A kind of a "dangerous supplement", marked, scarred on a body, post-orgasmically, always, already in anticipation of (a) crisis OR for a desert avec 'agape'. Mindb(l)ogg(l)ing Noise. "Avalanche, would you share my last pursuit?" (Baudelaire)

Monday, January 19, 2004

Mikres Eis-ygei(sei)es (or 'Pws na onomaso afto to grapsimo?')

["Pinwntas ws to foukariariko sykwti mou"
Nikos Karouzos, Monolektismoi kai Oligolekta, 1980]

Nyyhterina preloudia enos meta-peripatou me to vlemma strameno stou William Gaddis to Agape Agape:

"No but you see I've got to explain all this because I don't, we don't know how much time there is left and I have to work on the, to finish this work of mine while I, why I've brought in this whole pile of books notes pages clippings and God knows what, get it all sorted and organized when I get this property divided up and the business and worries that go with it..."




(Em. Mbenaki, Athinai, 17:00GMT)

"Ohi
Den einai to 'art pour l'art'
I anwtera ekdilwsis twn poitwv kai twn anthropwn
Oute o sosialistikos realismos pou einai aplws politiki
Oute i terpsis taxewn pronomiouhwn
Den einai auta o proorismos twn poiitwn
Gia ti den einai dynaton
Me tin afirimeni mono omorfia
I me tin symvatikws parastatiki
I me to 'oper edei deixai' monon i to 'gar'
Na natikatatsathoun i na pnigoun twn enormisewn oi wseis
Afou o logos den einai logiki
Afou to kallos den einai aisthitiki
Kai to kallon den einai ithiki
Afou 'un coup de des jamais n'abolira le hasard'
Afou en spermatozwario monaha arkei
Na gonimopoiithei to warion tis gynaikas i o logos
Afou monon o erwtas ton thanaton nika
Thanai i poiisis spermatiki
Apolyta erwtiki
I den tha yparhei."

Andreas Empeirikos, I simera ws avrion kai ws hthes




('Parysis', J.J.)

"The human heart, beautiful as a seismograph...
Beuty will be CONVULSIVE or will not be at all."

Andre Breton, Nadja



(National Gallery, London, Honore-Victorin Daumier, Don Quixote and Sancho Panza probably before 1866, NG3244, Oil on oak)

"And can you, by no drift of circumstance,
Get from him why he puts on this confusion,
Grating so harshly all his days of quiet
With the turbulent and dangerous lunacy?"

Shakespeare, Hamlet, III, I
(as quoted in Charles Jackson's The Lost Weekend, 1944 (1998)




(ypnodwmatio)

"Filosofwntas
...egkataleipoume ws ena sinmeio to zwo. Ma omws
to ainigma oloena paflazei stin kardia mas."

Nikos Karouzos, Anamnistiki Lithi




(ypnodwmatio 2)

"Ti na sou kanoun ta vatrahopedila tis epistimis
otan anoigesai sto pelagos tis megalis agwnias;"

Nikos Karouzos, Ta mikra dwrimata




(New Division)

"Otan apostithizoume ta pragmata leme yli
otan erwtevomaste ta pragmata leme mystirio."

Nikos Karouzos, Ragismata




(Russel Square, Faber and Faber Building)

"Allilotrogwmaste egw kai o hronos"

Nikos Karouzos,Vrahonisides




(16 June 1904)

"...the anonymous body of the actor into my ear: it granulates, it crackles,
it caresses, it grates, it cuts, it comes: that is bliss."

Roland Barthes, The Pleasure of the Text




(Moni tou Sotiros stin Chora, aka Karyie Camie)

"Whenever I attempt to 'analyze' a text which has given me pleasure, it is not my 'subjectivity' I encounter but my 'individuality', the given that makes my body seperate from other bodies and appropriates its suffering or its pleasure: it is my body of bliss I encounter. And this body of bliss is also my historical subject; for it is at the conclusion of a complex process of biographical, historical, sociological, neurotic elements (education, social class, childhood configuration, etc.) that I control the contradictory interplay of (cultural) pleasure and (non-cultural) bliss, and that I write myself as a subject at present out of place, arriving too soon or too late (this too designating neither regret, fault nor bad luck, but merely calling for a non-site: anachronic subject, adrift."

Roland Barthes, Ibid.




(Baixa Chiado, Lisboa)

"A certain pleasure is derived from a way of imagining oneself as individual, of inventing a final, rarest fiction: the fictive identity. This fiction is no longer the illusion of a unity; on the contrary, it is the theater of society in which we stage our plural: our pleasure is individual- but not personal."

Roland Barthes, Ibid.




(Binliotheque National - i, tou Bataille- 1927-1940)
[Sta diaxyta Ellinika ta erotevomena, N.Karouzos,1984]

"Text means Tissue; but whereas hitherto we have always taken this tissue as aproduct, a ready-made veil, behind which lies, more or less hidden, meaning (truth), we are now emphasizing, in the tissue, the generative idea that he text is made, is worked out in a perpetual interweaving; lost in this tisue -this texture- the subject unmakes himself, like a spider dissolving in the constructive secretions of its web. Were we fond of neologisms, we might define the theory of the text as an hyphology (hyphos is the tissue and the spider's web [weaving])."

Roland Barthes, Ibid.



(The French House, W1D 5BG)

"'The barometer of his emotional nature was set for a spell of riot.'
These words on the printed page, had the unsettling effect no doubt intended, but with a difference. At once he put the book aside: closed it with fingers still between the pages; dropped his arm over the edge of the chair and let it hang, the book somewhere near the floor. This in casehe wanted to look at it again. But he did not need to. Already he knew the sentence by heart: he might have written it himself."

Charles Jackson, The Lost Weekend






"That was Youth with its reckless exuberance when all things were possible pursued by age where we are now, looking back at what we destroyed, what we tore away from that self who could do more, and it's work that's become my enemy because that's what I can tell you about, that Youth who could do anything."

William Gaddis, Agape, Agape


Appendix (or Apo to Wunderkammer enos fysiolatri)

4. / Nov. 2001
"Lalw pos t'asila poullin eni to sielidonin
po 'siei to mavron panw tou tziai t'aspron san to sionin
xerei pou prwta tiz zwin, - tziai pou haran tziai lyph
gia touton 'po epitafion tzi' anastasin el leipei"

11. / Nov. 2001
"To lypitarikon poulli kratei haran 'pou mesa
p' oute tziai tzieinon tith thorei, tzi osa pott' en t' aresa
mpainoun mes tzeinin tih haran tziai pairnoun allon hrwma
gia touton ev vastaeron tziai tziladei akoma."


6. / May 2003
"Ate na peis tis omorkias pws ot' en tin ixereis
tzeinis p' oti s' eprostassen evouras na to fereis
ate na peeis tou erwta twra na xomakrysei
tziai na tod deis na thymwthei tziai na ta poukouppisei."


5. / May 2003
"Ethela na 'moun to poullin prihou na tziladisei
tziamai pou 'komamasietai oulla na ta kourtisei
pou skeftiken tzi'annoimata vathkeia mes stif fonin tou-
na fainountai tzi osa 'krypsen kathe foran sto pein tou."

3. / May 2003
"Kanenas em mou efyen, esou en' na mou fyeis
tziai to masiairin pou kraw esouni na to mpieis;
Etsi eipen o Harontas stom Poiitin mian wra
tziai tzeinos eipen tou kryfa- panta nikw se ws twra!"

Michalis Pasiardis, Tetrastiha



(ystero-grafon:i olokliromeni optiki ependysi tou piopanw antimetopizei pros to paron tehnologiko-viologikes dyskolies. ypomoni, epimoni kai ...gkiness)

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