My Beckett
Beckett
born on a Friday April 13th that is Good Friday april 1906. Beckett’s stamp collection (71 stamps on
October 24th,
1915, 574 on April 10th, 1917). Beckett
and the hedgehog. Beckett and
pebbles (his love of pebbles: he puts them carefully in his mouth or in
the
hollows of branches in the garden). Beckett
and boxing. Beckett and cricket. Beckett
playing rugby (three quarters). Beckett
and the motorcycle. Beckett’s red
hair. Beckett at the piano. Beckett reading Louise
Labé. Beckett’s
internal
combustions ("it happens at night, mostly at night"). Beckett
declaring that English is
excessively abstract. Beckett’s
German cooking. Beckett writing to
Eisenstein to offer him his
services
(sent the cheapest way). Beckett
and
Ethna Mac Carthy ("he didn’t sleep with her nor she with him")
Proust, Leopardi and Schopenhauer read by Beckett.
Beckett and silent film. Beckett and chronology. Beckett
and his mother ("I am what
her fierce love has made me, and it’s a good thing that one of us has
at last
accepted that"). Beckett in Dresden,
before two men
contemplating Caspar David Friedrich. Beckett
at Brunswick
before Giorgione’s self-portrait. Beckett
leaving Germany
a few months prior to the exhibition of degenerate art. Beckett and Orange
Curaçao. Beckett and Fernet-Branca.
Beckett imitating Joyce (shoes,
cigarette, white wine) Beckett’s
Irish accent. Beckett’s first
French
poems. Beckett in Paris
(stabbed on twelfth
night by a hoodlum named Prudent). Beckett
reading Spinoza (the Ethics) and
Frédéric Mistral (Lou trésor doù
Filibrije). Beckett and Nancy Cunard. Beckett’s
room at the Libéria hotel. Beckett
at the wheel of a red Delage sports car (driving Peggy Guggenheim to
Marseille). Peggy Guggenheim (for one year) in love with Beckett.
Beckett and
Suzanne. Beckett asked to translate
the hundred twenty days of Sodom
and accepting. Beckett refusing. Beckett and the resistance. Beckett at Arcachon (chess games with
Duchamp). Beckett in the Vaucluse,
a
field hand (planting chick peas and preferring the squawk of the
blackbird to
the nightingale’s song). Beckett’s
poverty. Beckett jumping into the
French language with both feet. Beckett
and Bram van Velde.
Beckett reading detective stories. Beckett and "Nothing is realer than
nothing." Beckett’s manuscripts
sent off by
Suzanne. Beckett and "I owe it
all to Suzanne." Beckett and
Godot. Beckett and Alexandre Dumas
(especially
"the red sphinx"). Beckett
and Lindon. Beckett’s mother’s
eyes.
The red and white tile floor of Beckett’s
house at Ussy sur Marne.
Beckett at the Médrano circus one
evening when Buster Keaton showed
up. Beckett and his English novel
rejected by a good twenty London
publishers. Beckett’s mother’s
hands. Beckett’s rolled-collar
sweaters. Beckett writing to Pamela
Mitchell "Ate a bouillabaisse the other night at the Marquises
accompanied
by the inevitable Sancerre and wished you were there." Beckett
meeting Georges Carpentier.
Nancy Cunard publishing Beckett’s
Whoroscope. Beckett insisting that
Nancy Cunard send him "Parallax" a poem she had written some time
before. The trees that Beckett
planted (plum, American maple, blue cypress, cedar of Lebanon). Beckett recalling a girl in an old
green jacket on a platform at the train station. The first edition of Beckett’s Murphy:
17 copies sold eleven of them wholesale to city libraries
overseas. Beckett killing moles. Beckett’s Remington. Beckett
and Marguerite Duras. Beckett crazy
about ham and spinach. Beckett
studying again Beatrice’s
explanations of the stains on the moon in "paradise." Beckett
passing his days diving off a
rock in Yugoslavia.
Beckett alone at Ussy ("With
the snow and the crows and the school notebook that opens like a door
through
which I can dive into a now comforting darkness"). Beckett
ordering sole. Beckett
and Racine’s monologues. Beckett
and
lieder. Beckett and (visual and
aural) rhyme. Beckett and
Stevenson’s letters. Beckett and
Yeats’ last poems. Beckett
wondering
what Jesus wrote in the sand. Beckett
noticing that the Divine Comedy takes place in 36 hours. Beckett
proclaiming "I want to place poetry in the theater, a
poetry suspended in the void taking a fresh start in a new space." Beckett in Portugal.
Beckett in Sardinia.
Beckett in Morocco.
Beckett translating Juana Inéz de la
Cruz with Octavio Paz. Beckett
replacing cigarettes with
cigarillos. Beckett accepting the
Nobel Prize without going to Stockholm.
Beckett’s secret marriage at
Folkstone (he was 54, Suzanne 61). Beckett
and television. Beckett and the Mediterranean. Beckett’s
postcard to Morton Feldman.
Beckett’s "Mirlitonnades" (one of
them scratched on the
label of a Johnny Walker Black). Beckett’s
notebooks. Beckett and
the
winter voyage. Beckett and "One
has to rediscover ignorance." Beckett
defining a difference in nuance between "se faire avoir" and "l’avoir
dans l’os." Beckett’s whiskies:
scotch malt or Irish. Beckett and
Berio. Beckett and
Dutilleux. Beckett and Phillip
Glass. Beckett and Stravinsky. Beckett and remorse. Beckett’s
blue eyes. Deleuze reading Beckett.
Beckett in the end declaring
"Language has gone. My heart is
gone." Beckett in the vault in
the Montparnasse
cemetery. Beckett’s books. Today I
turn sixty, he
would be a hundred. I give myself a present: I read again Beckett’s First Love.
Summer 2010
Poems
Liliane Giraudon
Born in 1946, Liliane
Giraudon lives in
Marseille. Her writing, between prose (prose doesn’t exist) and poetry
(a poem
is never alone) seems to traverse genres. Her books, mostly published
by P.O.L,
map out an erratic spectrum. Her practice of public readings and
"writedrawing"
(tracts, illustrated books, translation
workshops, serial writing, theatre, tiny happenings) supplements her
activity
as a journal editor and contributor (Banana
Split, Action poétique, If...). "A twisted existence" might be
the title of her writing
laboratory, in which voices proliferate. Her books include the
anthology 29
femmes: Poésie en France depuis 1960
(Paris: Stock, 1994, edited with Henry Deluy), Hôtel
(Paris: Argol Editions, 2009, with
Jean-Jacques Viton and
photographs by Bernard Plossu), La
Poétesse (Paris:
P.O.L, 2009), Température
du langage (Estepa
Editions, France, 2006, with Bistra, Ryoko Sekiguchi and
Jean-Jacques Viton, bilingual edition in French and Japanese), Homobiographie
(Tours, France: Farrago,
2000, with the Cosmetic Company), La
réserve (P.O.L
1984), Billy the
Kid
(In memoriam Jack Spicer)
(France: Manicle, 1984), Têtes
ravagées, une fresque
(France: La répétition, 1978) and
others. The original French version of the text presented here was
published in
Mes bien-aimé(e)s (with illustrations
by Christophe Chemin, Paris:
Inventaire / Invention, 2007).
English translation
by Mark Weiss
Mark
Weiss is the author of six books of poetry, most recently As Landscape (Chax
Press,
2010). His translations include Stet: Selected
Poems of José Kozer (New
York: Junction
Press, 2006); Cuaderno
de San
Antonio / The San
Antonio
Notebook (Mexico
City:
Editorial Praxis,
2004), by Javier Manríquez; and Notas del
país de Z /
Notes
from the Land
of Z (Chihuahua,
Mexico:
Universidad Autonoma de Chihuahua, 2009), by Gaspar Orozco. He is
coeditor of Across
the Line: The Poetry of Baja California (Junction Press, 2002)
and editor
of The
Whole
Island: Six Decades of Cuban Poetry (Berkeley,
California: University of California
Press,
2009).