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poetic plays, Mahmoud Darwish

The dice thrower
Who am I to tell you
what I'm saying
me that was polished by stone water
to become face
or reed pierced by wind
to become flute ..
I am the dice roller.
I win sometimes I lose other times.
I'm like you
or a little less ...

"It rhymes what "paid homage to Mahmoud Darwish, and presented the publication of his last-known poems in the Arab world-and he had read in July 2008 during a recital. The show is interrupted by two readings of the poet, the one in a stadium, the other extremely intimate. One way to reach the two faces of the poet and understand the scope of his voice: Mahmoud Darwish has forged a political voice, a voice launched the world that can come and go between the heart and Palestine, between the heart and the earth.

podcast: franceculture. com "that rhymes with what.

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Web poetic Marc Laumonier

Poetry is a solitary adventure, but it is possible to share it: the Internet is one way that can be opened to the world. Last Saturday, a poet and blogger, Marc Laumonier did a brief stint in the show Nauleau Sophie, "it rhymes with what?". This love of poetry is a blog where he brings both his own texts and those other. His work is of great generosity, he even claims that "others" are more interesting than him. This modesty and the patient work away from publishers must be rewarded, "frenchpeterpan" (the name of the blog) contains beautiful lyrics that are worth reading, poetry notes a very high accuracy. Marc Laumonier publishes appetizer snow , a collection that brings together the texts published on his blog. Share his writings on a blog does allow readers to multiply, but as the author puts it himself, does not provide the poem. The paper can donate what is produced. This adventure illustrates perfectly one of the major problems of poetry today, that of diffusion. Should we try to get published? Should he deliver his lyrics with multiple routes to the canvas? Creative work alone and can make it available to all Sir internet: the paradox questions anyway. Marc Laumonier claims not be a great poet in his wording, he puts the word "poems" in quotation marks. These are many poems without quotes he gives us yet to read. Build a readership on the Internet is not an easy thing, he was able to do and that is a great merit. Small publishers can not afford to publish. And among the big publishers, poetry is not the master: it is impossible to ask an author to produce a work every two or three years. Writing is an experience with its own temporality, its own space. Wandering or whirling, hard work or a state of grace, whatever, the mechanisms of the circuits of consumption is open to artists. Writing poetry becomes a real lifestyle choice, an adventure even more lonely. We must find ways to give to see and hear through other means. The Internet is a useful path, a thoroughfare wonderful. In recent years, the poetry also flows through this one (I will soon facebook and I like poetry reviews). But it would be unfortunate if the book does not take over all these beautiful poetic initiatives on the web. A word ...

The site of Marc Laumonier: http://www.frenchpeterpan.com/

The show on Saturday "that rhymes with what" is downloadable for a week http://www.franceculture.com/podcast/1233661

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Notes poetic plays, poetry and song Reverdy

The last broadcast of Issue Nauleau Sophie, "it rhymes with what" paid homage on Saturday to Pierre Reverdy. It is downloadable for a week at France Culture (see "what's the point). On this occasion was presented the first volume of the Complete Works Reverdy published by Flammarion. The poet is not unknown but this The new edition will no doubt now that he deserves. Etienne-Alain Hubert, the guest Nolleau Sophie, starts out by saying something simple: "we do not really know first Reverdy. Then began a too rapid half-hour of fun where we depicted the man that Reverdy, passionate and uncompromising, he speaks of the poet and his requirement. The show ends with a conversation between Reverdy and Robert Mallet for the show "Belles Lettres", dating from 1956. During this interview, you will have the pleasure of hearing the voice of Reverdy, his accent and his way of rolling the "r", you will hear and read his writings about poetry with much love and lucidity

"the poem must stand up painfully from below"

"image for a poet is the easiest thing"

"we do not have a picture with the will, and you make a poem, with the will."

Read: Note on Antoine Emaz Poezibao. http://poezibao.typepad.com/poezibao/2010/03/actualit% C3% A9-de-reverdy-by-antoine emaz.html-

Recommended listening: The show "that What rhymes with "http://sites.radiofrance.fr/chaines/france-culture2/emissions/carimeaquoi/index.php

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political song (about a poem by Neruda)

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"We live singing among the beasts".

In reading the "Letter to Miguel Oterao Silva, Caracas, 1948" Song of General , I found that perfectly illustrated the idea developed in my previous article on Nazim Hikmet: the song is a weapon of resistance. In this long text which stretches over five pages, Neruda establishes a privileged communication with Miguel Otero which he received a letter through Nicolas Guillen. Neruda was exiled in a situation that is very unfavorable. They are still the strength and joy that dominate the poem. In this crucial text, the question of poetic writing is central as Pablo Neruda explains how and why he abandoned the love poetry, metaphysical poetry for a less pure materialist.

The force that emanates from this poem is probably due to the combination of a celebration of the elements and a testimony to the reality of his country. But it is also born of this epistolary relationship between the two comrades. Neruda y multiplies addresses: "Miguel, as it is blue life!", "Miguel, they can not defeat us." The word is gradually gaining in size in repetitions and exclamations: "What you're gay, Miguel! As we're gays!".

If the condition of the poet on the run is precarious, Neruda was pleased "to work among the things that [he] loves." So he sings the place that welcomes them, "pelican boats like the wind" and "world, our well." The world, free from any property becomes at the end of the letter that every man can possess precisely because it belongs to nobody in particular. And the poet sings the beauty of American land:

"in some places, emeralds have

the thickness of apples".

But it is also a witness and actor in history. Therefore, smuggler, he mentions what others told him. The mouth of the poet sings the stories of the worker, the student: "and he told me how the prisoners work on the roads.

Neruda passes alternately from past to present and from present to past, citing the advent of the poet Neruda:

"then life, I grabbed ,

I camped in front of her, I hug to subdue

then I went into the mine galleries

lived to see how other men. "

The poet appears "hands stained with dirt and pain," sure, but he became a man of reality. It is more absorbed by his "metaphysical one", however, it does not say goodbye but the lyricism renew into a weapon of struggle. Thus, a girl, during a strike, began to recite a poem by Miguel "a courageous voice where the crystal and steel united. " This alliance of the delicacy of the crystal and the unalterable steel could be used for art Neruda poetry: the poem must be both singing and attack. And he tells Miguel "one of your ancient poems, one traveling between wrinkled eyes of all the workers and peasants of my country, America." The poem becomes the spark that gives hope to the poet reached by melancholy. The people picked it up, it is appropriate to survive and fight.

Neruda also opposes the metaphysical sadness to joy, distinguishing between materialistic love poems where he "died of sadness" of the following: "I conquered the joy," says t he said. Through it, the poet is trying to save what can be:

"I defend the embers of life."

At the eucharist he substitutes poetic even a supper where words become symbols of strength and immortality poetic

"words that are bread, wine,

words they can not yet dishonor. "

Song, inseparable from the shotgun, none the less sacred. Singing does not torture, or exploitation, but at least creates a space of freedom, a space where humanity, love between human beings still has its place:

"And in a world of ulcers there is no longer plastered

that we, with our endless joy "

Reference Edition: Vocal General Pablo Neruda, Gallimard, 1977 for the French translation. "Letter to Miguel Otero Silva, in Caracas (1948), pp. 389-394.

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The mesh of intimacy and politics in Nazim Hikmet

"Part of me is in close contact with the crowd of the universe from its insect up its stars and swarms of men around the world, I am with them ... in them ... As for the other part of myself is only " Nazim wrote.

The beauty of a poem is often its ability to integrate its other. The tension is a fundamental element of poetry. The circumstances make writing more or less strong this tension and poets do not always find a way of inhabiting the world which combines the poetic and the political. In the case of Hikmet, a notable change is felt between his lyrical poems and Human Landscapes . It is clear that the texts of about Landscapes carry a political and social, are seeking to build a clean speech by talking about all the voices of all, the lyric poems are constantly being stretched between intimate story. Edition Gallimard It snows in the night and present the poet's work into two parts, the "lyric" and "epic poems. It is important to stress that the poems are lyrical traversed by the story of activist he was imprisoned, but also by the history of his country. The crossing points between the ego or "we" of the couple and the "we" of the Turkish people, indeed the world, they are consistent and give the writing Hikmet great force. The lyrics in

Hikmet is inseparable from the hope that through each poem: even in the darkest situations, the poet sings a bright future:

"Like your eyes, my beloved,

my century will be full of sunshine .... " (" The Twentieth Century, 1948) [1]

Hope is a feeling qu'Hikmet particularly valued, especially during his stays in prison. It is remarkable that he even wrote some of the most beautiful texts of love or praise when it was enclosed within four walls, deprived of his wife and hugs from wind and sun. One can only note that ability to evoke the beauty of things that could have the feeling faint in him. But he insists on loving a woman and to love life despite all "the prison of Istanbul"

"I thought about the universe,

to my country,

I thought of you. " (February 1939) [2]

Several texts have to track the dates. Yet, just anecdotal in there instead. This is to show the value of each day, give them a thickness, to get them out of the long past days that follow in a small cell. Write a poem "November 20, 1945" or "September 26, 1945" is to remain master of his time, so free.

be a poet is the highest form of freedom:

"And now, my love, and now, being captive, there is not

question,

the question is not to go. "(" Here, "1948) [3]

Love to Hikmet is not only that he has for his beloved, but for all men. In "September 26, 1945," he said :

"Most men are there,

men honest, hardworking and good,

worthy of being loved as I t love it. " [4]

and the thirtieth poem in 1947:

"I am among men, like men.

I like the action.

Like thought.

Like my battle.

You're a human being in the spring.
I love you. " [5]

This principle of mixing history with romance that has prevailed for writing Letters to Taranta-Babu (1935). The form of this correspondence is first intimate since young Ethiopian living in Rome sends letters to his wife and he evokes Mussolini's Italy. In these letters, the evocation of the historical situation is through a powerful lyrical language. The violence of war is considered in terms of loss of the beloved:

"they arrive Taranta-Babu,

they come for you kill

cut you open [...] " [6]

The love letter turns into an epic poem from the pen of Hikmet. Write to a woman is an address that allows both the lyrical word to deploy and political and historical speech to take another color: the world as it goes past the filter's unique vision of the poet, the world as that it is embedded in the situation of two singular beings.

In the year 1941 includes a very nice letter from a character - Halil - his wife Aiché (Book II, Part V). This letter was probably common with qu'Hikmet letters written to his wife from his cell. Halil described the prison as his wife, he relates the words of the prisoners, it evokes the sound of the train he heard regularly pass. A single letter of the man allows the poet to give to see the condition of prisoners, the humble locked throughout the country. The view of a forgotten man becomes testimony. When he receives a letter Aichi, content that contrasts with the reality of prison, while testifying in another way the status of Turkish peasants: Aichi refers to her husband and the crows, the campaign The work of the earth ... And when Halil replied, it binds to the history of the Turkish people that the world

"My love,
we nevertheless decided
not speak for us in this year 1941.

There is the world

and our country

, and hunger and death

; and separation

, and the hope and victory,

and the world and with our country

and mingled with them

there's two of us at this moment

with our separation

; ; and our love. " [7]

The" I "and" we "are never really separate from each other there is only one step that the poet passes. History transforms couples, people, stories.

In the poem "angina pectoris" (1948), he talks about his sick condition. But the disease that eats is not associated with precarious conditions in which he lives but rather to the plight of its people who eats. The world affects the poet. The poet's heart by being wherever man suffers is reached. Being a poet Nazim is therefore be affected by things and affect things in return.

He said that a poet can not be free, ever. The poet is not he the least intact of all artists?

balance difficult to master, writing poetry is always on the wire. It's about being hit and bleeding - but not too much - to be himself and his people.

"And every morning, Doctor,

My heart was shot in Greece [...]

My heart beats with the distant star. " [8] This game

scale between "I" and "them", "you" and "they" is a constant in lyric poetry of Nazim Hikmet. Because the "I" is a poetic major crossing point between individuals and history, a point which can cover, by its poetic construction, the wide spectrum of space and time:

"You are all naked in my arms

the city at night and you
[... ]
Where does the city, where do you begin you
where is my end, where is my beginning ? " [9]

(" The city, the evening and you ", July 1959)

In the poems of Nazim Hikmet, lyricism in conditions not conducive to the celebration. The story of a people is inseparable from the song for the poet. And the weight of the world hangs in the poet's heart as it weighs on the world. Hope has become a political and lyrical gesture of resistance.

Notes: All excerpts are from It snows in the night , Nazim Hikmet, preface by Claude Roy, Gallimard, 1999.

[1] in "Lyric Poetry," p. 92

[2] in "Lyrical Poems," p. 37

[3] in "Lyric Poetry," p. 84

[4] in "Lyrical Poems," p. 67

[5] in "Lyrical Poems," p. 82

[6] in Letters to Taranta-Babu , "Twelfth letter to Taranta-Babu, P. 379

[7] in In this year ten to nine hundred and forty-one , Book II, Part V, pp. 322-323

[8] in "Lyrical Poems," p. 89

[9] in "Lyrical Poems," p. 179