1. Phil Shoenfelt U.S concerts in May

    Phil Shoenfelt, author of Junkie Love, will be performing at a number of venues with Pavel Cingl in the U.S. in May.

    May 21
    Interview with Phil on the ReW & WhO Internet TV show, NYC

    May 23
    7 p.m. : Barbes, Brooklyn, NY

    May 24
    Pete’s Candy Store, Brooklyn, NY
    with Lorraine Leckie

    May 25
    Salt Creek Grille, Princton, NJ
    with William Hart Strecker

    May 26
    7 p.m. : Zirzamin, NYC
    with Lorraine Leckie
    11 p.m. : Otto’s Shrunken Head

    May 27
    Bohemian Hall & Beer Garden, NYC

    May 29
    Cedars, Youngstown, Ohio

    May 31
    Alpine Banquet House, Chicago

  2. Keys by Bruno Jasieński

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    KEYS
    (“Potestas Clavium”)
    by Bruno Jasieński


    “And I say also unto thee, That thou art Peter, and upon this rock I will build my church; and the gates of hell shall not prevail against it.
    And I will give unto thee the keys of the kingdom of heaven: and whatsoever thou shalt bind on earth shall be bound in heaven: and whatsoever thou shalt loose on earth shall be loosed in heaven.”
    – Matthew 16

    “… For if ye forgive men their trespasses, your heavenly Father will also forgive you …”
    – Matthew 6


    1
    The crucifix was old and weather-beaten. Perhaps six hundred years old, it was said.
    It hung in an alcove by the vestibule entrance.
    Its wood had hardened and petrified with age, so that its origins could no longer be determined; it stood slightly taller than a person.
    It depicted a blackened and withered Christ, fastened to the cross with three massive hobnails.
    But the most fascinating thing was Christ’s face – it in no way resembled those pious faces the Renaissance painters gave Him on their canvases. It was the face of a thug, horridly ugly, with black, sunken eye sockets, a terrible, loathsome expression etched onto his ample, bestial jaws, a face that smacked more of blasphemy than sainthood.
    The monk who sculpted it must have been possessed, or a dreadful sinner; he had carved the base evil of his spidery soul.
    The legs, half worn to nothing from the kisses of pious lips, were stiff and bony, like the legs of a corpse.


    2
    The priest felt a strange antipathy toward the crucifix.
    Ever since he had first set foot in the parish, at only thirty years of age, he had nursed an incomprehensible, superstitious dread, a hatred for it, which had only grown as the years went by.
    Whenever he had to pass by the alcove to conduct Mass, he always crossed himself rapidly and hurried on.
    He had been here for twenty years, living off the church and the village. When offered a promotion to a better parish he declined. Only his relationship to the crucifix in the vestibule had remained constant since the day of his arrival.
    He was not liked by his parishioners.
    They knew about his various dealings, and whispered about them in private.
    Everyone knew he had had two children, a boy and a girl, with his housekeeper, who had died the previous fall. The children were being educated in the city.
    He was stern and dogmatic with the villagers.
    Miserly and penny-pinching, he begrudged everyone, whether rich or vagrant.
    He knew perfectly well the parishioners detested him, and this made him even more ruthless.
    A wiry consumptive with broad shoulders and a sunken rib cage, he was still trim despite his fifty years of age. Silent and glum, his face gaunt and ashen, his eyes blazing but deeply sunken, he gave the impression of a man wracked by illness.
    And curiously – though no one seemed to notice it – that bony, angular face with its phosphorescent eyes resembled that of the Christ in the vestibule.
    Had the priest seen this resemblance? Was this why he resented the crucifix?
    Apparently not.
    He had been overexerting himself the past few years. That autumn was more difficult and more miserable than the ones before.
    Rain fell incessantly, the air was foggy and damp.
    He never tended to his illness. He had lived with it for so many years that it had become a part of him.
    And one day it happened that, while celebrating Mass, his singing gave way to a terrible fit, coughing up blood.
    He toppled from the pedestal, dropping his chalice.
    He was carried to the presbytery.
    The fit persisted.
    By the time the doctor from a nearby town had managed to stanch the hemorrhage, the priest was utterly spent.
    He lay supine, yellow as a chasuble, gasping for breath.
    The doctor prescribed some powders for him, told him to remain in bed, not to go outside for the love of God, and when the rain let up – to travel.
    Gries – Davos – Zakopane …
    He took his pay and left.
    The priest spent two days bedridden.
    On the third day he rose and went to conduct Mass, in the morning, as usual.
    He was looking much the worse for wear.
    He was hobbling with a cane and coughing loudly.
    His face was even more sunken and sallow.
    He looked like a ghoul.
    Thus passed several weeks …

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  3. Jindřich Štyrský on encountering Marquis de Sade’s La Coste

    The Landscape of Marquis de Sade
    text and photographs by Jindřich Štyrský

    History is nothing if not the remarkable dissipation of truth in time. This is why the names of poets are always connected to ruins and shadows. Everything the poet forsakes turns to gray and ash. Poets delight in observing how oblivion corrupts the forms of what was once beauty, how emptiness expands in hearts once vital, how everything around them ripens toward death, how everything rushes toward expiration, while their hearts are denied the benevolence of aging. Todays and tomorrows are not a poet’s concern, time is.

    The Marquis de Sade, one of the greatest minds and the literary epitome of the 18th century, escaped, fortunately, the notice of his contemporaries. — His vast oeuvre has only received its proper due today, and his proscribed name, shrouded for the whole 19th century by heinous legend, only now has been completely rehabilitated.

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    The sky, azure as the distance, arches over his landscape. I passed through in summer so that I could brush its horizons, read the collapsed walls of La Coste, and later manage to reliably isolate from the bare brown earth of its vineyards on the Saumane slopes that tint of blood lying more than a hundred years to his memory.

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  4. Surrealist NYC: This Woman is My Coffin: Jindřich Štyrský →

    surrealistnyc:

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    Later I placed an aquarium in the window. In it I cultivated a golden-haired vulva and a magnificent specimen of a penis with a blue eye and delicate veins on its temples. In time, however, I threw in everything I had ever loved: shards of broken teacups, hairpins, Barbara’s slipper,…

  5. “The Mácha Cult” by Bohuslav Brouk

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    photo: from the left: Bohuslav Brouk, Toyen, Jaroslav Seifert

    The Mácha Cult
    by Bohuslav Brouk

    Common folk, made abject by an inferiority complex, need idols to worship. In the Middle Ages, these idols were provided by religion. Today they are supplied by history, science, and art. The Christian saints have been supplanted by statesmen, generals, inventors, explorers, scientists, philosophers, poets, painters, sculptors, and composers. In Bohemia, the poet Karel Hynek Mácha has become one such idol, and his work surely offers no reason why he shouldn’t be. On the contrary, Mácha is such a leading light of Czech letters that no manner of homage paid him will ever suffice. We should not forget, however, that not all the homages heaped on the giants of spirit are enviable.

    Every person who becomes the object of public adoration must undergo a process of artificial adaptation to this condition. As with saints, a legend must first be created around the deserving individual, and for the most part this acutely contradicts the reality. Every luminary in human history and culture must undergo idealization in such way that those who have set him on a pedestal will not see in his character their own weaknesses, obtuseness, and shallowness. In Western culture, a cult of genius has arisen, a veneration for eminent souls that has made famous philosophers, artists, and others into odd, mysterious creatures in the throes of crazed passions or saint-like zeal. A fruit of the Romantic spirit, the cult of genius has had little traction among us Czechs. We have viewed prominent individuals “realistically” rather than romantically, and they have been idealized as sober-minded, upstanding humans full of patriotic and altruistic sentiments. This is why we Czechs do not consider Mácha a genius who made an important contribution to poetry, but a national poet who made an important contribution to the elevation of the Czech language. Czechs have replaced the Romantic cult of genius with the Enlightenment cult of national revivalists, who are considered the models for the ideal citizen rather than the ideal type of scientist or artist. While elsewhere the cult of genius stirs in people a sense of beauty and profundity, our Revivalist cult imbues national pride and other ethical sentiments in the souls of our citizens.

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  6. K.J. Erben’s “A Bouquet” out soon

    Karel J. Erben’s A Bouquet with Alén Diviš’s artwork will be out in a month or so. We’ve put up an excerpt here.

  7. Dream of Books by J. Štyrský

    XXIII
    A Dream of Books
    (1937)

    [The Gift, 1937: oil on canvas, 53 x 42 cm]

    We are in Paris and getting ready to leave for Prague. Before we go I would like to browse the Bouquinistes. Toyen tells me to find her a book to pass the time with on the train. When I come to the embankment I realize that the bookstalls are no longer in their usual places; they have been set up instead at the feet of the city’s bridges.

    The bridges also aren’t in their usual places and there are more of them. Eventually I find several familiar booksellers. One of them has a number of books on the ground. “New purchases,” he tells me. I rummage through the books until I find three of peculiar size: long and thin (approx. 15 x 35 cm, author’s note, 1941). They are from the 18th century and contain a wealth of exquisite engravings, colored, depicting tropical plants, palms, trees. I buy them and quickly walk away before the bookseller reconsiders. To my mind, 
I’ve cheated him. I’m also mindful not to miss my train. Toyen is at the station by now. But I couldn’t help stopping by Notre-Dame to see an antiquarian I know and in whose shop I’ve made some stellar book purchases in the past. I go to his stall and pull out an old leather-bound volume at random. When I look at it I see a crumpled ear on the front cover, and when I take the book from its row, the ear straightens out. I steal a glance at the bookseller sitting behind me. In front of him is a stool with a laver of water. He removes one eared book after another from the shelves, dusting the ears off and then giving them a good washing, after which he dries them with a clean towel. — — — — The ears are flowering — — —

    from Dreamverse by Jindřich Štyrský

    translated from Czech by Jed Slast

    All rights reserved.

  8. Interview with Soren Gauger

    Lemon Hound has posted an interview with Soren Gauger, translator of I Burn Paris, mixing in a review of the book as well.

    From Soren: “I have a lot of sympathy for the early Marxism of Central/Eastern Europe, and I believe that some of the most profoundly humanist and moral writing emerged from writers involved in it (Aleksander Wat, Victor Serge, early Ilya Ehrenberg, Mayakovsky). It makes no difference that this humanism was often expressed through a kind of disgust – it remains a defense of the human spirit much more compelling than anything we have in our day, and a rare example of political writing that never becomes mawkish or cloying.”

    From the review: “The translation … appears in a moment when materialism and avarice are at their zenith, social unrest is spanning continents, and the disparity of wealth is at its largest point since, well, the original publication of I Burn Paris that saw Polish émigré author Bruno Jasieński escorted to the French-German boarder and warned not to return.”

    Read the full version here.

  9. Things Bruno Jasieński

    A couple of interesting reviews of I Burn Paris have come out recently:

    3:AM Magazine

    Necessary Fiction

    Over at Press Board Press they have been gradually putting up Jasieński’s poems in the original Polish and in English translation by Mila Jaroniec. Three have been posted to date:

    The Walk

    They Ran Him Over
    (shades of The Legs of Izolda Morgan)

    Marseillaise

    Hopefully there will be more to come. It’s good to see Jasieński finally getting some attention.

    A prose piece by Soren Gauger, translator of I Burn Paris, has been posted on their site as well:

    Presidential Drift

    * Portrait of Jasieński by Tytus Czyżewski

  10. Štyrský’s Dream of Mother Earth

    X
    Dream of Mother Earth
    (1940)

    by Jindřich Štyrský


    Dream of the Gypsy Woman is connected to Dream of Mother Earth

    I was reading Mácha’s May before falling asleep. I was extremely tired — dozing off —


              — — — beautiful earth, beloved earth,
              my cradle, my grave, my mother.


    What appeared to me was that very same furrowed earth from Dream of the Gypsy Woman.

    Forthcoming in Dreamverse.