More extracts from Women: Poetry: Migration

[Image source: https://deante.pl/pl/MATEX-Swidnica]








Six more capsule extracts from the anthology Women: Poetry: Migration, ed. Jane Joritz-Nakagawa (theenk Books, 2017).  Transcribing the extracts below (I'm following the book's alphabetical sequence), I was struck anew by the remarkable variety of ways in which language can be laid out and can release meaning; the variety of voices and emotions; of concept and ornament.




Previous posts about this anthology:
http://michaelpeverett.blogspot.co.uk/2018/03/my-latest-book-purchase-arrived.html
http://michaelpeverett.blogspot.co.uk/2018/04/this-name-is-like-dyed-wool-of-living.html


















ANIA WALWICZ


........I hold a mouse a white mouse it tells me where the grey cat is where ferdyduke is where everything is now and will be and was and is all time collides with me in the cinema kino now nova in faraday street and lygon street in melbourne dark town of my dreams in winter a picture in 1920 before me and after me little people cross roads and cross roads their picture in old photos and black and white colour now postcards of swidnica bank and park with lake a lake with bridge that I don't remember at all but it is here and was there and the postcard of the prussian city with same lake .......


(from "earth")










ANNE TARDOS


Glick-glick armature en voiture shano-glick.
Elképzelhetetlen problems and sentiments.
Arachnid juicy-fruit Klebestoff.
Only the self can know.
Ötvenen got on the bandwagon


Volga.


(from UXUDU)










 BARBARA BECK




absolutely ragged
viridian sap emeraude spinach mantis Hooker's
               jungle
               (hue close to evergreen
                                   as to be almost black)
watches her language
                           for recapitulation
               straight line never to return the low
                           wedgings (in the narrows of size and time)  ......


(from "edge conditions")










BELLA LI


.... The first law of desire is, always, to remain still. The first law is always lost in motion, replicating blindly and without cease. The story begins in 1956, in a small town in the province of Buenos Aires. But in the sixteenth century there are reports of bodies moving silent through the trees; impervious to frost, immune to disease. They meet by chance, without voice. Desire remains, when understood finally, completely, a compulsion to be still. In the forest they killed them like sparrows -- running, hooded.


(from "The Memory Machine of Elena Obieta")










CARRIE ETTER


A body, prostrate    above the duvet, its teal floral


the street's whir of tires, clank of a truck and rumble


which is to say, a species of silence    sound become peripheral,
                                              aloof


The windows closing out, closing in    October or November's
                                             crisp


The body still, eyes, open    a soundless, resounding no


(from Grief's Alphabet)










CECILIA VICUÑA


...


Una vocal, quién es?
Formándose en voz perdiente de son, un sonido rajar, esperanar ...
Un resequido en pleno en tu paladar
El paga la luz con temblando en solar, Estaba por ser ... antes de ser al alma intacta ensotea empalada Incitada y bordear ...
La voz de un vocal durmiendo en pasando .... silvando, tornando.. en pasar, llamándolo estoy la voz en durmiente  .......


(from "para ir al pasado elevar el atrás (chant)")








[AW: born in Poland, lives in Australia. AT: born in France, lives in USA. BB: born in Germany, lives in France. BL: born in China, lives in Australia. CE: Born in USA, lives in UK. CV: Born in Chile, lives in USA. ]