Date: Thu, 17 Apr 1997 10:28:24 -0700 From: Lucio Privitello <lucioangelo-AT-earthlink.net> Subject: MB: Advocatus de Acheronte. ...and of course, nel percorso of such a deafening question of symmetry,("Can you translate?"), and bone twisting contrapposto, I send you to l'_Inferno_. Dante's that is, and to where Virgil silences Charon, (Canto III): "Caron, non ti crucciare: vuolsi cosi' cola' dove si puote cio' che si vuole, e piu' non dimandare". (94-96) Yet, at the questions double cut, to another passage of L"_Inferno_ V., I coil my tale for your place, and there again(!), Virgil, ("lo mio maestro ..." ['E'l duca mio'])turns to Minos as says: "Perche' pur gride? Non impedir lo suo fatale andare: vuolsi cosi' cola' dove si puote cio' che ci vuole, e piu' non dimandare." (21-24) "Tra-duire",...('to lead across'), and here to Blanchot again we fall, to the shores of the literal, where "Nietzsche dies mad,..." (p. 121, _The Step Not Beyond_). Go there - to shear the literal/littoral of what beckons as the threshold advocate of unavowable rest in irreducible heteronomy. That is the "..gue de la voix". Upon those sands, like a spiral jetty run ashore, Benjamin's "The Task of the Translator", awaits you, printed an acetate, as your host Mallarme reads you "Brise Marine",...which again lures you out to sea. {To answer yes/no to the question is what the first paragraph addressed,("In Advance of the Broken Arm" (1915), sown to speech) even though signor Gueguen [notice 'gue de la voix'] left that door ajar by closing with "portera ma question a la...", again like a "Door, 11 Rue Larry" (1927) to close/open... with Duchamp. So, I slipped out/in to... the... entre chien et loup dans lalangue trepasses, Encore Lucio Angelo Privitello
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