e o y

o o

2010

e a

: Conceptual

58

Poem Zero, Conceptual Poem 11

, :
Keston Sutherland -: Jazra Khaleed,

Kyoko Kishida
20

31
32

45
46

47
48

53
54

57

77

: -

,
, ,

22

74

,
,
: Yindjibarndi

: Shon Arieh-Lerer :
Shon Arieh-Lerer, , Jazra
Khaleed
:

,
-:

Piss Off,
:

:
, -:

,
Not I: , III, IV, VI, VII,
IX
-: ,

80

To , Jazra

Khaleed Kyoko Kishida, Adam Bradley,

Zoe Sutherland
: (4, 5,
6,7)
: , ;,
Ann Cotten, H
:

Jazra Khaleed :
, Jazra Khaleed, Kyoko Kishida
88 :
89 :
,
90 : ,
, ,
,
93 Kyoko Kishida: -
94

,
,

, ,

102 : ,
97,
. .
104 ,

110 :
,
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112 ,
114

.
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.
,

Le Monde Figaro.
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think tanks,
.

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, .
,

CONCEPTUAL POEM ZERO

CONCEPTUAL POEM 11

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:|| T . [min] zro [kklos] 0

KESTON SUTHERLAND

-meta: jazra khaleed, kyoko kishida

.
Max horkheimer, &

;

, [ ]
.1 2004 keston sutherland
(1976- ), Antifreeze.
sutherland
.
,

.
. . homo consumer, sutherland,
-,
,
.


, , ks, .
,
. avant-garde
, Georg lukcs.
,
, ,
.
, ,
, ks.

.
s ;

Antifreeze (2002) ,
Mincemeat Seesaw
(1999) Bar Zero (2000),
, , , , , ,
.
ks ,
,

8 kesToN sUTherlaNd

,
,
, .
,
Antifreeze, , , , ks,


- , Antifreeze2. , , Hot White Andy
(2007) , Stress Position (2009) .
,
, Antifreeze Hot White Andy.
- - .


, ,
(Stress Position)
(Hot White Andy) .

, Collect yourself Antifreeze
( ) Stress
Position (
).

, ks , ,
.
: shift , smack,
,
fire, () ().
,

,




,
, .
, : ,
( Antifreeze Stress Position

kesToN sUTherlaNd 9

), -
- ,
,
, .
, .



phrasal verbs,
, ks
do you Blossom be going on
with (= ) go being on with
. ( Stress Position)
keep your eyes out (= ),
phrasals keep
your eyes open (=, ) keep out (=
).


,
,
IRA,

, incemeat
Seesaw ( seesaw= ),
, , :
.
.
,
.
Hot White Andy, , , , -

. ( ,
:TUrBo ), ,
,
. ero
and Leander Christopher Marlowe (15641593), ks3,
:
,
andrew Cheng, ,
.
.

10 kesToN sUTherlaNd

, . ks (, , r ..), .. ,
Freud, Cathex-Wizz monoplex,
multiplex/o. ,
(, .) alexander Pope
(1688-1744), , (bathos) Peri Bathous 1727.
(sublime) ,
Pope ,
, , . Hot White Andy The Dunciad () Pope:
, , ,
. ks
make it new ezra Pound (1885-1972) ,
.

4.

Stress Position, . , ,
, , , , ,
, . ks
,
,
, , , (
: , , , , , , , ). ,
- , ,

, , (
, , ks Bat
out of Hell Meat loaf
).
, ,
,
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,
,
, , .
, Mcdonalds
, , , ,
,
( ). ,
, , : ,
, .., (a man called DOT, Dot Idol ..),

kesToN sUTherlaNd 11

,
- ( ).
,
:
, . , (
Pound ,
) , ks
(.. ). ( , , -),
(.. Pacman, Pac, Xiao Pak), -
,
. , :
, , ,

, , vaticilectrix,
. ,
, .
ks,

.
,
, ,
, ,
. , raoul Vaneigem,
. ,
, ,
5. , ks
,
. ,
. ks
.

1. keston sutherland, Whats The Ugliest Part of Your Market-Researched Anaclitic Affect Repertoire?, paper addressed to
iCe-z (international Conference of esemplastic zappology), 2004.
2. Neil Pattison, Lyric Purity In Keston Sutherlands Hot White Andy, hot Gun!, issue #1, 2009.
3. Neil Pattison, ..
4. keston sutherland, The Trade in Bathos, jacket #15, 2001.
5. raoul Vaneigem, , . , , ..

12 kesToN sUTherlaNd

A LOVE SONG

ZEROES GALORE

as never the day collapses throw

instead your face down,
fashion a blind the brevity of
you may diminish, the USaF drops

the zeroes count, much more than you think

you dont think and say fuck it. So the beaten
path like an egg beaten is indistinct, what
parts once defined are, you are now
shuddering under the steel cry fork swept across
porcelain you eaten, teeth set on edge of zero.

away and far too much I

ravenously vex nothing except you,
shook your head and flashes
drop or a grated star
you had me manic with happiness
in us dissevered,
from the spit of a longwinded sky
and elsewhere its summary
flashes also cut a blind
down and the trimming scapelark
you see drops, you alone
see, and so do we love together.

,

, UsaF

,



,




,
, .

I feel the world there. Which one mangled

arab had co-produced but zeroes
you see and maniacs, one or the other has to go,
and fire may yet often be more amorous,
the parts of its illustration used aptly, we have
the credit to say distinct things (if not
ever to be them). Zeroes also mean jobs.
to descry in each passing face the one beaten face,
owns no zeroes except ones seen passionately,
what could this consciousness rise up
to annihilate in fatal and glorious sunlight,
by love bound together, the expugnation of all fire.
and by cubicles kept apart, given a free say-so
please leave a message, where did the days
go wrong we tend to ourselves and zero.
the eidetic cutback is moral: a new car in the first
place is too fast. Secondly we throw you
and I ourselves out wildly, drive the night sane.
Where should we go, zeroing in on fire, numb
faced and by that hated fact so brilliantly outshone,
so far well, nowhere. there are a few
odd billion zeroes more, or less autonomous
men in Iraqi corpse-oil-and-sand-pit. a zero
tolerance state inverted in the arts, that shrinking
crescendo the light renounces I cant
touch and wake you up myself flickering in
and out with my vague face singing a part
never can be everything, were zero you the one
beaten face perfectly one part one
sky returned fireless anything more than
one death for everyone, finally you
might end, and our requiems then starts reversing
lovely and the hope wont also end, I never shall.
a stupid gun laughs in a womans face
fire contorts her, it is a way of letting hope be just
someday and its cold light stacked up in zeroes.

kesToN sUTherlaNd 13

,
.
,
,

, .
.

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,
,
(
). .
,
,

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,
,
.
:
.
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, ,
,
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,
----.
,



,


,
,
, .

,
.

14 kesToN sUTherlaNd

CUt tO LENGtH REQUIRED

tHEY OFFER YOU SWEEtS

Less excluded through that spark

in you could I thrill must
I keeping on breathe ice out in darkened
habit perpetuate the waste of lust
your life shines, also incomparable
drop to
smashed me in the knees,
pushed you up against
wanted the money to get high on
glue or free, I now for love famished
will breathe even flattery like
the air loved sex confiscates. Do you
can you catch wind of this, in
this are you lived about likewise
stopped, will you make it
up to yourself through squeeze out
me from your life and again trusting
your life
again lustful, and in
that trust fly from less excess, to a qualified
cock give your tongue gently and in
turn are loved gently undefied
by now the resist switch, the remote
list of what this life is pinned
to the wind broken down and leaking in
to my throat like a stilt. Do you first
craze for detachable. It starts out you
first then Palestine caressed shouts
and gone in the head, then again
Palestine, then the touch of you resulted.

Sun sinks off the coast of Portsmouth. Local bus

schedules collapse. It is okay
dealing a little smack, the petty
cash echoes through in beaten
up parkways, like your friend calls you
up, float a while. No person
should beaten and bleeding cry out, leave
me alone, I am too young,
the light cast on that is impoverished. Smoke
is a way of life rises
wishy-washy to zeroes overhead, runs out
from his flat terrified
childishly that fire could shred it and his visible face,
do not wish to hurt him
alone you drag misery out, instead cut back
free their rages blind
them to fire always. and so make the shore too incessant,
no edgy sea, but
alone the slope low shoved pushed down to a dark
base, insoluble
garnish of dark sand underneath where
vision must be defunct.
It is the financial cowardice of a democratic government,
turns them over, fucks them.

,

,


,

.
,
,



,
,


,


.
.

,
, .

kesToN sUTherlaNd 15

.
.
,

,
, .
,
, ,
.

,

,

,

. ,
,

,

.
,
, .

few arid between rain slits open

called a blank thereon
set her foot
Paris was usual so between hot rain by wind
carrier and a dozen
hostages fried wherever
there was fierce debate, wailing
back she tore in
half a mind at
me where
wind quits this quits, later we set back
to love and I drew
it with us, over
a bridge and flew past the lobby to
bed and rode me softly
as I would your willing ear
might crave a new world static,
new breakdown,
newer blackout

,




,



,

,

,

,
,

16 kesToN sUTherlaNd

AtONEMENt
turn your head
against a face spoiling, despoil
adequately sleet and trashes of light
may claim you
fast broke the star down,
rubble of brightness about you, faces about
you too, as they break affinity
shines, it is your own fire
too is your own everywhere
they are you solicit
broad day, entire scission and echoed
silence changes hands
into icons. What passes for
weeks between them wrecks you,
Bolivia. Shines in the mind
crispy, a shiver of faces throws
upon you shadow, bright urban lattice
adrift among glances like drapery, can you go
on fire says. there is no adequate

remorse or adequate reason why

there is none. Cocaine in the broken home counties
the pulp of a shredded map left out
in the rain you slow
down quick you
takes you for dinner. What are you.
Is this brightness yours, the solicited star
breakdown also a wet easy glance proliferates,
were an atomic arc that
overt yet shaped immensely
to the earth as demo fidgets and small fry, would you
trust me says face to face,
switch the light on chop up the liquorice and peanuts,
we belong together.
to whom. as now, across the celestial equator,
Venus breaks, the resolve and
you are bound, to recast down a faultless star.

,


,
,
,
,


,

.
,
.
, o
,
,
.

. ,



. .
,
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,
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.
. , ,
,
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kesToN sUTherlaNd 17

DO YOU BLOSSOM

as the chosen form of panic car

crash to my rear frozen
out by words too beautiful to spot
are you alone, take off your
chance to wheel through
clouds in unvanishing havoc up
the street in the love
people too no
end alone
chancing apart them
and far lived you fetch for
the last time another
night positioned over the lilac
and nothing and bake
you shift out of the wrong window
pellet to a drop end
life each
strapping day but
and the ice is gluey so
and the volcano rain is gateaux
far to the way differently
seceded can you taste how
aftertastes vanish outside
the rain
in fact chooses to hit rock
bottom on the list of
uses the break as
mere toyish
shift to go being on with
and the people to the left
hand side of their own faces bleed
helpfully and ponderous
ash like a whisper steers
immediately the correct heat in you
through no hoop, I love you.

,






























, .

18 kesToN sUTherlaNd

StRESS POSItION III: tHE ANSWER

Think but this, and all is mended
I start with the superimposition of a gimmick on the Nasdaq HQ panic
bolts screwed in the fire door: pathema vrit, then stop?
Yes. the first metaphor shines at internal communication.
a flickering eyelid says I am a concession to invisibility.
Stress Position: the irreversibility canto. the foot is locked in,
the riveting other cheek is detained in the gastrointestinal tract:
we the taxpayers are supposed to think were healthier because of this?

You cant put teeth-marks in a quasi-shin. Unidentified butterflies

fall on the motorway screaming by like anorexic dogs on tendons,
alligator clips on latoctose, like an easy life on hard drugs
they fuck with your head and make voting look like knees on a shattered mirror
but so what, who gives a fuck about butterflies? What about whitebait?
Priced into the market, waving your backstage pass about,
you are the honourable inimitable general anti-thrust plate.

What goes on in your head? Or up but wont come down? I

walk into that bathroom a man and come out a black pyramid,
reeking of extorted black spunk, Cheney and Rumsfeld Inc.
trinken und trinken. Why put it any more discriminatingly than that?
Fuck the old linguistically enervative strippogrammatology
and its catcalls at authenticity and at inauthenticity: either you put
up or shut up shop or you drop the musical talking shit.

Because the first metaphor is the deepest. Here it simply is.

But there is something deeper yet: You Porn calliopisthenics
up above it figures out the fitness regime change,
and in a flash the simplicity of the first word is proxy to the last,
and we can all break for early brunch, at last. You who are
is irrelevant or not irrelevant. No-one has to love it
because no-one has to love at all, least of all anyone.

La guerre a donc perdu son charme, comme son utilit.

But the rules changed. Cosmeceutical disambiguation is death
to stubborn expression lines, to unwanted pigmentation
the peel and the anti-oxidants are their ruination and scourge,
CaGe/NCaGe #: 31FP1 for tender submissions.
Coming in I saw you back. Unturning, unable to cling
to Philomel high on fire who dumps her empty shells in the nest.

She acts up like an emasculated emu. You will not screw

the sky back on to the bereft dorsal fin in the dream of falling:
eHC gives KBR the FeeD contract; the KBR
CeO at last gets shot of the Nigeria migraine; vivendum est
illic, ubi nulla; tSKJ teams up with N
LNG on the gas chilling; Nachfolge replaces ersatz;
10 million man hours without a lost time incident.

the mass of the people heard its iron tramp. But why go on
the show in the first place if you're so bothered by the invasion
of privacy? too good for an obsure life? enjambment mitigates
segregation, which mitigates the final fantasy of universal
niecehood already sabotaged faute de mieux to a retrovirus.
Why grope after a more westerly set than that? If you listen
forever enough only to nothing you might never hear it.

Quotations are used to kickstart the stanzas. then logic.

the mouthfeel of democracy, 2003: the foot on the far left
pedal accelerates the coda, hurricane on a wet black.
Lucas: what the fuck do you see in publicity imagism
like that for? akinfemiwa: all the better to ignore you with
hadjavatis vaticilectrix vs. Barbie arbitration
the apparition of a frozen heart grasped in fish fingers.

Nine days in, and as yet the diary hasn't got my mask off.
the natives are getting derivative. Nothing escapes them.
they adjust to it, as circles adjust to reform into the major
arc in a minor key. Sentences become shorter, get
a commuted tone. Back of the wainscot of the friable ocean
pure thoughts on Fuzzy Felts. I want to get to a point where
I don't have to go through all this again from the beginning when I die.

that moment during a joke when you're pretending to be serious

and silent before bursting out in preemptive laughter.
It's a social life. Get one. But the passion is downsized into a
midget rivet for epigrams: to err is human, to forgive
beyond the reach of art. the echoing clock, the thunder and rain
beating the window, the howling wind, and, creepiest of all,
the sound of steps coming slowly up the creaking stairs.

,
-
Nasdaq : pathema vrit, ;
. .
.
: . ,
:
;

- .
,
,
,
, ; ;
, ,
.

; ;
,
, Cheney rumsfeld a.e.
trinken und trinken. ;

:
.

kesToN sUTherlaNd 19

. .
: you Porn
,
,
, .
.
, .

la guerre a donc perdu son charme, comme son utilit.

.
,
,
/ #: 31FP1 .
. ,
.

.
:
ehC kBr Feed.
kBr . vivendum est
illic, ubi nulla. Tskj N
lNG . Nachfolge Ersatz.
10 .

.

; ;
,
faute de mieux .
;
.

. .
, 2003:
, .
lucas:
; akinfemiwa:
Barbie
.

.
. .
,
. ,
.
.
.

.
. .
: ,
. ,
, , , ,
.

20

.






.





.

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.
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.
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.
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21

22

: YINDJIBARNDI

: SHON ARIEH-LERER
: SHON ARIEH-LERER, , JAZRA KHALEED

23

Pambardu

Yindjibarndi. Toby
Wiliguru Pambardu thabi ( /)
. Pambardu ,
Yindjibarndi ,
. . , ,
Yindjibarndi .

,
,
, ,
.
Pambardu

.
, Djanggawul Kunapipi
Mudrooroo
,
Arnhem
. Djanguwul

.
Pambardu, ,
,
Yindjibarndi.
Yindjibarndi:
,

. Pambardu
Yindjibarndi , , .

, Pambardu,
Yindjibarndi.
Yindjibarndi,
, Ngurranyujunggamu ( ), Pilbara,

Ngaardangarli,

,
.


, .
Yindjibarndi

, Kurrama, Ngarluma,
Martuthunira,
.
Smallpoxer,

Ngarluma: Yindjibarndi

. . ,
,
Yindjibarndi

.
, Pilbara
:

.
,

,
Yindjibarndi (
), ,
.

,
,
Pilbara.

,
Pilbara.

24 H YINDJIBARNDI

,
.



.


Padupadu,


. , ,
Yindjibarndi nga,
,
nga

yuu.
Padupadu ,
Pambardu ,
. , Lorraine Coppin,

Juluwarlu.
: ,

. : ,
. :
.
Yindjibarndi
,

Pilbara .

Yindjibarndi
Pilbara
( ).
, ,
, .

Yindjibarndi.
Yindjibarndi
Pama-Nyungan
. ,
. 50 , , C. G. von
Brandenstein,
. von
Brandenstein 60.
Yindjibarndi.
Yindjibarndi
,
. .

.

. ,
,

, -

SHON ARIEH-LERER

, ,



, , ,
:
,
.
,
, ,
,
, ,
,
,
,
, ,
,
. , ,

.
, .
& JAZRA KHALEED

H YINDJIBARNDI 25

TOBY WILIGURU PAMBARDU

26 H YINDJIBARNDI

TOBY WILIGURU PAMBARDU

,
.
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PADDY LANDO-NADDI

,
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.

PARRARURU

.
,
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.
.
.
.
.

.
.
, .
.
, .

H YINDJIBARNDI 27

28 H YINDJIBARNDI

PARRARURU

. . .
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PARRARURU

. , ,
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.

SMILER NARNUTJARRI

,



,
murdinarra1 ,



, Parraruru!
1. murdinarra:

KUNANGU1
SLIPPERY

jirili!



Kanbanparna2





Tharrgarri 3
,
,


1. kunangu: ) )
kunangu .
2. Kanbanparna: Abydos Station. Yindjibarndi
.
3. Tharrgarri: Mantharta.

H YINDJIBARNDI 29

30 H YINDJIBARNDI

COBBIN DALE

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32

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(1975),
(1989)

2.
,

,




,

34

.
, . ,
,
,
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.
, -, . (2007)
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Lear, :
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, .
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, . Lear
:
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,
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Marsh (1997), , ,
. Times Literary Supplement
. ,
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Labov3,
,
,
,
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3.
Labov,

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,


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 35

4. Bedlams

5.

.

6.




.

, , ,
. Legman (1974),
14 . . 16 . ,
8
.
4 ,
. , ,

: , ,
.
His beard was as white as snow
All flaxen was his poll,
He is gone, he is gone,
And we cast away moan,
God ha mercy on his soul!
shakespeare, hamlet

Reed (1924),

, . -, ,
. . ,
Limerick6;. , Reed
Limerick (1691) .
, .
, , Reed,
, , ,
, . . ,
Limerick
, , , ,
18 .
, Limerick, Maigue, , ,
.
, John O Tuomy Andrew MacCraith.
I sell the best brandy and sherry
To make good customers merry;
But at times their finances,
Run short, as it chances,
And I feel very sad, very.
john o tumy

7. To 1898, o
Russell


Lear
(Bibby,1978).

,
,
, ,
,
, !5

.
,
, ,
.

Bibby (1978)
Lear
:
limmer (, , ) + learic 7 = limmeric
,
1898 .

36

-
, . ,
Lear, (nursery).
,
(dirty/bawdy/indecent) ,
.

H -Lear

1821 John Harris . , .
There livd an Old Woman at Lynn,
Whose nose very near touchd her chin,
You may easy suppose
She had plenty of Beaux;
This charming Old Woman of Lynn

,
,

.
.

- Lear:
There was an Old Woman named Towl,
Who went out to Sea with her Owl,
But the Owl was Sea-sick,
And screamed for Physic;
Which sadly annoyd Mistress Towl.

,
,
,
.
.

1822 John Marshall, Harris

chapbook, . ,
.
As a little fat man of Bombay
Was smoking one very hot day,
A bird called a snipe
Flew away with his pipe,
Which vexd the fat man of Bombay.

,
,
,
.

,
, 8.
Bibby (1978),
, , , ,
.
Lear -

Edward Lear 1812 Highgate,

. , Edward , , .
, , , , .
, ,
. 1830
.
Stanley, , -. 1846
-, . , -

8. .. Hickory,
dickory ,dock./The
mouse ran up the
clock;/The clock
struck one,/The
mouse ran down,/
Hickory, dickory,
dock. Feedum,
fiddledum,dee,/
The cats got
into the tree./
Pussy,come down/
Or Ill crack your
crown,/And toss
you into the sea.

 37

Derry Down Derry,

( 1864) . ,
,
-. 1871 - , , ,
. , (1872)
, , ,
100 . 1876 -
. 1888.
Lear ,
, , , . Lear ,
, , . Lear ,
, , , .
Noakes (2001), Lear
.
,

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Lear o
. - . Lear,
, , , . , ,
.
Lear, .
Lear

9.

Lear 1863,
Punch
. ,
, 33
. , )
Copperheads Leland,
Copperheads9 ) , ,
23 . Lear
. Lewis Caroll,
Mark Twain, W.S. Gilbert, G.B. Shaw, R.L. Stevenson.
20 ., .
. , London
Opinion 50
:
There was a young lady of Ryde
Whose locks were considerably dyed,
The hue of her hair
Made everyone stare

,

,

38

, -
. ,
Traylee Cigarettes
:
That the Traylees the best cigarette,
Is a tip that we cannot forget.
And in buying, Ill mention
Theres a three pound a week pension;

Traylee


.

,
, .
, 1908,

- 1907
11.400.000.
(Bibby, 1978).
. ,

. ,

. ,
, -
. ,
, 1930, .
, 1965, Business Week

Limerick .

:
It doesnt matter how manyits who

... .

Legman (1974),
,
, ,
, 1860.

- (, 1868), . Cytheras Hymnal (, 1870), , ,
51 , E. Sellon
G.A. Sala. The Pearl
1879 1880 65 .
A.L.Tennyson (1809-1892) , . A.C. Swinburne (1837-1909),

Lear ..

 39

There was a Young Lady of Norway

There was a young lady of Norway
Who casually sat in a doorway;
Who hung by her toes in a doorway.
When the door squeezed her flat,
She said to her beau:
She exclaimed What of that?
Just look at me, Joe,
This courageous Young Lady of Norway. I think Ive discovered one more way
ed. lear
a.c swinburne

.
:
,

There was a young man of Cape Horn

Who wished he had never been born.
So he sat on a chair
And died of despair
That dolorous man of Cape Horn.
ed. lear

here was a young man of Cape Horn

Who wished he had never been born;
And he wouldnt have been
If his father had seen
That the end of the rubber was torn.
a.c swinburne

.


.

There was an Old Man of Dundee

Who frequented the top of a tree;
When disturbed by the crows
He abruptly arose
And exclaimed Ill return to Dundee.
ed. lear

here was a young man of Cape Horn

Who molested an ape in a tree;
The result was most horrid,
All arse and no forehead,
Three balls and a purple goatee.
a.c swinburne

.
,
O , ,
.

Douglas
( 1928) Legman ( 1953).
, ,
: , , , ,
, , , ..
,
, .
,
, ,
.
:

William S. Baring-Gould, The Lure of The Limerick: An Uninhibited Story, London, The Panther Book, 1968.
Cyril Bibby, The Art of the Limerick, London, The Research Publishing Co, 1978.
Gershon Legman, The Limerick Book:1700 Examples, with Notes, Variants and Index London, Jupiter Books,
1974.
Linda Marsh, The Book of Limericks, London, Wordsworth, 1997.
Edward Lear, The Complete Verse and Other Nonsense. Ed. V. Noakes, London, Penguin, 2001.
Langford Reed, The Complete Limerick Book: the Origin, History and Achievements of the Limerick, with about
350 Selected Examples. London, Jarrolds,1924.

, Edward Lear ,
, .3 http://www.rhodes.aegean.gr/ptde/revmata/issue-3.html, 2008.
Edward Lear, -. -, , .& . ,
. , 2007.
, Limerick: H
, ..., 2007.

40

Lear

There was an old person of Deal,

Who in walking used only his heel;
When they said tell us why,
He made no reply;
That mysterious old person of Deal.

,
.
,
,
.

There was an old man of the Coast,

Who placidly sat on a post;
But when it was cold,
He relinquished his hold,
And called for some hot buttered toast.

,
.
,
,
.

There was an ld person of Chili,

Whose conduct was painful and silly;
He sate on the stairs,
Eating apples and pears,
That imprudent old person of Chili.

,
.
,
,
.

There was an old man of El Hums,

Who lived upon nothing but crumbs;
Which he picked off the ground,
With the other birds round,
In the roads and the lanes of El Hums.

,
.
,
,
.

There was an old man who said How

Shall I flee from that horrible cow?
I will sit on this stile,
And continue to smile,
Which may soften the heart of the cow.

:
; !
,
,
.

There was an old lady of Prague,

Whose language was horribly vague;
When they said Are these caps?
She answered Perhaps!
That oracular lady of Prague.

,
.
;
!
.

There was an old person of Loo,

Who said what on earth shall I do?
When they said go away!
She continued to stay,
That vexatious old person of Loo.

,
;
!
,
.

There was an old lady of France,

Who taught little ducklings to dance;
When she said tick-a-tack!
They only said Quack
Which grieved that old Lady of France.

,
.
--!

.

There was an old person of Cromer,

Who stood on one leg to read Homer;
When he found he grew stiff,
He jumped over the cliff,
Which concluded that person of Cromer.

,
.
,
,
.

 41

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.
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42

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44

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45

PIS S OF F!

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46

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48

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1984.
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.

49

LA MOSCA
Te tender que matar de Nuevo.
Te mate tantas veces, en Casablanca, en Lima,
en Christiana,
en Montparnasse, en una estancia del partido de Lobos,
en el burdel, en la cocina, sobre un peine,
en la oficina, en esta almohada
te tendr que matar de Nuevo,
yo, con mi nica vida.

.
, , ,
,
, ,
, , ,
,
,
, .

PRELUDIO A UN tEXtO EN PROSA

Debe venir de alguna parte que no es parte

de ninguna,
del cuarto lado de ese tringulo que forman
las dos cervezas y la chica rubia,
en este pub de Chelsea. Simplemente:
queremos tanto a Glenda.

,

,
. :
.

Las papas fritas huelen a pescado

y el pescado no huele: esquives y
sustituciones, estas lneas
y el barman pelirrojo y los Pink Floyd,
cada cosa desplaza lo vecino, lo empuja
a pilirse y brillar como el nio que brota de mujer.
Pero no hay como, aqu: las cosas
son lo que son porque son otras.
Slo s que respiro,
y que queremos tanto a Glenda.

:
,
,
,
,
.
, :
.
,
.

50 JULIO CORTZAR

LA CIUDAD

LAS BUENAS CONCIENCIAS

El ro baja por las costas

con su alternada indiferencia
y la ciudad lo considera
como una perra perezosa.

Sos as: inteligente, clara, refinada,

vivs en armona con las gentes, las cosas y las plantas
que has elegido despaciosamente,
rechazando sin ruido lo que quebraba el ritmo diurno,
la calma de tus noches.
Eso no significa que ignores este caos,
este fragor de sangre que llaman siglo veinte.
Al contrario, segus muy de cerca
cosas como el racismo, el apartheid y las transnacionales,
le sangre en Argentina y Chile y Paraguay y etctera.
Cada tarde a las seis comprs Le Monde
y te indigns sinceramente
porque todo es violencia, violacin y mentira
en Dubln en Beirut en Santiago en Bangkok.
Y despus cuando vienen Paulita y Juan y Pepe
les explics con t y tostadas que esto sea as, y la mesa
se llena de protestas democrticas,
de migas humansticas y Derechos Humanos (cf. Unesco).
Todos estn de acuerdo, y todos sienten
que estn del justo lado, que hay que aplastar a Pinochet,
pero curiosamente
ni ellos ni vos han hecho nunca nada
para ayudar (digamos, dieron plata, se solidarizaron
algunos con las campaas periodsticas),
porque les lleva lo mejor del tiempo
aplastar al fascismo con perfectas razones silogsticas
y sentimientos impecables.
Es evidente que leer Le Monde
es ya un combate frente a los que leen el Figaro.
Lo importante es saber dnde est la verdad
y repetirlo y repertilo cada da
a los mismos amigos en el mismo caf.
Casi una militancia o poco menos,
casi un peligro porque en una de sas
te oye un fascista y ah noms te fichan.
Oh, querida, ya es tarde,
and a dormir pero antes, claro,
las ltimas noticias. Mataron
a Orlando Letelier. Qu horror, verdad.
Esto no puede ser, esta violencia
tiene que terminar.
(Suena el telfono, es Paulita
que acaba de enterarse.)
Da gusto ver
cmo vos y tu gente participan
de la historia.
Vas a dormir tan mal, verdad, mejor quedarse oyendo
msica
hasta que venga el sueo de los justos.

Ni amor, ni espera, ni el combate

del nadador contra la nada.
Con languidez de cortesana
mira a su ro Buenos Aires.
El tiempo es ese gris compadre
pitando all sin hacer nada.

.
, ,
.

.

, .

: , , ,
,
-,
, ,
.
,
.
,
, , ,
.
Le Monde

,
.



,
(. ).
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, ,


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),


.
Le Monde
Figaro.

,
.
,

- .
, ,
, , ,
.
. , .
, .
( .
.)


.
, ,
.

JULIO CORTZAR 51

52 JULIO CORTZAR

BLUES FOR MAGGIE

Ya ves,
y yo sigo pensado en ti.
Cancin de Pablo Milans
Ya ves
nada es serio ni digno de que se tome en cuenta,
nos hicimos jugando todo el mal necesario

BLUES FOR MAGGIE

,
.
Pablo Milans

ya ves, no es una carta esto,

, ,

nos dimos esa miel de la noche, los bares,

el placer boca abajo, los cigarillos turbios
cuando en el cielo raso tiembla la luz del alba,

, ,

ya ves,
y yo sigo pensado en ti,
no te escribo, de pronto miro el cielo, esa nube que pasa
y t quizs all en tu malecn mirars una nube
y eso es mi carta, algo que corre indescifrable y alluvia.
Nos hicimos jugando todo el mal necesario,
el tiempo pone el resto, los oseznos
duermen junto a una ardilla deshojada.

, , ,
,
,
,
,
, ,

,
,

.
,
,
.

SEQUENCIAS
Dej de leer el relato en el punto donde un personaje dejaba
de leer el relato en el lugar donde un personaje dejaba de leer
y se encaminaba a la casa donde alguien que lo esperaba se
haba puesto a leer un relato para matar el tiempo y llegaba al
lugar donde un personaje dejaba de leer y se encaminaba a la
casa donde alguien que lo esperaba se haba puesto a leer un
relato para matar el tiempo.

53

Th

,
.
he Man Who

, . , , ,
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.

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54

55

[]
iii

iv

vi

56 NOT I

vii

ix

57

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58

to




m :

: jazra khaleed, ishida

:
T jazra khaleed
kai kYOkO kishida

.
.
Flowjob,

, ,
( ).
,
,
, , . , :
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70

...
:
djs,
MCs, breakdancing b-boys/b-girls
.
Tricia rose,

.
70,

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, ,
.
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. MC griot ( , ,
) , griot
,
,
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, .
,
, ,
, , , ,
, o , . , last Poets Gil scott-heron, spoken word slam. ,

59

60

. soundsystems, djs, toasting,

dj .
, kool herc, 70. djs
soundsystem
,
beats. , , djs ()
.
. performance
, dj MC (Master
of Ceremony Microphone Controller), ,
,
.
.
.
dj-
,
.
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MC,
.
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MC
, flow.
-
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beat MC
4/4
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beat, , flow ,
.
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() . , , ,

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.
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 61

. , () () .
, .
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ffc,
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txc,


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.
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txc, ,

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active member,

. ,

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beats,

hip hop in streets.
,

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flowjob ,

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funky .
,

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txc ,

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low budget
flowjob ,

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txc ,

62
.
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anser,

.

MCs
.
.
MCs .
.
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active member,

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MC ;
;

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, mp3

 63

battle
( MCs),
,
,
cypher (
),
, :
, , , skills ()
performance . , ,

/ ,
, :
.. , ,
, / (dozens)
. , , , .

, , , . ,
, . .
:
.

.
,

txc,

:
adam Bradley, Book of Rhymes: The Poetics of Hip Hop,
BasicCivitas, 2009.
Tricia rose, Black Noise: Rap Music and Black Culture in
Contemporary America, Wesleyan University Press, 1994.
William eric Perkins, Droppin Science: Critical Essays on Rap
Music and Hip Hop Culture, Temple University Press, 1996.
William e. smith, Hip Hop as Performance and Ritual, Cls
Publications, 2005.

RAP POETRY 101

TOY adaM BradleY

russel a. Potter, Spectacular Vernaculars: Hip Hop and the

Politics of Postmodernism, state University of New York,
1995.
imany Perry, Prophets of the Hood: Politics and Poetics in
Hip Hop, duke University Press, 2004.
henry louis Gates, The Signifying Monkey: A Theory of
African-American Literary Criticism, Oxford University
Press, 1988.

.
,

eric B. & rakim, i know You Got soul

:
. Nas ,
. Mos def
/ /
dVd.
rakim: .
. ,
. MC
, , ,
. , .

.
,
. ,
.

64

.
,
. , : , . ,
:
.
, .
.
. , ,
,
.
,
.
, .
adrian Mitchell, ,
.
. : , , . ,

. , . , , .
,
. ,
. , ,
. ,
, .
.

. MCs rakim, o jay-z, o Tupac,
. .

. Bronx

. ,
, ,
. Cant Stop
Wont Stop: A History of the Hip-Hop Generation, jeff Chang
70 80

.
, ,
. krs-ONe, Bronx,
.


. , .
. , William
shakespeare emily dickinson, sonia sanchez amiri
Baraka,

65

. .
, ,
. ,
, , .
,
.
spoken word slam
,
. ,

beat.
beat .
MC
,
. beat , MC,
:

.
, ( ) ( ).
, irvin Berlin, o john lennon stevie Wonder,

. , MCs beat.
MCs
. ,
. , .

,
.
kanye West . ,
. MCs

. ,
. .
. , simon
Frith,
. ,
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. .
,

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,
.

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. , ,

66

.
. : . o ,
. , , Walter
Pater, . .
edward hirsch,
, .
, ,
. . adventures of super rhymes (rap) 1980,
, jimmy spicer
:
Its the new thing, makes you wanna swing
While us MCs rap, doin our thing
Its not singin like it used to be
No, its rappin to the rhythm of the sure-shot beat
It goes one for the money, two for the show
You got my beat, now here I go

,
, MCs

, beat
,
,

.
MC , . ,
, , . MC
, .
performance.
, Cole Porter lorenz hart . , .
MCs
. Porter i Got You Under My skin .
,
.

,
, .
.
, .
beat. beat
,
MC. beat,
.
beats 4/4, beats .
, beat .
,
beat MC.
, , MC

 67

. , MC ,
.
, : Melle Mel The Message Grandmaster Flash and the Furious Five.
1
2
3
4
Standing on the front stoop, hangin out the window,
watching all the cars go by, roaring as the breezes blow.

, ,
, .

(standing, front, hangin, window,

.) beats.
beat
. beat. beat .
, , . :
1
2
3
4
Broken glass everywhere,
people pissin on the stairs, you know they just dont care.

,
, .

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performance. Melle Mel
.
beat, (
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.

. :
sylvesters dying Bed langston hughes,
1931. 6 N the Mornin, iCe-T,
1987. , .
hughes beat. , , iCe-T. hughes
. , .
beat ( beat )
. , ( ) , , .
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68

t
I woke up this mornin
Bout half past three.
All the womens in town
Was gathered around me.
Sweet gals was a-moanin,
Sylvesters gonna die!
And a hundred pretty mamas
Bowed their heads to cry.

Six in the mornin

Police at my door.
Fresh Adidas squeak
Across my bathroom floor.
Out my back window,
I made my escape.
Dont even get a chance
To grab my old school tape

.

.

!

.

adidas

.

.

, .
, : .
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.
, .
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Walt Whitman
. , .
.
Book of Rhymes: The Poetics of Hip Hop, Civitas, 2009.

FREESTYLE
zOe sUTherlaNd

freestyle . freestyle

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cyphers: ,
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, . , freestyler
beatboxer

69

70

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71

72

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: zoe sutherland, The expressive Potentialities of the Freestyle, Naked Punch Review: Hip Hop Dossier, 2009.

73

74

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80

A NN C O T T E N

: JAZRA KHALEED
: , JAZRA KHALEED,
KYOKO KISHIDA

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dancefloor
. Redemption, isnt that
a tender word?

. ;
beat, . Daniel Johnston


.
.
, .

tHE SHAPE OF tHE EYE AND tHE COWARDICE

Sprung durch den Styx, ein Vorhang
aus Quecksilber, ein Vorschu, ein Frhstck.
Du machst die Augen zu und durchstt die Wasseroberflche.
Nun bist du in einer anderen Welt. Wie Worte,
merkst du, sie bezeichnen auch hier unten
Verhltnisse, Rume und Steine, alles veralgt, verlangt,
verargt nichts, und das Wort Fische kommt hier
zu sich, zu dir blo, wie du weit. Das bitter
Erinnern, wie trocken das Land und wie drftig deine Begriffe
doch du darfst sprechen hier, machst liebliche Luftblschen.
Aug in Aug mit Alge am Horizont des Nass, nah,
jemand hat ohne dein Wissen deine Haare zurckgestrichen.
Die Blsshhner wirken klug wie Dirigenten.
Jemand zeigt deiner Haut, wo es beginnt. Sich aufzulsen
ist diese Haut sofort bereit. Trag sie davon in absehbarer Zeit.
Davor aber tauch noch mal unter, und schiebe die
Wimpern hoch, rei die Augen auf. Du siehst, du siehst,
was du Welt oder Umwelt zu nennen in Luftblasen scheiterst.

tHE SHAPE OF tHE EYE AND tHE COWARDICE

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* The Shape of the

Eye Was Fr Neugierige
Tiere,



Ann
Cotten Fremdwrterbuchsonette.

81

82 ANN COTTEN

BEGRIFF

Darf ich den Sommertag mit dir vergleichen?

Er geht zu Ende whrend mein Sonett beginnt.
Sonett beginnend whrend Tag verrinnt,
darf ich den Sommertag mit dir vergleichen?

;
, .
,
;

Die Angst, es knne gilben und verbleichen

das Blatt, auf dem das Gold zu Blau gerinnt,
vergeht, wenn dein Profil Kontur gewinnt,
dir Wrter hneln, Ebenbilder gleichen.
Zum Ersten ist jetzt vorerst Mai,
so ungetrbt gefiltert deine Strahlkraft
wie eine Sonne, der man noch nicht mde ist.
Zum Zweiten ist dein Haar wie Flachs, und ist
dein Mund wie Wolken, durch die Sonne kraftund friedestrotzend bricht, als ob es Sommer sei.
Und strahlend da wie Mittag ist dein Leib,
quadratisch wie ingenis vermessen,
gestochen wie aus Gotteslsterung dein Auge.
Wahr und prsent, solange ich hier bleib,
und breit und warm, wie ich dabei gesessen,
schreib ich dich, whrend ich auf Wolken schaue.
Solange ich vetraue, sind die Tage hier,
Verlangen ich implementier, verbaue Schweigen.
An Orten fehlts dir nicht, mir nicht an Wegen,
die Stellen deiner Haut zu stillen auf Papier.
Und solltest du ver- oder auch nur gehen,
dank dieser Eselsbrcke wei ich, wie du bist.
Knftige Generationen werden dich in etwa sehen
und ich werd immer wissen, wie ein Sommertag ist.

, ,
, ,
, .
,

.
,
,
, .
,
,
.
, ,
, ,
, .
, ,
, .
, ,
.
,
.

.

ANN COTTEN 83

DIE NEMAtODE MIt DEM StILEtt

Wie auf dem Rcken am Substrat zu liegen ist

wie auf dem Bauch zu liegen, wenn zylindrisch
khl
der Krper einen schlngelt durch den Mist,
den andere essen, ausdrcken und rhren ins
Gewhl.

,
,
, .

Wer reglos ist, muss tot sein. Fr Statistiken

fehlt uns der Blick von oben. Ja, ein Schlachtfeld
ists,
ne Orgie von dort, mit schnen Risiken,
doch wirkts von hier normal. Ja, einfach ists,

, .
. , ,
, ,
. , ,

an Oberflchen phnotypisch sich zu illustrieren.

An Oberflchen palimpsestisch den Faden
verlieren
und nur mehr Wurm sein. Stumm sein.
Klar, elegant und krumm sein.
Unmdig, weich und dumm sein,
um fernen Wissenschaftlern das Substrat zu
zieren.

.

. .
, .
, ,
.

Sag, liebe Nematode, du, dein Ding da,

das du in die Gonaden der Kollegen steckst, ja,
man knnte es ja nennen dein Gemcht,
Trger eindeutiger Genetik, dein Geschlecht,

, , ,
,
,
, ,

doch aufgreifend dich damals nannte ichs Stilett.

Nicht ganz treffsicher, auch nicht ganz daneben,
fr Dichtende, die solche Sachen mgen, ziemlich nett,
um mit khn gegriffelten Metaphern anzugeben.
Doch dein Stilett, du blindes Tier, rhrt nicht die
klaren Gene,
an deiner Spikula kippen die Proben, oh,
komplett.
Und whrend Wissenschaftler, blinde, unbekannte, schne,
erleben Laken kichernd nchtens schlngelnd
als Substrat,
blickt ihr am Morgen wieder stumm von unten
in Pipetten,
ich mach Sonette ber Oberflchen fremder
Betten.

.
, ,
, , ,
.
, ,
,
, , .
, , , ,
,
,
,

.

84 ANN COTTEN

WAS FR NEUGIERIGE tIERE

Niemand lebt von ihrem blassen Fleisch,
eigentlich knnen sie nur alles falsch machen.
Verschlucken Haken, ohne zu krepieren,
werden von Monofilamenten zerrissen.
Zerquetscht in Schleusen, in Schutzen
vor Fluten zerstckelt, eingezwngt in
Wasserregulierungseinrichtungen, tot
durch Unterfhrungskanle geschoben,
fatal verstrickt in Treibnetzen und Reusen,
bringen red tides sie um,
Blten von Algen vertragen sie nicht.
Sie mgen warmes Wasser, sie leben
in wilder Ehe mit kalorischen
Betrieben, untersuchen
die Wrmequelle, werden
von Propellern in Teile zerlegt.
Oft kratzen sie Kiele, und sie sterben
viel spter an Infektionen oder
Blutungen der inneren Organe.

,
.
,
.
,
,
,
,
,
red tides,
.
,

,
,
.
,

.

AN INDUKtION tO tHE BLUES

Its a very attractive little device that combines a frequency
follower with a device that puts out harmony notes to what
youre playing Its main drawback is that the tone that comes
out of it is somewhat like a Farfisa organ.
Frank Zappa on the Electro Wagnerian Emancipator
Dort stand er mit den Ellbogen am Plattenteller
und ich fhlte mich schreklich analog,
so hilflos ausgeliefert wie ein Wachszylinder,
eindrcklich revolvierend. Scheiternd on the dancefloor,
choliambisch in den alkischen Beats. Alkischen?!
Ich hatte nicht mit solch subtilen Bssen hier gerechnet!
Allerdings auch noch nicht zum Pult geschaut,
hochschreckend erst bei der Anakreontenmucke.
Sein Anblick fuhr mir rasend durch die Adern.
Mein Herzschlag horchte auf und wollt sich nicht entblden,
mich wie ein Kurzschluss haltlos auf die Tanzflche zu strecken.
Vinyl schmolz wie Lakritze. Noch zerfurcht vom Schrecken
schleppt ich mich an den Rand von dieser Rille.
Blieb noch in Hrweite. Schwach klopfte mein Wille.
Er an den Tellern konnte kaum die Augen offenhalten
und zwei mal kippte er beinahe um oder sein Bier um,
und wenn er berging von seiner Nummer in die andere,
klang es wie Halbschlaf und Widerstand dagegen.
(Wahrscheinlich arbeitete er tagsber
am Strungstelefon und hrte Stimmen
ihm durch die Leitungen Oden zuflstern,
pochte sein Schdel gegen die Anliegen der Kunden.)
Und nach ein paar weiteren schweren Stunden,
die Luft im Club ist dick schon von den Oden
legt mein erschpfter Genius die letzte Scheibe auf
und setzt sich neben mich. Sein Kopf sucht hflich Dialog,
von seinem Schopf wird diese meine Schrift total verschmiert,
beginnt im Traum zu reden,
aber redet Dialekt.

ANN COTTEN 85

tO tHE BLUES
Its a very attractive little device that combines a frequency follower
with a device that puts out harmony notes to what youre playing
Its main drawback is that the tone that comes out of it is somewhat
like a Farfisa organ.
Frank Zappa on the Electro Wagnerian Emancipator

,
,
.
beats, dancefloor.
;! !
,
.
.
,
.
. ,
.
. .

,
,
.
(

,
.)
,


. ,
,
,
.

86 ANN COTTEN

EXtRAVERSION IN tOMI
Der Toast springt auf und klirrt in meine Stille
Kaffee Kaffee Kaffee Kaffee Kaffee.
Ich unterlasse einige Gedanken,

Die DVDs, die mir Corinna schickte, als Tassenuntersatz

die andren
warf ich nach der Katze,
weil sie miaute, als ich vor Corinnas Foto wichste.

die jemand auf der Strae nicht verstehen wrde.

Ich denke an woran ich nicht mehr denken wollte.
Mein Leben hier wird Tag fr Tag absurder.

Jetzt schaut mich nicht einmal mehr keine Katze an.

Vorgestern, oder war es vorvorgestern? Im einzigen Lokal
schlug ich dem Obmann der Freiwilligen Feuerwehr
die Faust ins Gesicht. Deswegen bin ich dort nicht mehr.

Mein Gott, warum ist denn Corinna nicht bei mir?

Gestern hab ich geschworen, ich bleibe nicht mehr hier,
mir kommt tglich das Kotzen ber mein Revier.
Die Leute auf der Strae sehn mich wie nen Unfall an.
Vorgestern aus Versehen war mein Hemd falsch zugeknpft.
Ich mag nicht mal die Reime mehr, trete sie mit Fen.

Ich unterlasse immer mehr Gedanken

und alle Wrter, die mit C beginnen
und alle
mit Doppel-n.
Liebe Corinna, hr, aus meinem Roman
wird hchstwahrscheinlich nichts, ich arbeite daran,
alles, was weh tut,
zu krzen.

tH tOMI*

.
,
.
.
.
, ;
.
.
.
.
, .
DVD, ,
,
.
.
, ;

. .



.
, ,
,
, ,
.
* Cotten Tomis ( ), Tristia.

ANN COTTEN 87

MEtONYMIE, WIR

Ich sprech fr dich, lass gut sein.

Lass gut sein, sag ich. Sei
beruhigt, sage ich, ich formuliere,
da knnen, wenn ich fertig bin, wir beide rein.

, .
, .
, , ,
, .

Das Dichten, sagst du, macht dich schrecklich mde.

Das Ich-Sagen erschpft mich mehr, sag ich.
Breit doch dein Wir aus, du, das meint uns beide,
und dann machen wir Picknick drauf. Wirklich,
ich bring das Wort nur schwer ber die Zhne
hinaus, sie schlagen hart gegeneinander,
wenn du mich meinst, ich dich und Grinsen
allein kann in ne Harmonie uns schwemmen,
wir fragen: wollen wir? Du sagst: Ich schon.
Du auch? Whrend ich mich an deine Zhne lehne.
Schenk ein! Merum schlgt dich und mich
ber den ganzen Nachmittag in
den Tannin, das schwere, rtlich
schwarze Kleid der, ja, Verwechselungen.
Anstoen, bis wir weder aus noch ein,
nur schwirrend wissen von den Buchstaben
zu schlieen mehr, wessen Initialen
wir nun tatschlich in die Buche graben
mit meinem Messer. Deines ist zu klein
und klappt zurck, wenn man den Winkel falsch
berechnet. Bin dabei zu ritzen DU,
als du dein Werk mir zeigst: du ritztest ELVIS.
Okay, wir machen Fehler. Doch es lacht
b unsrer Anstalten das blanke Sein.

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88

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92

93

K y OK O K I S hIDA
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94

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, , Goethe Weltlitteratur.
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1954
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( , 1981),
T o
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Shunryu Suzuki, Zen
mind, beginners mind,
Weatherhill, 1999.
G. Renondeau [., .
], Anthologie
de la poesie japonaise
classique, Poesie / Gallimard, 1971.
[.],



[.:
],
, 2009.
Kenneth Rexroth, One
hundred poems from
the Japanese, New
Directions, 1964.
Stephen Adiss, with
Fumiko and Akira
Yamamoto, Haiku
people big and small,
in poems and prints,
Weatherhill, 1998.
Elena Dal Pra [.], Haiku
Il fiore della poesia
giapponese da Basho
all Ottocento, Oscar
Mondadori, 1998.
Corinne Atlan et Zeno
Bianu [., .
.], Haiku
Anthologie du poeme
court japonais, Poesie /
Gallimard, 2002.
Yoel Hoffmann [., .
], Japanese
death poems written
by Zen monks and
haiku poets on the
verge of death, Charles
E. Tuttle Company,
1986.

102

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104

(Gaius Valerius Catullus, 84-54 ..)

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408 , , :

cui dono lepidum novum libellum,

arida modo pumice expolitum?
Corneli, tibi: namque tu solebas
meas esse aliquid putare nugas
5
iam tum cum ausus es unus Italorum

omne aevum tribus explicare cartis

doctis, Iuppiter, et laboriosis.

quare habe tibi quidquid hoc libelli

qualecumque; quod o patrona virgo,
10
plus uno maneat perenne saeclo

10

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106

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Zmyrna mei Cinnae nonam post denique messem

quam coepta est nonamque edita post hiemem,
milia cum interea quingenta Hortensius uno

5
Zmyrna cavas Satrachi penitus mittetur ad undas,

Zmyrnam cana diu saecula pervoluent.

At Volusi annals Paduam morientur ad ipsam

et laxas scombris saepe dabunt tunicas.

Parva mei mihi sint cordi monimenta <sodalis>,
10 At populus tumido gaudeat Antimacho.

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pavlos27@hol.gr

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118

Jazra Khaleed
Kyoko Kishida

:

Kyoko Kishida
:

& :

xouat
:

:
. 3, 94, 116
: . 48, 80.
: . 6, 58, 104
: . 22, 32, 43
:

67

web:

http://teflon.wordpress.com
eMAIL:

teflon08@gmail.com

W.B. Yeats



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