Tuesday, March 14, 2017

Daniele Pantano, Excerpts from Mass Graves: A Confession (Book 1)


                       We Fuck Alone, image by Daniele Pantano 


Excerpts from Mass Graves: A Confession (Book 1


TRANSCRIPTION OF SELECTED MARGINALIA
FOUND IN SPEED-BIRD, 1909


p 14             the blue czars
                    soon realized
                    how to manipulate
                    the rain


p 15             ready to follow
                    the southern boundaries
                    of energy


p 17             I cannot see the difference between hunger
                    and feasts


p 19             drawing the shadow on
                    an insect body
                    that like a machine     
                    is trying to adjust itself          


p 44             it is the muscle that constructs the four triangles


p 57             The surreal basement of the purple
                    house

                    The white stain on dark trousers

                    The crime


p 61             I do not recall the taste of youth


p 67             a woman lowers her skirt

                    we are moving faster


p 68             without a safety net
                    I read the border
                    you rise


p 77             meet the hierarchy of scavengers

                    they appease us with alchemy


p 78             by midnight rivers
                    by post-menstrual academies


p 80             they recover rapidly
                    acutely aware of their surroundings

                    just two seconds

                    they slammed into the wall behind me


p 85             they placed the tangerine tumor on her chest


p 96             moments after the lecture I will
                    destroy myself


p 100           the blood of Christ, the cheap wine
                    they will be injecting
                    in a dark corner of my paradise


p 105           the senescent baby faces
                    are still playing the silent ball game


p 109           fear is a source of constant amusement


p 110           genitals dipped in blood

                    aroused astral monastery


p 113           beautiful morning

                    child’s death


p 114           he is as specialized as an insect
                    for the performance of some inconceivably
                    vile function

                    centipede cancer


p 119           the machine is served

                    he is a writer


p 120           perhaps he died


p 136           chaos enables rejuvenated
                    anomalies to penetrate the reflections


p 168           out here memories are two seconds
                    shorter and the girls yell
                    when they’re done


WE’LL GO DANCING––WE’LL BE SAFE

Chämi uff und niän-ä-n-a    .    You wanted to go so fast    .    In den Kronen    .    A muscular contraction    .    Listen    .    It takes three beggars    .    Das ist mein Satz    .    Being    .    In den Kronen    .    In this strange and marvelous state    .    Sieht keiner denkt keiner    .    In its other logic    .    Turns immense    .    Whether they give us back our megaphones or not    .    In den Kronen    .    Was steht in den Kronen    .    Listen    .    Ich habe keinen andern    .    Four in the morning    .    Der Tanz    .    How will it look    .    Listen    .    In den Kronen    .    With your escape mechanism    .    You whisper    .    Listen    .    Das ist mein Satz    .    Others move to stop    .    What do you want    .    This is my sentence    .    No one sees someone thinks    .    Strange and marvelous    .    A nurse’s nose    .    Ah, there    .    From today on it is as we think    .    How strange to be    .    In den Kronen    .    Turns immense    .    Listen    .    Another stone    .    More prizes to be won    .    Instantly    .    The hair grows back    .    In den Kronen    .    Mechanism    .    Ein fremdes Wundenmal    .    But what about the flesh    .    Discalced    .    Der Tanz    .    Don’t whisper    .    We should say    .    Listen    .    It is as we think    .    Sieht keiner denkt keiner    .    A muscular contraction    .    This is your sentence    .    Chämi uff und niän-ä-n-a    .    Didn’t stay still    .    Dein Wundenmal    .    Now everyone whispers    .    In its other logic    .    You’re doing it right    .    Listen    .    A sentence is    .    You whisper    .    You wanted to go so fast    .    Strange and marvelous    .    In den Kronen    .    Was steht in den Kronen    .    Give us back our megaphones    .


KATZENJAMMER

Nothing you need to know is still missing. The desired principle
in your hands you ought to chase right now.

On one page you don’t remember writing “I don’t remember.”


SIX OBSTACLES

I

SWISS CIVILIAN CAMPS: including Aarau, Bad Schauenburg, Camp di Lavoro (near Locarno), Cossonay, Fallanden, Felsberg, Hausernmoos, Inkwil, Kemleten, Langenbruck, Lausanne, Les Avants, Leysin, Rheinfelden, Schaffhausen, Sumiswald, Zurich.

SWISS MILITARY CAMPS: including Bettenhausen, Elgg, Ellikon Thur, Langnau, Lutzelfluh, Matzingen, Molondin, Zollikon. 

II

Zum anderen Geschlecht fühlte ich mich schon sehr früh hingezogen. Die Stellen, die mich am meisten interessierten, waren die schwärzesten.

Nr. 208, Landschaft XV, 1972–73
Acryl auf Papier/Holz,
70 x 100 cm

Nr. 219, Landschaft XX
Acryl auf Papier/Holz
70 x 100 cm

Nach den 120 Tagen von Sodom, 1968
Transcop
21 x 24 cm

Nr. 232, Passage XXIV
Acryl auf Karton/Holz
100 x 70 cm

Back to Mother, 1986
Original Steinlithografie, einfarbig, 3, Zustand
57 x 46 cm

III

Claimant, born on 5 November 1934 in Austria, was denied entry into Switzerland in late 1942. Claimant attempted to enter Switzerland with a group of children at the French-Swiss border. Upon her arrival in Switzerland, claimant was immediately separated from the other members of her group, who were deported and perished, and placed in an orphanage. Claimant states the police beat the children in the group and shaved their heads. She subsequently escaped and traveled to France, where she went into hiding in the country and forests until the end of the war.

IV

. . . the Swiss chief of police suggested to the Germans the placing of the J on Jewish passports . . .

WF: I have not spoken of this for fifty years. But I am convinced the Swiss are guilty of terrible crimes.

BB: Ten other children from my French children’s home crossed the border but were sent back by the Swiss border guards, straight into the arms of the Germans.

. . . it is our duty to take children with us, to remove them from their environment, if necessary by robbing or stealing them . . .

V

Some of the flutings appear high up on the walls and ceilings, in every chamber, simple lines, shapes, crude outlines of faces, a specific space for them, by children between the ages of three and seven, with many paintings believed to be the work of an eight-year-old girl, it’s impossible to tell whether the flutings were made for play or ritual.

VI

J. L., 2006
Wax, epoxy, wood, metal and showcase
197 x 181 x 80 cm

Pascale, 2003–4
Wax, horsehair, epoxy and wood
140 x 50 x 45 cm

Jelle Luipaard, 2004
Wax, iron, epoxy and wood
174 x 36 x 64 cm

Lost II, 2007
Horse skin, epoxy, metal and wood
98 x 151.5 x 164 cm

We Are All Flesh, 2009
Wood, wax, polyester, steel
105 x 110 x 203 cm


CITY OF NOW

More profound than reason,
More profound than perversion,
Bestiality, does she, determined,
Absorbed, think and connect us,
Larger than a common grave,
The dark trying of her fingers,
Counting these pages?



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