1. 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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  2. 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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  3. 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.

  4. I Burn Paris in the TLS

    Marci Shore, author of the excellent Caviar and Ashes, has reviewed I Burn Paris for the Times Literary Supplement (June 22, 2012). She concludes by noting:

    “I am old-fashioned enough to believe”, writes Soren Gauger in his afterword to I Burn Paris, “that a translation should be motivated, above all, by a kind of bald enthusiasm for the author at hand.” The explanation was unnecessary: this translation, the first into English, was palpably a labour of love. It is not an easy novel to render: the vocabulary is intricate and vast, the literary registers multiple and shifting, the allusions at moments disorientingly wide-ranging. That Gauger and Marcin Piekoszewski succeed in making the novel so readable in English while channelling the author’s vertigo-inducing voice is a remarkable accomplishment. At the same time, their translation is the recovery (and, in English, perhaps the discovery) not only of a talented writer and a fascinating personality, but also of an overwhelming historical drama. Read against the fate of its author, the sheer scope of I Burn Paris illuminates something of the dazzling enormity of the world remaking experiment – and the catastrophic enormity of its failure.

    We have posted the entire review here.

  5. The Plancius by Konstantin Biebl

    The Plancius

    by Konstantin Biebl

    translated from the Czech by Jed Slast

    Konstantin Biebl (1898-1951) was a member of Devětsil and co-founder of the Surrealist Group of Czechoslovakia. Known primarily as a poet, Plancius is one of his few works of prose. Very much in the vein of Poetism, it presents the mindset of Dutch colonialists as they sail to Java. It was published as a gift for friends in a limited edition booklet by Sfinx B. Janda in Prague on New Years 1931. Jindřich Štyrský provided the frontispiece and the design.

    Read it here.

  6. I Burn Paris is now available

    I Burn Paris by Bruno Jasieński is now available.

    The webpage is here.

    Thanks to Dan Mayer for his great cover design and Cristian Opris for his artwork.


  7. literalab:

Czech writers  being (re)discovered
The varied world of Czech literature, past and present, contains a vast store of work virtually unknown outside of the Czech Republic
Nothing lasts forever, and the recent losses of Václav Havel and Josef Škvorecký emphasize the finitude of what was probably the greatest generation of Czech writers. Fortunately, there are numerous younger writers whose work is becoming better known at home and abroad, while for English speakers there remain prominent figures in Czech literary history still to be discovered.
Read the full article at Czech Position

    literalab:

    Czech writers  being (re)discovered

    The varied world of Czech literature, past and present, contains a vast store of work virtually unknown outside of the Czech Republic

    Nothing lasts forever, and the recent losses of Václav Havel and Josef Škvorecký emphasize the finitude of what was probably the greatest generation of Czech writers. Fortunately, there are numerous younger writers whose work is becoming better known at home and abroad, while for English speakers there remain prominent figures in Czech literary history still to be discovered.

    Read the full article at Czech Position

  8. I Burn Paris at Asymptote

    In their latest issue the great Asymptote have posted an excerpt from I Burn Paris by Bruno Jasienski. The issue also has a lot of other good stuff in it and is well worth the read. Go here.

    The book will be out soon, and we can’t wait. The webpage is here.

  9. "Willow" by K.J. Erben →

    We will be publishing Karel Jaromir Erben’s A Bouquet, in Marcela Sulak’s excellent translation, first half of next year (once we get the artwork and Erben’s notes sorted out). In the meanwhile, the link will take you to Marcela’s translation of “Willow” (Vrba) just recently published by Loch Raven Review. And it was good of them to choose something other than the ever popular “Water Sprite.”

    Here is a radio interview where she talks about her translation of Karel Macha’s May.