Ton van 't Hof & Leevi Lehtoeyeball-aching ballast

affecting aspects of human life, on a non-raining day, the predestinated pedestrians
peddling dope on a zebra crossing, pill-popping gossip gone by the wind

in wooden tone (wd intone): "The Bussibilleties Are Intinife." "The
Wrestling Nudes (men & women) Orgasized Into Searchable Flutter." (as if

this wd include molecular biology, genetics and embriology of the maxillo-facial
but HELL NO - it's not a matter of turning the feel-good factor into flesh

of the said Zebra, still st-t-tuttering in the selfsame wind, lest become glacial
or marrying an old man for his cash - A human e life is full of danger

if also besticles!) Indeed the festivalleties are starting to look good at this point
dolled up banstickles are gesticulating: ???? - a passer-by blows himself up

as one of them drives to the park, finds dead man. Hears sound, runs out
of roe but luckily meets a loud chatting pregnant single woman [crucial test

since I'm only Tolkin in Spingues now] who, alas, what the *&^!!###!~%))((??!!!", which
eyeball-aching mystery is exposed beneath the ballast pile? what fingers

now point back to it, to her, her history, his lack of history, the poem,
a Zebra Song, that spin-dried sliced us foot this summer - we flap in replica.

We flip in La Republica. Text-Dosing in Dallas. It's my mystery now. Yours.
day after day. and the eye s e y e s in our head s s e e the world spinnin g a r o u n d

http://www.bbc.co.uk/collective/tracks/_NOIRSC_joanaspolicewoman_idefy_au.ram
i love it! but, sd I play it now, who'd höre mich denn aus der Engel Ordnungen

Authors' Note. The poem was written in January 2007, using online correspondence, as an experiment in collaborative writing in second language.

"Semicerchio", n. XXXV (2006/2)

New issue of Semicerchio, magazine of international poetry. Number XXXV (second half of 2006): "The tired troubadour. On the social mandate of the poet". Essays and poems in original languages and/or translated into Italian. The issue hosts works and translations by Francesco Stella, Yves Bonnefoy, Michel Deguy, Jean-Claude Villain, Henri Meschonnic, Dieter M. Gräf, Ulrike Draesner, Lucia Valori, Jesús Munárriz, Rafael Courtoisie, Fernando Pinto do Amaral, Jorie Graham, David Gewanter Albatross, Yusef Komunyakaa, Antonis Fostieris, Haris Vlavianos, Antonis Fostieris, Haris Vlavianos, Jarosłav Mikołajewski, Meena Alexander, Gōzō Yoshimasu, Guido Mazzoni, Massimo Scorsone, Marina Cvetaeva (Marilena Rea), S.S. Prasad (Serena Todesco), Jorie Graham (Antonella Francini), William Shakespeare translated into modern Greek (by Wolfgang David Cirilo de Melo), Caterina Bigazzi, Anna Maria Volpini, Alessandro Raveggi, Stefano Zivec, Cecilia Bello Minciacchi, Fabio Zinelli. Reviews of books: by Pietro Deandrea, Prisca Agustoni, Gianfranco Agosti, Raffaella Castagnola, F.Stella, F.Zinelli, Simone Giusti. Some pages are available as pdf files here. A list of the past issues here.

Semicerchio, Piazza Leopoldo 9, 50134 Firenze

email: semicerchiorpc [at] libero [dot] it
Editor in chief: Francesco Stella
Publisher: Le Lettere, Distribution: Licosa

lyrikline.org

"lyrikline.org is the platform on the internet on which poems are available to listen to, and to read both in their original languages and various translations: a concert of verse in the voices and languages of the authors.

Around 350 poets and 3500 poems in 39 languages are available by now as well as thousands of translations!"

More Global Poetics

"However, Modernism didn’t truly revolutionize Scandinavian poetry until [Finnish] Edith Södergran, Russian-born and German-educated, published a series of brash, radical books of free verse in the second half of the decade [1910's]. [...] From Södergran, [the later Swedish Modernist poets] received ideas of Russian Cubo- and Ego-Futurism as well as German Expressionism and French Symbolism. In her wake they remained highly international, reading and writing about wide range of movements and artists, including German Dadaism, Die Neue Sachlichkeit, Vladimir Mayakovsky and Sergei Eisenstein. Interestingly, many of them found a great connection to American Modernism. [...] It is important to note that the internationalism of Finland at this time was largely due to its precarious political situation. After centuries as a colony (first of Sweden then of Russia), Finland gained its independence with the Bolshevik Revolution. However independence was followed by civil war between Reds (supported by the Bolsheviks) and Whites (supported by various other European nations). The internationalism of poets like Södergran and [Henry] Parland can be seen as largely post-colonial. They were exposed to a variety of influences as subjects of an empire, and then engaged with other influences when that empire collapsed."

From Johannes Göransson's Introduction to his selection of Swedish poetry in translation in Typo Magazine, issue 07, now available, among other resources, also from the new Scandinavian Portal of the Electronic Poetry Center (EPC) (edited by me, and still very much under construction). I'm tempted to think that, again, any influence the portal may come to have, will be "largely due to [a] precarious political situation" where, after centuries of "national poetries", the poets in our countries are "exposed to variety of influences" as subjects of a World Poetry Community, where they, in turn, may even come to contribute to collapse of other "empires" (poetical if not political).