Sunday, March 24, 2013

Ein cola saman við tær er enn stuttligari enn...

Yrkjarin Francis Russell 
"Frank O'Hara" (1926 – 1966) var amerikanskur rithøvundur, yrkjari, listaummælari og kurator. Hann var limur í sonevnda New York Skúlanum. New York Skúlin er eitt heiti, ið sipar til ein bólk av listafólkum, yrkjarum - myndlistafólkum - ummælarum, sum búðu og arbeiddu í New York í 1950-60´unum og sum umframt O´Hara taldi John Ashbery, John Schuyler, Barbara Guest og Kenneth Koch. Yrkjararnir í New York Skúlanum eru sera ymisk og eftir teirra egnu meting ov ymisk til at tey kunnu flokkast sum skúli, men teirra yrkingar kunnu vera speiskar við brøgdum frá poppmentan, surrealismu og myndlist. Listafólkini í New York Skúlanum kendust, summi vóru vinfólk, onkuntíð arbeiddu tey saman, ummældu hvønn annan og stuðlaðu hvørjum øðrum Kenneth Koch hevur sagt, “We inspired one another, we envied one another, we emulated each other, we were very critical of each other, we admired each other, we were almost entirely dependent on each another for support. Each had to be better than the others but if one flopped we all did”. Yrkjararnir innan rørsluna høvdu eisini samband við abstraktu ekspressionistarnar t.d. Willem de Kooning, Jackson Pollock, Mark Rothko og Robert Motherwell, og hesin áhugin sæst aftur í yrkingunum. 

Having a Coke with You
is even more fun than going to San Sebastian, Irún, Hendaye, Biarritz, Bayonne
or being sick to my stomach on the Travesera de Gracia in Barcelona
partly because in your orange shirt you look like a better happier St. Sebastian
partly because of my love for you, partly because of your love for yoghurt
partly because of the fluorescent orange tulips around the birches
partly because of the secrecy our smiles take on before people and statuary
it is hard to believe when I’m with you that there can be anything as still
as solemn as unpleasantly definitive as statuary when right in front of it
in the warm New York 4 o’clock light we are drifting back and forth
between each other like a tree breathing through its spectacles
and the portrait show seems to have no faces in it at all, just paint
you suddenly wonder why in the world anyone ever did them
I look
at you and I would rather look at you than all the portraits in the world
except possibly for the Polish Rider occasionally and anyway it’s in the Frick
which thank heavens you haven’t gone to yet so we can go together the first time
and the fact that you move so beautifully more or less takes care of Futurism
just as at home I never think of the Nude Descending a Staircase or
at a rehearsal a single drawing of Leonardo or Michelangelo that used to wow me
and what good does all the research of the Impressionists do them
when they never got the right person to stand near the tree when the sun sank
or for that matter Marino Marini when he didn’t pick the rider as carefully
as the horse
it seems they were all cheated of some marvelous experience
which is not going to go wasted on me which is why I am telling you about it

John Ashbery: Úr: "Clepsydra"

Hasn't the sky? Returned from moving the other
Authority recently dropped, wrested as much of
That severe sunshine as you need now on the way
You go. The reason why it happened only since
You woke up is letting the steam disappear
From those clouds when the landscape all around
Is hilly sites that will have to be reckoned
Into the total for there to be more air: that is,
More fitness, read into the undeduced result, than land.
This means never getting any closer to the basic
Principle operating behind it than to the distracted
Entity of a mirage. The half-meant, half-perceived
Motions of fronds out of idle depths that are
Summer. And expansion into little draughts.
The reply wakens easily, darting from
Untruth to willed moment, scarcely called into being
Before it swells, the way a waterfall
Drums at different levels. Each moment
Of utterance is the true one; likewise none are true,
Only is the bounding from air to air, a serpentine
Gesture which hides the truth behind a congruent
Message, the way air hides the sky, is, in fact,
Tearing it limb from limb this very moment: but
The sky has pleaded already and this is about
As graceful a kind of non-absence as either
Has a right to expect: whether it's the form of
Some creator who has momentarily turned away,
Marrying detachment with respect, so that the pieces
Are seen as parts of a spectrum, independent
Yet symbolic of their staggered times of arrival;
Whether on the other hand all of it is to be
Seen as no luck. A recurring whiteness like
The face of stone pleasure, urging forward as
Nostrils what only meant dust. But the argument,
That is its way, has already left these behind: it
Is, it would have you believe, the white din up ahead
That matters: unformed yells, rocketings,
Affected turns, and tones of voice called
By upper shadows toward some cloud of belief
Or its unstated circumference. But the light
Has already gone from there too and it may be that
It is lines contracting into a plane. We hear so much
Of its further action that at last it seems that
It is we, our taking it into account rather, that are
The reply that prompted the question, and
That the latter, like a person waking on a pillow
Has the sensation of having dreamt the whole thing,
Of returning to participate in that dream, until
The last word is exhausted; certainly this is
Peace of a sort, like nets drying in the sun,
That we must progress toward the whole thing
About an hour ago. As long as it is there
You will desire it as its tag of wall sinks
Deeper as though hollowed by sunlight that
Just fits over it; it is both mirage and the little
That was present, the miserable totality
Mustered at any given moment, like your eyes
And all they speak of, such as your hands, in lost
Accents beyond any dream of ever wanting them again.
To have this to be constantly coming back from—
Nothing more, really, than surprise at your absence
And preparing to continue the dialogue into
Those mysterious and near regions that are
Precisely the time of its being furthered.