Vinkenoog with Spinvis in a totally Fela Kuti-esque track
Vinkenoog was born in the same year as Andy Warhol, Serge Gainsbourg, Jeanne Moreau, Nicolas Roeg, Guy Bourdin, Luigi Colani, Stanley Kubrick, Janine Chasseguet-Smirgel, William Klein, Roger Vadim, Yves Klein, Jacques Rivette, Alvin Toffler, Ennio Morricone and Oswalt Kolle.
The Milesian tales are the earliest instances of erotic literature in the Western world. They directly influenced Apuleius‘ The Golden Ass, Petronius‘ Satyricon in antiquity. They were mentioned in Traitté de l’origine des romans. Aristidean saucy and disreputable heroes and spicy, fast-paced anecdote resurfaced in the medieval fabliaux. Chaucer‘s The Miller’s Tale is in Aristides’ tradition, as are some of the saltier tales in Boccaccio‘s Decameron or the Heptameron of Marguerite of Navarre and the later genre of the picaresque novel.
Googling for “buttocks” in Gargantua and Pantagruel five-book series. I came across the tale of Han Carvel’s ring and the blazon and counterblazon of the bollocks in the Third Book. I first mentioned the poetic genre blason here when I posted the Blazon of the Ugly Tit (1535) by Clément Marot.
Rabelais‘s blason and contreblason du couillon (Eng blason and counterblason of the bollock(s)) respectively sing the praise and disparagement of the male testicles. First, there is Panurge‘s blason in “How Panurge consulteth with Friar John of the Funnels“, then Frère Jean‘s contreblason in “How Friar John comforteth Panurge in the doubtful matter of cuckoldry“.
These rhapsodic lists and enumerations of adjectives are extremely poetic juxtapositions and show how the novel, which was a genre in its nascent state was allowed a maximum of formal and content-wise liberties. In this sense, 16th century literature is quite amazing.
The c. is short for couillons (bollocks).
Panurge‘s praise of the bollocks (275 adjectives):
- Mellow C. Varnished C. Resolute C.
- Lead-coloured C. Renowned C. Cabbage-like C.
- Knurled C. Matted C. Courteous C.
- Suborned C. Genitive C. Fertile C.
- Desired C. Gigantal C. Whizzing C.
- Stuffed C. Oval C. Neat C.
- Speckled C. Claustral C. Common C.
- Finely metalled C. Virile C. Brisk C.
- Arabian-like C. Stayed C. Quick C.
- Trussed-up Greyhound-like C. Massive C. Bearlike C.
- Manual C. Partitional C.
- Mounted C. Absolute C. Patronymic C.
- Sleeked C. Well-set C. Cockney C.
- Diapered C. Gemel C. Auromercuriated C.
- Spotted C. Turkish C. Robust C.
- Master C. Burning C. Appetizing C.
- Seeded C. Thwacking C. Succourable C.
- Lusty C. Urgent C. Redoubtable C.
- Jupped C. Handsome C. Affable C.
- Milked C. Prompt C. Memorable C.
- Calfeted C. Fortunate C. Palpable C.
- Raised C. Boxwood C. Barbable C.
- Odd C. Latten C. Tragical C.
- Steeled C. Unbridled C. Transpontine C.
- Stale C. Hooked C. Digestive C.
- full blason here
Frère Jean‘s disparagement of the bollocks (440 adjectives):
- Faded C. Louting C. Appellant C.
- Mouldy C. Discouraged C. Swagging C.
- Musty C. Surfeited C. Withered C.
- Paltry C. Peevish C. Broken-reined C.
- Senseless C. Translated C. Defective C.
- Foundered C. Forlorn C. Crestfallen C.
- Distempered C. Unsavoury C. Felled C.
- Bewrayed C. Worm-eaten C. Fleeted C.
- Inveigled C. Overtoiled C. Cloyed C.
- Dangling C. Miserable C. Squeezed C.
- Stupid C. Steeped C. Resty C.
- Seedless C. Kneaded-with-cold- Pounded C.
- Soaked C. water C. Loose C.
- Coldish C. Hacked C. Fruitless C.
- Pickled C. Flaggy C. Riven C.
- Churned C. Scrubby C. Pursy C.
- Filliped C. Drained C. Fusty C.
- Singlefied C. Haled C. Jadish C.
- Begrimed C. Lolling C. Fistulous C.
- Wrinkled C. Drenched C. Languishing C.
- Fainted C. Burst C. Maleficiated C.
- Extenuated C. Stirred up C. Hectic C.
- Grim C. Mitred C. Worn out C.
- Wasted C. Peddlingly furnished Ill-favoured C.
- Inflamed C. C. Duncified C.
Cover illustration for Subsidia Pataphysica, no.1, 19 December 1965
Stanley Chapman (1925 – 2009) was a British architect, designer, translator and writer. His interests included theatre and pataphysics. He was involved with founding the National Theatre of London, was a member of Oulipo of the year 1960, founder of the Outrapo and a member also of the French Collège de ‘Pataphysique, president the London Institute of ‘Pataphysics and the Lewis Carroll Society. His English translation of Hundred Thousand Billion Poems was received with “admiring stupefaction” by Raymond Queneau.
I make exceptions.
The best work I read last year was Michaux’s Plume which happens to be a work of prose poetry, a genre which can be traced most readily to Baudelaire and Poe. A genre which is plotless but nevertheless more concrete than pure poetry.
Saturday I bought the work above. It is worth its price for the introductory notes alone.
Gaston Burssens (Dendermonde, February 18 1896 – January 29 1965) was a Flemish poet, usually classified as an expressionist. He died age 68 in Antwerpen en was buried at the Schoonselhof cemetery. He was a member of the “Activists” and studied at the University of Ghent. He also published previously unpublished work by avant-garde poet Paul Van Ostaijen after the latter’s death.
Fabula Rasa by Flemish writer Gaston Burssens is a collection of prose poems and random notes. It is inscribed by two mottos: “Rien n’est plus grave au monde que la bêtise” (Louis XIV) en “Rien n’est plus bête au monde que la gravité” (Stendhal).
Literary critic Paul de Wispelaere reviewed it in the chapter “De groteske wereld en de wereld van de groteske,” in his collection Het Perzische Tapijt (1966). In this essay de Wispelaere juxtaposes Fabula Rasa with the paraprose of Gust Gils, another Flemish writer who wrote in the tradition of the literary grotesque. Fabula Rasa’s Belgian-French counterpart is Plume by Henri Michaux.
While researching this post I also stumbled upon prose by Flanders’ cult poet par excellence Paul Van Ostaijen: De bende van de stronk (The stump gang, 1932, grotesques). I will want a copy of that.
I went to the city yesterday and bought:
- The Romantic Image by Frank Kermode
- Venus’ lusthof by Leonard de Vries, includes translation of Académie des dames ou le meursius francais and other curiosa
- Fabula Rasa by Gaston Burssens
Did not buy Sarenco : le triptyque du cinéma mobile, 1983-1987: Félix Guattari, Eugenio Miccini, Luigi Serravalli and The Dark Comedy: The Development of Modern Comic Tragedy by J. L. Styan, 1968.
In its preface Kermode says he is indebted to Romantic Agony by Italian critic Mario Praz, The Romantic Soul and the Dream by Swiss critic Albert Béguin, The Mirror and the Lamp by M. H. Abrams and The Symbolist Aesthetic in France, 1885-1895 by A. G. Lehmann.
Robert Duncan @90
Robert Duncan (January 7, 1919 – February 3, 1988) was an American poet and a student of H.D. and the Western esoteric tradition who spent most of his career in and around San Francisco. Though associated with any number of literary traditions and schools, Duncan is often identified with the New American Poetry and Black Mountain poets. Duncan’s mature work emerged in the 1950s from within the literary context of Beat culture and today he is also identified as a key figure in the San Francisco Renaissance.
RIP Adrian Mitchell
Connecting lemmas for Mitchell include London Oz, Tom Phillips (artist), International Poetry Incarnation, SOMA Research Association, Wholly Communion, To Whom It May Concern (poem), Children of Albion: Poetry of the Underground in Britain and Penguin Modern Poets.
The poem To Whom It May Concern is known by its iconic phrase: “Tell me lies about Vietnam.” A piece of cult poetry if there ever was one.
I’ve been mulling over French director Chris Marker‘s Sans Soleil for four days now. The key scene for me was the shooting of the giraffe, which gave its origins away as far as genre-theoretics are concerned.
The key phrase was perhaps the “salute to all unposted letters,” but is safe to say that the film is brilliantly written throughout.
I saw the film at MuHKA on last Saturday, introduced by a Belgian scholar (who?). He stated that the film was unclassifiable, because the “film essay is not a genre but a small category”. However, in my opinion, the film fits the mondo film category, and functions as a highbrow counterpart to Mondo Cane. The film also begs a viewing of the masterwork Blood of the Beasts. But Sans Soleil is a different film altogether. It is a philosophical film that raises questions of medium specificity, multimedia, memory and authenticity.
I have a feeling that Sans Soleil can be invoked to clarify Gilles Deleuze‘s any-space-whatever (see B. C. Holmes – “The Deleuzian Memory of Sans Soleil” ), but to prove that would need some more studying of Gilles Deleuze on film.
My eye, a couple of minutes ago
A continuation of “ocular eroticism”, ocular eroticism III
- “Through mine eye the stroke from her did slide,
- Directly down unto my heart it ran.” —Thomas Wyatt
- So unwarely was never no man caught
- With steadfast look upon a goodly face
- As I of late; for suddenly, me thought,
- My heart was torn out of his place.
- Thorough mine eye the stroke from hers did slide
- Directly down unto my heart it ran.
- In help whereof the blood thereto did glide,
- And left my face both pale and wan.
- Then was I like a man for woe amazed,
- Or like the bird that flyeth into the fire;
- For while that I on her beauty gazed,
- The more I burnt in my desire.
- Anon the blood start in my face again,
- Enflamed with heat that it had at my heart,
- And brought therewith throughout in every vein
- A quickened heat with pleasant smart.
- Then was I like the straw, when that the flame
- Is driven therein by force and rage of wind.
- I can not tell, alas, what I shall blame,
- Nor what to seek nor what to find.
- But well I wot the grief holds me so sore
- In heat and cold betwixt hope and dread,
- That but her help to health doth me restore
- This restless life I may not lead.