee.

Pit Lullabies
(Poems)
by Jessica Traynor
Publisher: ‎Bloodaxe Books
2022
Language: English
ISBN-10: ‎1780376065
ISBN-13: ‎978-1780376066
Paperback
‎96 pages
£10.99
Shortlisted for the Yeats Society Sligo’s Poetry Prize 2023

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Genevieve Taggard: The Vast Hour

The Vast Hour

All essences of sweetness from the white
Warm day go up in vapor, when the dark
Comes down. Ascends the tune of meadow-lark,
Ascends the noon-time smell of grass, when night
Takes sunlight from the world, and gives it ease.
Mysterious wings have brushed the air; and light
Float all the ghosts of sense and sound and sight;
The silent hive is echoing the bees.
So stir my thoughts at this slow, solemn time.
Now only is there certainty for me
When all the day’s distilled and understood.
Now light meets darkness: now my tendrils climb
In this vast hour, up the living tree,
Where gloom foregathers, and the stern winds brood.

Genevieve Taggard
(1894 – 1948)
The Vast Hour

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Genevieve Taggard: Skull Song

Skull Song

A sea-god, whose father had been a mortal, becomes a skeleton.

The skin of the sea was thick, to-night,
And the tone of the sea was dull;
When I found by the edge of the sullen sea
The half of a sea-god’s skull.

Half of a sea-god’s skull was there,
Half of a sea-god’s tail.
When I dug them out of the clutch of the sand
The peering moon went pale.

The peering moon went pale, because
Her other eye had seen
The other half of the sea-god’s bones
Ten thousand fathom green . . .

Ten thousand fathom green with sea,
The sea-god’s other bones
Swayed in a dead sea-goddess’s arms
On a pile of sea-washed stones.

The skin of the sea was thick, to-night,
And the tone of the sea was dull,
While I buried away from the sinister sea
All the mortal part of a skull.

Genevieve Taggard
(1894 – 1948)
Skull Song

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Edith Södergran: Skönhet

Skönhet

Vad är skönhet? Fråga alla själar –
skönhet är varje överflöd, varje glöd, varje överfyllnad och varje stort armod;
skönhet är att vara sommaren trogen och naken intill hösten;
skönhet är papegojans fjäderskrud eller solnedgången som bebådar storm;
skönhet är ett skarpt drag och ett eget tonfall: det är jag,
skönhet är en stor förlust och ett tigande sorgetåg,
skönhet är solfjäderns lätta slag som väcker ödets fläkt;
skönhet är att vara vällustig som rosen eller att förlåta allting för att solen skiner;
skönhet är korset munken valt eller pärlbandet damen får av sin älskare,
skönhet är icke den tunna såsen i vilken diktare servera sig själva,
skönhet är att föra krig och söka lycka,
skönhet är att tjäna högre makter.

Edith Södergran
(1892-1923)
Skönhet

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Edith Södergran: Jag

Jag

Jag är främmande i detta land,
som ligger djupt under det tryckande havet,
solen blickar in med ringlande strålar
och luften flyter mellan mina händer.
Man sade mig att jag är född i fångenskap –
här är intet ansikte som vore mig bekant.
Var jag en sten, den man kastat hit på bottnen?
Var jag en frukt, som var för tung för sin gren?
Här ligger jag på lur vid det susande trädets fot,
hur skall jag komma upp för de hala stammarna?
Däruppe mötas de raglande kronorna,
där vill jag sitta och speja ut
efter röken ur mitt hemlands skorstenar…

Edith Södergran
(1892-1923)
Jag

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‘Shakespeare Was a Woman and Other Heresies’ by Elizabeth Winkler

A thrillingly provocative investigation into the Shakespeare authorship question, exploring how doubting that William Shakespeare wrote his plays became an act of blasphemy…and who the Bard might really be.

The theory that Shakespeare may not have written the works that bear his name is the most horrible, vexed, unspeakable subject in the history of English literature.

Scholars admit that the Bard’s biography is a “black hole,” yet to publicly question the identity of the god of English literature is unacceptable, even (some say) “immoral.”

In Shakespeare Was a Woman and Other Heresies, journalist and literary critic Elizabeth Winkler sets out to probe the origins of this literary taboo.

Whisking readers from London to Stratford-upon-Avon to Washington, DC, she pulls back the curtain to show how the forces of nationalism and empire, religion and mythmaking, gender and class have shaped our admiration for Shakespeare across the centuries.

As she considers the writers and thinkers—from Walt Whitman to Sigmund Freud to Supreme Court justices—who have grappled with the riddle of the plays’ origins, she explores who may perhaps have been hiding behind his name.

A forgotten woman? A disgraced aristocrat? A government spy? Hovering over the mystery are Shakespeare’s plays themselves, with their love for mistaken identities, disguises, and things never quite being what they seem.

As she interviews scholars and skeptics, Winkler’s interest turns to the larger problem of historical truth—and of how human imperfections (bias, blindness, subjectivity) shape our construction of the past. History is a story, and the story we find may depend on the story we’re looking for.

An irresistible work of literary detection, Shakespeare Was a Woman and Other Heresies will forever change how you think of Shakespeare… and of how we as a society decide what’s up for debate and what’s just nonsense, just heresy.

Elizabeth Winkler is a journalist and book critic whose work has appeared in The Wall Street Journal, The New Yorker, The New Republic, The Times Literary Supplement, and The Economist, among other publications. She received her undergraduate degree from Princeton University and her master’s in English literature from Stanford University. Her essay “Was Shakespeare a Woman?”, first published in The Atlantic, was selected for The Best American Essays 2020. She lives in Washington, DC.

Shakespeare Was a Woman and Other Heresies
By Elizabeth Winkler (Author)
Language: ‎ English
Publisher: Simon & Schuster
June 8, 2023
Length: 416 pages
Hardcover
ISBN-10:‎198217126X
ISBN-13:978-1982171261
£15.00

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Edith Södergran: Ord

Ord

Varma ord, vackra ord, djupa ord…
De äro som doften av en blomma i natten
den man icke ser.
Bakom dem lurar den tomma rymden…
Kanske de äro den ringlande röken
från kärlekens varma härd?

Edith Södergran
(1892-1923)
Ord

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Georg Trakl: Grodek (Gedicht)

Grodek

Am Abend tönen die herbstlichen Wälder
von tödlichen Waffen, die goldnen Ebenen
und blauen Seen, darüber die Sonne
düstrer hinrollt; umfängt die Nacht
sterbende Krieger, die wilde Klage
ihrer zerbrochenen Münder.
Doch stille sammelt im Weidengrund
rotes Gewölk, darin ein zürnender Gott wohnt
das vergoßne Blut sich, mondne Kühle;
alle Straßen münden in schwarze Verwesung.
Unter goldenem Gezweig der Nacht und Sternen
es schwankt der Schwester Schatten durch den schweigenden Hain,
zu grüßen die Geister der Helden, die blutenden Häupter;
und leise tönen im Rohr die dunkeln Flöten des Herbstes.
O stolzere Trauer! ihr ehernen Altäre
die heiße Flamme des Geistes nährt heute ein gewaltiger Schmerz,
die ungebornen Enkel.

Georg Trakl
(1887 – 1914)
Grodek

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