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Curved nails and aphorisms


The language poet Lyn Hejinian's work The Fatalist invites a fundamental reflection on the political and human consequences of language, abstract thought, unpredictable language games and the poetically obvious.

"... and think of fate as incident and the random event as fate."

Do we not all get a little moved – and perhaps somewhat anxious – when we encounter the word fate and what it means of doubt and denial, and possibly personal responsibility, whether we are now believers in destiny or not? Or do we as the fatalist: abandon everything to fate, for the course of life is something definite concrete that you cannot set up defenses against anyway. It is doing its fatal good and bad, that fate. "A ridiculous diamond falls to the floor."

An unknown size

"A poem is very different from what you consciously presented with ingenuity." Poetry is a way of thinking. Poetry can activate and problematize, define the limitations and impossibilities of reality in languages ​​that can be aphorist philosophically surreal realist Dadaist edifying and degrading, in the low and high style, like haiku and long poems. For a poet, it is first and foremost to use the language as an unknown size, as if the words were basically meaningless or meaningless in itselffor themselves. Very few can handle this approach in the work of written poetry (Majakovsky, Pound, Gertrude Stein did), but we can see it in Dadaism and in Norway performed with superb musicality by actor and singer Harald Heide-Steen jr.

Hejinian writes polyphonic, in a kind of narrow-talk-shaped pro-lyrical style.

Translator Alexander Carnera writes about Lyn Hejinian (born 1941): “In the 1970s, one of the founders of the so-called Language Writing Movement has had an enormous influence on experimental poetry, short prose, essay writing and poetics.
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Terje Dragseth
Author and filmmaker.

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