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It opens the work

PJ Harvey has published his first book. Why hasn't she done it before?




(THIS ARTICLE IS MACHINE TRANSLATED by Google from Norwegian)

PJ Harvey and Seamus Murphy: The open hand. Reprinted by Pedro Carmona-Alvarez and Gunhild Øyehaug. Samlaget, 2015

"I hope we know when to leave," says "we" in the poem "The Guest Room." They are in a war-torn city in Afghanistan, and meet children who give everything they have to give: their bedroom, and tea and bread. To these children, Polly Jean Harvey provides dissemination of war: The Hollow of the Hand is an important time document from Afghanistan, Kosovo and Washington DC. It is not mere observations.

HarveyPolly Jean Harvey. Polly Jean Harvey is born in 1969 in Bridport, England. Her parents drive sheep during the day, play records in the evening: Captain Beefheart, Jimi Hendrix and John Lee Hooker are soundtracks to Harvey's childhood. As a youth, he found Television, The Pixies, Patti Smith. Seventeen years old, she writes the first song, gathers a band, and releases the album Dry. Career is taking off.
Harvey offers himself from the scene. Ho write open text. Get to know that she is modest and private, in fact. After a concert at the Reading Festival, she gets nervous breakdown. She added a manufacturer to clear away some of the noise in her life.
Harvey announces the first solo record. Rid of me will be great. It says in Q Magazine in 1993. Next to the article is the image of a lady with legs in her nose. The article tells about an artist with integrity. I am a teenager, seeking identity, and reading and watching. Read and buy disc. Listen and read the booklet to the CD.

Stare. One year later I watch a video. In "Man Sized" Harvey sits on a chair right in front of the camera. The panty is of the big, grandfather type. But with lace. Her hair is freshly washed or very oily. But curly. The room is empty, breathless, the song apparently without inhibitions. Harvey loses his earlobe. / Show must not stop, but do it. The movie seems to be recorded on the first take. Harvey publishes lo-fi project like 4-Track Demos and live recordings like The Peel Session. She has new soundscape and styles for leftover plate. In the beginning, it is almost greenish. For To Bring You My Love touring in a long, flamenco dress: a slightly more dressed up version of the Pixies' cover Surfer Rosa. Forum White Chalk puts it in a pale cloth, in a fragile soundscape. The style changes. But all the time, Harvey invites to the innermost room, to sit with her in a small stool. The lyrics are often about sexuality and relationships. Many think that Harvey is a political and project feminist. But Harvey does not want him to write politically of any kind.
Then the collaboration with photographer Seamus Murphy begins. She'll be like that to be.

The Hollow of the Hand. In 2011 come England Shake Flight. Harvey sees a post-World War I post-imperialist landscape. Murphy makes short films. Exposed image and text are taken in The Hollow of the Hand. Murphy and Harvey travel to conflict areas where the UK is involved. Harvey innovates the basics of art: Ho publishes a book. This reader thinks: Why hasn't she done it before? The poems are well written, courageous, pure, itchy. Harvey has something on his mind. She has solved a problem to get more in her heart. Her heart beats for business. This is a multi-level ethical project. Harvey thematizes voyeurism, a textual meta-imperialism. Harvey is a catch woman of impressions. In the poem "At 3, Washington DC", she thematizes the stirring. The second-person narrator makes me aware of my own look: You walk to the bridge over the highway 395 / until you find them standing / in the proximity of the soup kitchen in the heat of the heat / and you stare, because you can do this tonight / and ask them Where do they come from?
The Hollow of the Hand is a great, important and sensible work: at the documentary level, and at the art specialist. The great thing is there in the international. It is there through references to sacred writings and to artists such as Leonard Cohen and Nick Cave. The references do not distract. The book is itself, is healing; composed around three journeys, and two expressions. The New Norwegian edition also has an extra track. The open hand provides the overall picture. The collection offers both original texts and autonomous renditions. On thick paper (the monk 120 grams) the image becomes clear and fine.

Book as a scene. Gudmund Skjeldal wrote in BT last year: "Most writers are very happy about publishers and translators take the time and advice for conversion or rewriting." PJ Harvey is an artist of the healing kind. The well-wishers themselves, and googles for a Norwegian-Chilean, award-winning poet, author, musician and songwriter. Pedro Carmona-Alvarez makes the Spanish edition. The combination ensures the rights to the book in Norwegian, and secures Carmona-Alvarez for the job. But to deal with PJ Harvey did not demand to berate her husband – it required Gunhild Øyehaug. Here's how they become a good team for the job:
Carmona-Alvarez was born in Chile, and fled with Pinochet's parents when he was eleven. After six months in Kolbotn, he made presentations to the class about the political situation in the country of birth – accompanied by Chilean political shows on guitar.
CA can be as good in spoken language as in song, and in Spanish as in Norwegian. But he is less stubborn about Norwegian. Gunhild Øyehaug can do that. Moreover, CA says (to Skjeldal last year): "But it is really a poet, on the bottom, as Obelix is ​​inevitably strong." CA himself is an intuitive musical writer. He does not write just text for music, but text that is music. For this work, the rewriters seem to choose some of the direct musicality and rhythm away, when they have to, in order for the texts to function optimally in the collection. For this reader this book strengthens. PJ's original is there for those who want it special harveysque. The reviewers give extra work to this.

PJ Harvey is an artist of the healing kind. The well-wishers themselves, and googles for a Norwegian-Chilean, award-winning poet, author, musician and songwriter.

Øyehaug and CA are among the most distinctive and distinctive literary voices of their generation. Strong personal wealth mediates the strong personal wealth PJ. The hyper-productive and internationally oriented CA mediates an artist who looks to the world himself. There is something about his attitude to art production that comes through in the re-writing. Metrics, rhymes and rhythm are not as strong at present in the New Norwegian edition. The copywriters' lyrics are not a mirror image of PJ's lyrics. Nor does Murphy's photo reflect PJ's text. When PJ says "horse", then Murphy does not say "horse". Authors get to be a writer, a photographer, a photographer, and a copywriter. In this way, the work can also be practiced professionally. It is a modern work. The criticism of the rendition. When CA himself went from the band Sister Sonny to the solo project Moonpedro, he said to Day and Time: "Moonpedro should be muddy, improvised, a little polished, quarrelsome because Sister Sonny is so elaborate and devised music." In the same interview he talked about it to put oneself in situations that one does not have full control over. About having to stand on your toes. Whether to take a bet and make it, to surprise yourself.
Perhaps the reporters knew the woman who did what for the New Norwegian edition of the PJ book. But surely it is that they, in addition, meet Harvey's strength, spontaneity, complexity and discerning mind; in the meeting between the intuitive and the smart, between the heart and the brain. They are musical, serious and knowledgeable. The picture-text relationship appears to have released Harvey's text work. Why? "Because she's been looking for a guide outside." Or, "Because dictators always look for something that triggers writing." Harvey and Murphy well different motifs. But the style is related. Murphy looked at the picture with cinematic glide and transition. When Harvey does the same in text, it is with the musicality of the language.

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