![]() This poem was originally published in Vallum issue 16:2 Fear. Her poetry has appeared in Prairie Fire, Vallum, Contemporary Verse 2, and at Theatre by the River’s annual fundraiser, Wine & Words. Marjorie Poor is a publications editor for Manitoba Education, the editor of Prairie books NOW, and a fiction editor at Prairie Fire. Featuring additional content such as: AUDIO and VIDEO recordings of selected poets, further poems, interviews, essays, and MORE! Visit our website for details. Vallum magazine is also available in digital format. It was later published in The Elements(House of Anansi, 2019). This poem was originally published in Vallum issue 14:1 Evolution. Moure’s most recent poetry is The Elements (Anansi, 2019). Recent translations are Uxío Novoneyra’s The Uplands: Book of the Courel and other poems (Veliz Books, 2020), Chantal Neveu’s This Radiant Life (Book*hug, 2020) and The Face of the Quartzes by Chus Pato (Veliz Books, 2021). Inscribing the risk directly into the structure.Įrín Moure’s translation of Lupe Gómez, Camouflage (Circumference, 2019) was a 2020 Best Translated Book Award finalist. Sea in a country with no shore but yes its rivers give unto the sea, lay claim to sea, and reach inward from sea’s exteriority Because it will exist in the structure of English, as risk. The book will “succeed” even if no one reads it. ![]() And its relation to sea: a river is also the sea, infolded. Something unreadable, un-avoidable, un-a-voidable. I am creating a translation in English-with-French-and-Guaraní that perhaps no one will read. In translating Wilson Bueno, there is a reverberatory relation of three languages: Portuguese, Castilian, Guaraní, across a colonial border in western Brazil. So that we can’t just ignore or abandon speech, we must a-void it. While trying to stay far from what will not ever stay far from us, for it adheres to us. #VALLUM POETRY HOW TO#Or perhaps in the English there is a nearly hidden reverberation: how to a-void speaking? How to unvoid it, remove its void. ![]() (How the young poet waking from a coma in Montreal after the random accident, asked: Do you know where you are? said: Jerusalem.) In English, an avoidance, whereas in French an oscillatory structure is at work: “comment ne pas – parler” exists along with “comment – ne pas parler.” How can we not – speak? How can we not–speak? ![]() The curious presence of the word avoid in this title of a talk first given in English in Jerusalem. How not to speak, how to not speak, this oscillation is missing in the phrase “how to avoid speaking” that is the English title of Derrida’s essay. Click here to watch a reading of this poem ![]()
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