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Schwermut
Schreiten Streben
Leben sehnt
Schauern Stehen
Blicke suchen
Sterben wächst
Das Kommen
Schreit!
Tief
Stummen
Wir.
August Stramm
(1874-1915)
Schwermut, 1914
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More in: *War Poetry Archive, Archive S-T, Expressionism, Stramm, August
The 2016 Nobel Prize in Literature recognized Bob Dylan as a major modern artist, elevating his work beyond the world of popular music.
In this book, Timothy Hampton focuses on the details and nuances of Dylan’s songs, showing how they work as artistic statements designed to create meaning and elicit emotion.
With Bob Dylan’s Poetics, Hampton offers a unique examination of both the poetics and politics of Dylan’s compositions. He studies Dylan not as a pop hero, but as an artist, as a maker of songs.
F
ocusing on the interplay of music and lyric, Hampton traces Dylan’s innovative use of musical form, his complex manipulation of poetic diction, and his dialogues with other artists, from Woody Guthrie to Arthur Rimbaud.
Moving from Dylan’s earliest experiments with the blues through his mastery of rock and country to his densely allusive more recent recordings, Hampton offers a detailed account of Dylan’s achievement.
Locating Dylan in the long history of artistic modernism, he examines the relationships among form, genre, and the political and social themes that crisscross Dylan’s work. With this book, Hampton offers both a nuanced engagement with the work of a major artist and a meditation on the contribution of song at times of political and social change.
Title Bob Dylan’s Poetics
Subtitle How the Songs Work
Author Timothy Hampton
Publisher MIT Press
Title First Published 01 March 2019
Format Hardcover
ISBN-10 1942130155
ISBN-13 9781942130154
Hardcover – $29.95
# more books
Bob Dylan’s Poetics.
How the Songs Work
by Timothy Hampton
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More in: - Book News, - Bookstores, Archive C-D, Archive C-D, Archive G-H, AUDIO, CINEMA, RADIO & TV, Bob Dylan, Dylan, Bob
So we’ll go no more a roving
So we’ll go no more a roving
So late into the night,
Though the heart be still as loving,
And the moon be still as bright.
For the sword outwears its sheath,
And the soul wears out the breast,
And the heart must pause to breathe,
And Love itself have rest.
Though the night was made for loving,
And the day returns too soon,
Yet we’ll go no more a roving
By the light of the moon.
George Gordon Byron
(1788 – 1824)
So we’ll go no more a roving
(Poem)
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More in: Archive A-B, Archive A-B, Byron, Lord
In this innovative study, Tyler Whitney demonstrates how a transformation and militarization of the civilian soundscape in the late nineteenth and early twentieth centuries left indelible traces on the literature that defined the period.
Both formally and thematically, the modernist aesthetics of Franz Kafka, Robert Musil, Detlev von Liliencron, and Peter Altenberg drew on this blurring of martial and civilian soundscapes in traumatic and performative repetitions of war.
At the same time, Richard Huelsenbeck assaulted audiences in Zurich with his “sound poems,” which combined references to World War I, colonialism, and violent encounters in urban spaces with nonsensical utterances and linguistic detritus—all accompanied by the relentless beating of a drum on the stage of the Cabaret Voltaire.
Eardrums is the first book-length study to explore the relationship between acoustical modernity and German modernism, charting a literary and cultural history written in and around the eardrum. The result is not only a new way of understanding the sonic impulses behind key literary texts from the period. It also outlines an entirely new approach to the study of literature as as the interaction of text and sonic practice, voice and noise, which will be of interest to scholars across literary studies, media theory, sound studies, and the history of science.
Tyler Whitney is an assistant professor of German at the University of Michigan.
Tyler Whitney (Author)
Eardrums.
Literary Modernism as Sonic Warfare
Cloth Text – $99.95
ISBN 978-0-8101-4022-6
Paper Text – $34.95
ISBN 978-0-8101-4021-9
Northwestern University Press
Publication Date June 2019
Literary Criticism
232 pages
Price: $24.00
# new books
Tyler Whitney
Eardrums.
Literary Modernism as Sonic Warfare
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More in: # Music Archive, #Archive A-Z Sound Poetry, *War Poetry Archive, - Book News, - Book Stories, Archive W-X, AUDIO, CINEMA, RADIO & TV, DADA, Dadaïsme, Kafka, Franz, Modernisme, Visual & Concrete Poetry
Meer, meer!
Verwond, vermink,
Schiet dood, houw neer!
Roep legers op.
Steeds meer, steeds weer.
Vermorzel ze
Hak z’in elkaar!
Bedenk, het is
uw broeder maar.
Spreek ik zoo goed?
Is ‘t mooi zoo’n lied?..
De mensch sterft uit,
maar ‘t hindert niet!
Agnita Feis
(1881 – 1944)
Uit: Oorlog. Verzen in Staccato (1916).
Meer, meer!
• fleursdumal.nl magazine
More in: *War Poetry Archive, Agnita Feis, Antony Kok, Archive E-F, Feis, Agnita, Theo van Doesburg (I.K. Bonset), WAR & PEACE
Antony Kok (1882 – 1969)
Antony Kok, was met Theo van Doesburg en Piet Mondriaan oprichter en medewerker van het avant-gardistische kunsttijdschrift De Stijl (1917 – 1932). Hij was vooral actief als dichter en schrijver van aforismen.
Kees Verwey (1900 -1995)
Tijdens zijn leven, dat bijna een eeuw beslaat, maakte de kunstenaar verschillende ontwikkelingen in de schilderkunst mee. Al op jonge leeftijd kwam hij in aanraking met het werk van George Breitner en Floris Verster. Ook werd hij beïnvloed door Franse (post-)impressionisten en later door de moderne kunst van o.a. Karel Appel en Pablo Picasso. Omringd door de kunst van zijn idolen wordt in deze nieuwe tentoonstelling de enorme vaardigheid en veelzijdigheid van de schilder Verwey duidelijk.
Na hun ontmoeting (in Haarlem in 1953) verklaarde Kees Verwey:
‘Antony Kok had me te pakken. Ruim een jaar ben ik met die ene man bezig geweest. Je zou zeggen dat zoiets ondenkbaar is, maar ik kon niet buiten de visie op die man. Het was een proces dat niet meer kon worden tegengehouden. Ik heb hem er wel eens over ondervraagd, toen zei hij: maar jij hebt die tekeningen niet gemaakt, ik heb ze gemaakt.’
In het eerste jaren van hun kennismaking maakte Verwey meer dan 30 portretten van Kok. De eerste serie zou begin jaren vijftig worden tentoongesteld in Amsterdam, Rotterdam en Haarlem. In 1955 was de serie uitgegroeid tot 40×1 en in Eindhoven te zien.
Lees meer over Kees Verwey, zijn vrienden en favoriete kunstenaars, zoals Karel Appel, Pablo Picasso, Edouard Vuillard, Floris Verster en Antony Kok in de bij de tentoonstelling verschenen publicatie:
Kees Verwey
en zijn idolen
Dordrechts Museum
2019
ISBN 978-90-71722-30-1
Redactie: Laura van den Hout, Judith Spijksma, Linda Janssen
Publicatie ter gelegenheid van de tentoonstelling ‘Kees Verwey en zijn idolen’, die van 14 juli 2019 tot en met 5 januari 2020 plaatsvindt in het Dordrechts Museum. De tentoonstelling kwam tot stand in samenwerking met Stichting Kees Verwey.
I N H O U D
6
Max van Rooy
Portretten als stillevens en het atelier als goudmijn
12
Karlijn de Jong
De moeder van de moderne kunst
Kees Verwey en De Onafhankelijken
22
Tijdlijn
26
Barbara Collé
Kijk ik naar de een, dan vlamt de ander
Over kleurenparen in Moeders theetafel en Het gele jakje van Kees Verwey, en Stilleven met boeken van Henri Frédéric Boot
34
Iduna Paalman
Sigaretje
36
Ester Naomi Perquin
Bes
38
Maartje Smits
Door je kind getekend
40
Maarten Buser
Pirouettes draaien op een idee
Kees Verwey en de literatuur
46
Jorne Vriens
Gekoesterde intimiteit
50
Max van Rooy
De onderzoekende kracht van het kijken
54
Sascha Broeders
De kunstenaar en de museumdirecteur
Kees Verwey volgens Jup de Groot, voormalig directeur van het Dordrechts Museum
56
Hanneke van Kempen en Jef van Kempen
‘Antony Kok had me te pakken’
66
Sandra Kisters
Het atelier van Kees Verwey – een kristal met vele facetten
75
Biografieën
76
Colofon
Tentoonstelling van 6 juli 2019 t/m 5 januari 2020
Kees Verwey en zijn idolen
Over Karel Appel, Pablo Picasso, Edouard Vuillard, Floris Verster, Antony Kok e.a.
Dordrechts Museum
Museumstraat 40, Dordrecht
3311 XP Dordrecht
www.dordrechtsmuseum.nl
‘Antony Kok had me te pakken’ sprak Kees Verwey
fleursdumal.nl magazine
More in: - Book News, - Book Stories, Antony Kok, Archive K-L, Archive W-X, Art & Literature News, DADA, Dada, De Stijl, Exhibition Archive, FDM Art Gallery, Hanneke van Kempen, Jef van Kempen, Kees Verwey, Kok, Antony, Piet Mondriaan, Theo van Doesburg
En décembre 1945, Louis-Ferdinand Céline est arrêté à Copenhague, où il s’était réfugié avec Lucette et son chat Bébert et tentait d’écrire la suite de Guignol’s band.
L
e dénommé Destouches, immédiatement incarcéré à la prison de l’Ouest, réclame de quoi écrire. L’administration pénitentiaire lui fournit dix cahiers d’écolier de 32 pages avec des règles à respecter : « On ne doit pas écrire sur l’affaire dont on est justiciable ni sur la détention. Tout propos licencieux et malséant est également interdit. »
À partir de février 1946, le prisonnier note d’emblée des éléments de défense pour empêcher son extradition dans la France de l’épuration, et s’en prend à l’ambassadeur Charbonnières qui le persécute. Mais Céline est repris par l’écriture et les Cahiers de prison dévoilent sa vie après son arrivée au Danemark, sa relation avec Lucette, des souvenirs de Londres ou de Montmartre, et surtout montrent de manière inédite le Céline lecteur. Isolé dans la cellule 609 de la section K., Céline s’entoure de livres apportés par sa femme et cite abondamment Chateaubriand, Hugo, Chamfort, Voltaire, etc., en se comparant avec les « grands écrivains exilés emprisonnés ». Les Cahiers illustrent aussi la transition littéraire vers sa « seconde révolution narrative et stylistique », note Jean Paul Louis, avec la mise en chantier de Féerie pour une autre fois, et des passages que l’on retrouvera dans D’un château l’autre, Nord et Rigodon.
Ce volume des Cahiers de la NRF constitue la première édition originale et intégrale des Cahiers de prison de Céline. Avec un nouveau travail d’établissement du texte et des notes, ainsi qu’un index centré sur les noms d’auteurs et les titres d’oeuvres, Céline nous apparaît tel qu’en lui-même, obsédé par la littérature et sa condition d’écrivain : « C’est moi maintenant le traître, le monstre, c’est moi qu’on s’apprête à lyncher. »
Louis-Ferdinand Céline
Cahiers de prison (Février – octobre 1946)
Édition de Jean Paul Louis
Collection Les Cahiers de la NRF,
Série Céline (n° 13), Gallimard
Parution : 23-05-2019
240 pages
sous couverture décorée, 140 x 205 mm
Achevé d’imprimer : 01-05-2019
Genre : Mémoires et autobiographies
Thème : littérature
Catégorie – Sous-catégorie :
Littérature française
Mémoires et autobiographies
Époque : XXe siècle
ISBN : 9782072852695
Gencode : 9782072852695
Code distributeur : G03149
Broché
EUR 20,00
# more books
Louis-Ferdinand Céline
Cahiers de prison
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More in: #Biography Archives, - Book Lovers, - Book News, Archive C-D, CRIME & PUNISHMENT, Louis-Ferdinand Céline, WAR & PEACE
The first and most complete narrative biography of Crosby, Stills, Nash and Young, by acclaimed music journalist and Rolling Stone senior writer David Browne.
Even in the larger-than-life world of rock and roll, it was hard to imagine four more different men.
David Crosby, the opinionated hippie guru. Stephen Stills, the perpetually driven musician. Graham Nash, the tactful pop craftsman. Neil Young, the creatively restless loner.
But together, few groups were as in sync with their times as Crosby, Stills, Nash and Young. Starting with the original trio’s landmark 1969 debut album, the group embodied much about its era: communal musicmaking, protest songs that took on the establishment and Richard Nixon, and liberal attitudes toward partners and lifestyles. Their group or individual songs–“Wooden Ships,” “Suite: Judy Blue Eyes,” “After the Gold Rush,” “For What It’s Worth” (with Stills and Young’s Buffalo Springfield), “Love the One You’re With,” “Long Time Gone,” “Just a Song Before I Go,” “Southern Cross”–became the soundtrack of a generation.
But their story would rarely be as harmonious as their legendary and influential vocal blend. In the years that followed, these four volatile men would continually break up, reunite, and disband again–all against a backdrop of social and musical change, recurring disagreements and jealousies, and self-destructive tendencies that threatened to cripple them both as a group and as individuals.
In Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock’s Greatest Supergroup, longtime music journalist and Rolling Stone writer David Browne presents the ultimate deep dive into rock and roll’s most musical and turbulent brotherhood on the occasion of its 50th anniversary. Featuring exclusive interviews with David Crosby and Graham Nash along with band members, colleagues, fellow superstars, former managers, employees, and lovers-and with access to unreleased music and documents–Browne takes readers backstage and onstage, into the musicians’ homes, recording studios, and psyches, to chronicle the creative and psychological ties that have bound these men together–and sometimes torn them apart.
This is the sweeping story of rock’s longest-running, most dysfunctional, yet pre-eminent musical family, delivered with the epic feel their story rightly deserves.
Crosby, Stills, Nash and Young:
The Wild, Definitive Saga of Rock’s Greatest Supergroup
by David Browne (Author)
Hardcover: 480 pages
Publisher: Da Capo Press;
1st Edition edition April 2, 2019
Language: English
ISBN-10: 0306903288
ISBN-13: 978-0306903281
April 2, 2019
Hardcover
$20.23
# more books
Crosby, Stills, Nash and Young:
The Wild, Definitive Saga of Rock’s Greatest Supergroup
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More in: # Music Archive, #Biography Archives, - Book News, - Book Stories, Archive A-B, AUDIO, CINEMA, RADIO & TV, Crosby, Stills, Nash and Young, Opium-Eaters
An exciting new collection of the essential writings of surrealism, the European avant-garde movement of the mind’s deepest powers 
Originating in 1916 with the avant-garde Dada movement at the famous Café Voltaire in Zurich, surrealism aimed to unleash the powers of the creative act without thinking. Max Ernst, André Breton, Tristan Tzara, Paul Éluard, Philippe Soupault, and Louis Aragon created a movement that spread wildly to all corners of the globe, inspiring not only poetry but also artists like Joan Miro and René Magritte and cinematic works by Antonin Artaud, Luis Bunuel, and Salvador Dalí.
As the editor, Mary Ann Caws, says, “Essential to surrealist behavior is a constant state of openness, of readiness for whatever occurs, whatever marvelous object we might come across, manifesting itself against the already thought, the already lived.”
Here are the gems of this major, mind-bending aesthetic, political, and humane movement: writers as diverse as Aragon, Breton, Dalí, René Char, Robert Desnos, Mina Loy, Paul Magritte, Alice Paalen, Gisele Prassinos, Man Ray, Kay Sage, and Elsa von Freytag-Loringhoven are included here, providing a grand picture of this revolutionary movement that shocked the world.
Title: The Milk Bowl of Feathers
Subtitle: Essential Surrealist Writings
Edited by Mary Ann Caws
Publisher: New Directions
Title First Published 25 September 2018
Format Paperback $13.95
ISBN-10 0811227073
ISBN-13 9780811227070
128 pages
# more books
The Milk Bowl of Feathers.
Essential Surrealist Writings
Edited by Mary Ann Caws
•fleursdumal.nl magazine
More in: - Book News, Art & Literature News, Artaud, Antonin, DADA, Dada, Dadaïsme, Desnos, Robert, Freytag-Loringhoven, Elsa von, Loy, Mina, SURREALISM, Surrealism, Surrealisme, Tzara, Tristan
By the Rivers of Babylon
We Sat Down and Wept
1
We sat down and wept by the waters
Of Babel, and thought of the day
When our foe, in the hue of his slaughters,
Made Salem’s high places his prey;
And ye, oh her desolate daughters!
Were scattered all weeping away.
2
While sadly we gazed on the river
Which rolled on in freedom below,
They demanded the song; but, oh never
That triumph the stranger shall know!
May this right hand be withered for ever,
Ere it string our high harp for the foe!
3
On the willow that harp is suspended,
Oh Salem! its sound should be free;
And the hour when thy glories were
ended
But left me that token of thee:
And ne’er shall its soft tones be blended
With the voice of the spoiler by me!
George Gordon Byron
(1788 – 1824)
By the Rivers of Babylon We Sat Down and Wept
(Poem)
• fleursdumal.nl magazine
More in: Archive A-B, Archive A-B, Byron, Lord
De Soldaat.
Geen mensch.
Geen dier.
Geen plant:
Een ding.
Het mort
noch klaagt:
Zijn kracht
verging.
Het lijdt.
Het sjouwt.
Het torst
gewicht.
Geen vreugd.
Geen lach
op zijn
gezicht.
Vraag.
O mensch,
mijn vriend,
waar gaat
dat heen?
Antwoord.
Het vuur,
de dood,
‘t Is mij
heusch één!
Agnita Feis
(1881 – 1944)
Uit: Oorlog. Verzen in Staccato (1916).
De Soldaat
• fleursdumal.nl magazine
More in: *Concrete + Visual Poetry F-J, *War Poetry Archive, Agnita Feis, Antony Kok, Archive E-F, Archive E-F, DADA, De Stijl, Feis, Agnita, Theo van Doesburg (I.K. Bonset)
More on www.antonykok.nl
More in: Antony Kok, Archive K-L, De Stijl, Essays about Van Doesburg, Kok, Mondriaan, Schwitters, Milius & Van Moorsel, Kok, Antony, Piet Mondriaan, Theo van Doesburg
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