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 book is the definitive guide to cult poetry and begs for a English translation.
These are the poets and theorists mentioned:
Gerrit Achterberg, Fadhil Al-Azzawi, Hans Andreus, Antonin Artaud, Charles Baudelaire, Hakim Bey, Breyten Breytenbach, C. Buddingh’, Remco Campert, Ernesto Cardenal, Hugo Claus, Jean Cocteau, Gregory Corso, e.e. cummings, Isidore Ducasse, Jan Elburg, Desiderius Erasmus, Clayton Eshleman, David Gascoyne, Guido Gezelle, Allen Ginsberg, Goethe, Jan Hanlo, Hermann Hesse, Johan Huizinga, Jos Joosten, Rutger Kopland, Gerrit Kouwenaar, D. H. Lawrence, Lucebert, Navaho, Ben Okri, Paul van Ostaijen, Brian Patten, Ilja Leopard Pfeijffer, Sybren Polet, Ezra Pound, Rainer Maria Rilke, Arthur Rimbaud, Paul Rodenko, Jalal al-Din Roemi, A.Roland Holst, Nanao Sakaki, Bert Schierbeek, Hans Sleutelaar, Gary Snyder, Fritz Usinger, Hans Verhagen, Dominique de Villepin, Eddy van Vliet, Tito de Vries, Alan Watts, Lew Welch and Walt Whitman.
One night a poem came up to a poet.
From now on, it said, you must wear a mask.
What kind of mask? asked the poet.
A rose mask, said the poem.
I’ve used it already, said the poet,
I’ve exhausted it.
Then wear the mask that’s made out of
a nightingale’s song, use that mask.
Oh, it’s an old mask, said the poet,
it’s all used up.
Nonsense, said the poem, it’s the perfect mask,
still, try on the god mask,
now that mask illuminates heaven.
It’s a tight mask, said the poet,
and the stars crawl about in it like ants.
Then try on the troubador’s mask, or the singer’s mask,
try on all the popular masks.
I have, said the poet, but they fit so easily.
Read the rest of this sublime poem here.
I know own a signed and author-illuminated copy of Goede Raad is Vuur.
Goede Raad is Vuur is the first book on poetry I own.
The window display
Save the mushrooms (2007) Simon Vinkenoog
Simon can safely be regarded as the Dutch equivalent to Timothy Leary.
Does your country have an equivalent to Timothy Leary? Please let me known in my comment box.
Yesterday, Vinkenoog introduced me to one of his favorite poems: De Stem van Vincent; which Vinkenoog called on his non-rss blog “one of the most impressive poems in the Dutch language”. It is a poem by Flemish poet Paul van Ostaijen dedicated to Vincent van Gogh. I will translate the first sentence:
Some excerpts in Dutch:
“Niet het te zijn of niet te zijn is de levensopgaaf,
maar het misterie van het zijn vult alles,
Het eigen zijn. Dat over alles te leggen.”
“En telkens woont
‘t woord onder ons
dat ons bewoont, –
De weg van de Verlosser,
de weg van het leed;
een hoogvlakte van geluk.”
Saturday in Antwerp. First to Demian Antiquariaat, bought Dutch translations of Boris Vian‘s And We’ll Kill All the Ugly Ones (En al wie lelijk is maken we af) and Dirty Weekend for the birth of Romi, newly born daughter of G___ and E___.
I then went to Lars of Vinyl looking for Greta Keller. I ended up getting Camille Saint-Saëns‘s The Carnival of the Animals, Spike Jones and Marlene Dietrich compilations and a strange novelty polka record Die Grosse Jux-Box on Europa (record label).
Afterwards, I headed for the Fnac. The kind young man who had recommended Comic Grotesque two years earlier told me that On Ugliness by Eco had not yet been translated to English. He also showed me the informed The Atlas of Contemporary Art.
At around 16,00 pm, I went back to Demian Antiquariaat for the official opening of the Freddy de Vree expo: Antiquaire du surréalisme. Despite his feeble-voiced delivery which would have benefited from the use of a microphone, I enjoyed Christophe Vekeman‘s text on de Vree, who had apparently never met de Vree but who had been contacted by him on several occasions to react to his De Morgen columns. Vekeman’s angle was the mask-wearing of de Vree, sliding into his argument via a recent purchase of Mishima‘s Confessions of a Mask, which had also been a favorite of de Vree. The mask-wearing practices were represented at the expo by several “literaire mystificaties” (pseudonymously published works or “literary mystifications”) by de Vree such as Conny Couperus’s Sneeuwwitje en de leeuwerik van Vlaanderen (with Hugo Claus), a send-up of the crime thriller genre.
Afterwards I overheard the widow of de Vree, Marie-Claire Nuyens, talking to a man, a friend of the family. Her remarks shed more light on the character of de Vree than the speech or the exhibition. The man asked how the expo had come about. Marie-Claire replied: “It all started with a couple of e-mails by René” (owner of Demian). Marie-Claire remembered René because Freddy had said that he liked the young book shop owner. Continuing: “You know how very rarely Freddy expressed his appreciation for someone, so I figured, let’s do the exhibition.” With this de Vree’s widow confirmed that – as was to be expected from being a very close friend to the sometimes labeled arrogant W. F. Hermans – de Vree may not have been “De aardigste man van de wereld”.
Antiquaire du surréalisme features a wide selection of original editions by de Vree; photographs; recordings of his interviews with Topor, Burroughs, Alechinsky; photographs of the play Masscheroen (1968), in which de Vree stars nude. Notably absent at this opening was Sylvia Kristel, the last companion of de Vree. The expo at Demian is on until December 1, dedicated to one of the only intellectuals worthy of that title in Belgium.
Friday evening the weekend started at the Scheld’apen, from where I went to Petrol to see Simon Vinkenoog (see the poem, a poem makes a visit to a poet and says “from now on you have to wear a mask”) performing backed by Spinvis.
Saturday went for some psychogeographical biking with my friend, and later that evening to dinner to my brother’s new digs. Finished the evening/night at Bartillia and Fake Bar where Factor 44 was holding a group exhibition and a party afterwards.
Koninklijk Museum voor Schone Kunsten, Antwerp, Belgium
Sunday: Gorge(l), a show at the KMSKA themed around the sense of oppression and relief in art, curated by Sofie Van Loo. Most impressed by the work of Merlin Spie and dancer/performar Erna Omarsdo’ttir.
Feeling like blah-feme:
I am lonely.
There I said it. —blah-feme