Tempo in quattro movimenti, traduzione di Time in four movements (Federico Federici, “Sand” n. 10, Berlin 2014). Presentato al 19 Poesiefestival Berlin “Werte Vers Kunst”, 2018.
some rabbit’s iambic leg
back bent in its tight articulation
keeps hanging few inches on the jamb,
right on the doorstep and a crown of seeds
is there, the spade thrust deep into frozen mud;
the roods collect the moan of prayers,
guttural lamentation on the water ponds,
white relics of boughs, plumes of birds
a white calf uproots the leaves of grass
with sharp strokes of tongue, moistens
the cold panes before its snout, hides
milky bones and sleeps in bare straw
* First published in Raum, vol.1 issue 4, Glasgow, 2017.
turn the dark to milk
blank planets, holes
blankets on my pillows
the cosmic egg
a crumb in my bed
pulsars, black holes
pricks, throbbing bruises
a bee the size of
the whole space hums
bodies stain the light
souls are lightning bugs
the poised word
the paused hour
till the grace
of not understanding
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by Federico Federici
James Joyce, Finnegans Wake
Asemic writing points to a gradual weakening of the correlation between sign and meaning or, within the language of Biology, to contradict the «form follows function» statement. Any textual hermeneutics based on an archaeological approach (restoration of a minimum set of alphabet signs from fragmented subsets, recovery of the original syntax from noisy communication channels etc.) would hopelessly fail. The reason for this failure is programmatic. The flux of symbols does not tend to intercept and duplicate encrypted information. It works around the uniqueness of each code by blending familiar patterns out of context, devising new ones or introducing modifications. This is one of the most subversive traits, legitimizing the paradox of asemic communication. There is no recognisable genome, nor any implicit one accepted by the community. Each text, regardless of its extent, embodies the highest expression of a unique and obscure language, which constitutes its stimulus and essence. This powerful, iconic synthesis absorbs all the traditional phonic elements, turning the act of reading into a pure visual experience, contemplative, even where the persuasive sequence of figures on the page seems to encourage the recovery of possible narrative dynamics, such as in The Giant’s Fence  or Action Figures  by Michael Jacobson.
Each asemic form is not a statement in itself. It’s rather an unaussprechbare Aussage, triggering the interpretive schemes of the subconscious, making the idea of an a priori meaning redundant. Reading no longer consists of two contiguous but distinct phases, namely decoding and interpreting; it becomes a unique and creative activity, acted upon the free surface the text, drawing from unknown resources. The psychological effects of brief asemic activities, stimulated in individuals with schizophrenia and alexithymia, have recently been investigated . The comparative analysis of the writings, Continue reading “Asemic phenomenology”
Time in four movements, «Sand, Berlin’s English Literary Journal», n.10, 2014.
To begin the day with
some tea in a cup
and a wee bit of milk
as a cake slice sinks
in tiny puffs of heat,
to the lower side of it
the ground state.
Hot sugar dissolves
atoms gravitate a bit
more around outlines
of raisins, the crumbs
collide, balance the chaos
the sheer butter effect.
Weep with me then
droop over your breakfast tea
and make the sign of the cross
on the under-milk face of god
or voracious cups will swallow
biscuits and cakes up, the sweet-
natured world to begin with.
In Conversation Poetry Quarterly, n.6, 2009.
sometimes I tend to speak
to that half self leaning
to myself, as seeming
as the skin on my bones,
hanging to the sleepless
body by the thinnest nerves
and always in my reach
as the glance in my eyes
that half staring through
my darkness into the empty
corner of the mirror,
from the other side of the self,
like an inward waning moon
of which I am neither one
quarter, nor the full
for I cannot say how deep it will
fade under-skin or beyond
when it catches my last breath
in struggle with the air
and whether that is what
some call soul, whose sleep
is the pause of the wake
In Sand, Berlin’s English Literary Journal (n.10, 2014).
One intriguing puzzle remains: how do book-crossed copies ‘know’ how camouflaged their own covers are to a reader on a particular shelf? – Rose Anne Blakey
Resting out on improvised bookshelves can be a risky business for book-crossed copies. Out in urban or wild habitats, they have nowhere to hide and their covers, which show varying shades of colours are dangerously exposed to voracious readers hunting.
New research by Rose Anne Blakey from the University of Princeton’s Department of Contemporary Writings shows that each copy is able to choose its resting spot wisely and select a rock, a branch or a shelf in its natural environment that will make its cover less conspicuous to reading predators.
“This suggests that book-crossed copies can choose to rest on the place they will most resemble, which enhances their own degree of camouflage against visually-oriented predatory readers.” – says Rose Anne Blakey – “This is the first result of its kind in book-crossing, and in book-crossed poetry specifically.”
“One intriguing puzzle remains: how do book-crossed copies ‘know’ how camouflaged their own covers are to a reader on a particular shelf?” She adds.
Evidences strongly suggest that copies rest on backgrounds that heighten their own camouflage to reduce the risk of being picked by readers.
The researchers also found that book-crossed copies’ resting site choices, that heightened individual camouflage, are more evident in places with higher numbers of predatory reader species, suggesting that this behavioural defence is more likely to evolve in riskier environments. It was also more apparent in poetry books, probably because prose books have a conflicting need to stand out against the background to attract absent-minded readers.
The books that want to be read:
Archivio apocalittico, farsesco ecc. libri della neve
The book that doesn’t want to be read:
Over the almost three decades the wall stood in Berlin, it was referred to as Antifaschistischer Schutzwall by the authorities of the German Democratic Republic, a legitimate concrete curtain incubating the socialist state. While from the East Berlin side it soon became the dull edge of the death strip, from the West Berlin side it often served as a natural, urban canvas for politically engaged graffiti art, claiming freedom for all. When every ideology needs a precise vision of the world to be conveyed, these pages state a well pondered sense of annihilation rather than of revelation, avoiding any speculation on icons and mass culture. The debris of the wall are the latest generation of the wall itself.