Dedicated to those suffering from Alzheimer’s deseases and those who care for them.
Excerpt from Office of the woods, Zoetic Press, 2018.
I shake my head. Dead days lie ahead of us at the trial.
We would wander aimlessly long after the shutters were up, unable to work or sleep. We had hardly spoken in years.
As she disappeared, after sitting with me on a pavement around Alexander Platz overnight, I must have discovered what wall jumpers felt like – who knows from what heights fallen. No shelter. No heaven. All books and papers burnt, all lines broken, all nails cut, all suspects confessed Continue reading “The wall jumpers”
Stuffed text number 1
We are the hallowed men
we are the duff-head men
keen to gather
head peace filed in row. Alas!
Hours drive choices, where
the will-o’-the-wisps are
quaint mien and our lenses
shield us, behind chipped
glasses, while gloves don’t fit
in with other laces,
sheep without norm, shirts without collar,
in a para-lizard farce, just an urgent notion;
on the snow that crusts
we draw reptiles, too deaf fathers keen on
remembrance – in fact, all note us lost,
violence howls against
us, hallowed men
Stuffed text number 2
Ђeře ðe hollåƭn
Ђeře ðe tsŭÞedƭn
Lїnŋ togeðr Hїdþǝš
filð Ђið tsraЂ ŏr
drǝd voišs, Ђhen
Ђe Ђhisþr togeðr ře
qŭǝt aǉ mїnŋlsessaa
Ђiǉ in drÿs ğsaas
Or rąsfēt ovr borcken
glsaas inŏr drÿs šllř
šaþe Ђiðŏt form, šade
forš, gsetŭre Ђiðŏtmotǌr,
ðose Ђho hve corssed
Ђiðdirect eÿsse, to dїðs
oðr ckŋdom Reƭmbr
ŭsif ą åǉ tnosaa ollts
Vǌlent sŏls, bŭt orlÿssaa
ðe hollåƭn ðe tsŭÞedƭn.
First appeared on «Ex-Ex-Lit», August 29, curated by Volodymyr Bilyk and Bil Sabab, 2018.
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
Full pdf download (Eng-It)
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.