Gesualdo

by Lyn Hejinian, Anita Sezgener (Editor), Efe Murad (Translator)

Gesualdo, l-a-n-g-u-a-g-e akımından Türkçeye çevrilen
ilk kitap.

l-a-n-g-u-a-g-e akımının dili bir problem olarak herzaman merkeze yerleştiren deneysele açık yaklaşımı Lyn Hejinian’ın Gesualdo’sunda da belirgin.

Müzik tarihinin bu karanlık bestecisine bakan Hejinian,
şiirini, Glenn Watkins’in Gesualdo: the man and his music biyografisi ile sıkı bir metinlerarası ilişkiyle kuruyor.

Hejinian, Watkins’le Barthes’ın s / z’sini andıran bir yaklaşımla ilişki kurarken, metinden alıntıları olduğu gibi değil fazlalıklarından arındırarak kendi dizelerinin arasına katıyor.
Hejinian, ayrıca, Watkins’in Gesualdo’sundaki zamanın düz aktığı kronolojik biyografik anlatımı bozup zamanı daireselleştiriyor; başlayan biten değil, tekrar başa bağlanıp yeniden başlayan…

Gesualdo, artık tek başına okunabilen, ana metinden tümüyle bağımsızlaşmış sıkı, sesi sık sık ton dışına kayan bir Lyn Hejinian madrigali…

Genres: Poetry

24 pages, Paperback

First published January 1, 1978

About the author

Lyn Hejinian (born May 17, 1941) is an American poet, essayist, translator and publisher. She is often associated with the Language poets and is well known for her landmark work My Life (Sun & Moon, 1987, original version Burning Deck, 1980), as well as her book of essays, The Language of Inquiry (University of California Press, 2000).

(from Wikipedia)

Reviews

[M.W.P.M. · Rating 3 out of 5]

Gesualdo to an introuction
Gesualdo d rests his faithful, his, in pieces, are discontinuous and harm the use, who did not lack intensity. c and highly individual the
murder which was married between instances of workmanship and reduction. Their dramatic exclamations push the basic scale a time of the more true. b whose fame rests on her lover and between. The first vocal in the first four in the last two are discontinuous and harmonic to an introduction.


Gesualdo, gathered
Gesualdo extraordinary and because he gathered thought (as these things were bound) one doubts and hopes and after four years murdered. Gesualdo had time around even in these days appeared. Voice and word had taken the one and their equivalents were the spoken word in retrospect. Gesualdo and died there a modernist using purposes that went like Melchizdeik, 'without father and mother,' of no progeny born and died there. That some of the growing about the turn (not without provocation) for purposes a little to him he murdered and died there a modernist. Learning from him being acknowledged at Ferrara the most brilliant ended and returned. He founded, he seems to, he developed, he is important. Into turns he issued and returned b and composer he caused his faithful year. Some time the remainder a master of expression which has given history complexity in advance. Yet in this lies the true. Gesualdo is famous and a lover. In that year remarkable he had proved himself in musical style of anything achieved. It was hard to resist the harsh thrilling pleasure, the greedy harmonies and dissonance, filling the ordinary, throughout his prestige erring on the grounds. Erring is faithful, though the proper matter of his song. Gesualdo reflects. His moods change during his life. For that matter, it ever has been and ever will be, repeated, one hopes.


an unrelenting schedule in fascinating detail
Gesualdo sits lonely and isolated in the foothills, not unpleasant and impressive. This is no accident. And so entwined. Seven children played in the courtyard, sufficient signs of fecundity, in the chronicles, the subject of endless poems, of the tales contained therein, of writers are filled with it.


the element of dialogue inherent
With a personal sense of guilt and an unspeakable desperation, the erotic is transformed. The ardor alternates, love into mourning and ecstasy into flight. The early fire place is of a greater reason partially to reside. It can no longer be thought of as a colourful interlude, bu a new aesthetic of such dimension as our appearing hard, attempted to this time, with gratitude, and generously, fearful of abandonment. In the opening of two voices between inner parts, provides, provides, only a difference of outer voices. We hope to set the lengthy self complete, longer, alert, savouring through extension.


coda
The capacity of artists to manipulate for their own ends form invented in a different spirit is one of the facts of life . . .
was dying by artists who passion and sensuousness essentially distinguished them . . .
because they tremble, as it were, on the brink of one or the other commitment.'


white
The idea is outstripping - or second - bu it is never single, simple, nor a mode of imitation. He roared sorrow, white, long, and rising. Can I wait for a gradual resolution? The concept of style as willful personal creation is devised to a new demand. My conscience is urgent. The contrast is between genius and duration.


she, of his life
Passions are a matter for speculation. They are unusual for their discontinuous texture. They are at a time of transition, say between fifty-two and fifty-three. The owed a little to him (not without provocation), though he lived most of his life. They push to an extreme the use of dissonance hen dreamed of, unexpected and often harsh. They haunt the classic style and the master, who was a modernist, bold and complex, furthering the true expression of his life.

Read the full text here: eclipsearchive.org