jalapeño

jalapeño

jalapeño start—justice joke jostle and joy on

the one hand hotel hoard hate on the other

hit don’t fit yet if everything is related how

can a single thing be out                       out

where?             jit doesn’t yet vit or fit in this

or fit or vit in that                     there’s sum

of it in these titles jalapeños

experimental july

experimental july

in our effluent life oh

the film           would we dance

she said all the money saved from not drinking

if it were ever like that

morse carpentry structures

time the flexed finger

diphthongs                 doodah

decision

decision

grain(y) dash

underline

lightout then

what nought thought

image

on such point

of connect

connacht there

might be orange

blue horse ~ say

there might not

collage

collage

leaf outlines                grids

“weeks in the nervy town”                yolk flown thread

unwashed plates—sing

gainst

gainst

upriver again the summer trees—

my clumsy saw slips

gainst the bark of the hollyhock tree

a certain wobble (far side, near,

veering farther)                      then

intricate green

Virginia Woolf exhibition, London

Woolf Exhibition

            And then there is “Virginia Woolf: Art, Life and Vision,” the exhibition at the National Portrait Gallery, London, curated by Frances Spalding. The exhibition catalogue had already been gifted us by a friend, but because of the dates for our London trip, we wouldn’t receive it till we returned home. So the show’s careful planning, the choices made for it, were discovered firsthand, except for some comments by previous viewers which we discovered beforehand, online and off.

            The conscientious organization of the material is welcome given the very full life it attempts to put on display. Then—more than life it is a question of lives, a question of visions plural. For Virginia Woolf and her sister Vanessa Bell (both nées Stephen) were the prime movers of the Bloomsbury Group of artists, so that any reference to them quickly generates views of their extensive circles. Born in 1882, Woolf’s is one of those remarkable lives that link the Victorian age with the Modernist. Think postmodernist is also modernist—the Bloomsbury group of artists is also postmodernistic.

            In terms of poetry, in terms of vision, “Painting and writing have much to tell each other,” Virginia Woolf tells painting and writing. It isn’t exactly that such a connection was previously unknown. But I think the realist aspects of her fiction grow out of ideas like this. Art and science have much to tell each other, she might easily have said, given the highly allusive nature of her texts. Her references are like those I wrote about here in regard to Julio Cortázar’s “The lines of the hand” (5 March 2014). For that matter, Cortázar’s fellow Argentine Jorge Luis Borges translated Woolf’s Orlando into Spanish. The growing Woolfian palimpsest.

“Virginia Woolf: Art, Life and Vision” shows the chronological development of Woolf’s art, her life, her vision, as they first touch those hazy lines between modernism/postmodernism. The National Portrait Gallery website includes a recording of Frances Spalding talking through parts of it—well worth the time, oh yes.

Summer notes

Brixton notes

            At the end of July, beginning of August, Montse and I took a week’s break in London, renting a small room in Brixton, wandering around by bus, by tube, on foot, together in the excitement of the August crowds—new impressions of London after the Olympics—a London filling up with new architectural wonders.

            Brixton’s high degree of multi-ethnicity brings with it a rhythm, a kind of rocking beat that’s passed along, a feeling you can’t miss, I’d say. Browsing in an old Everyman’s Library edition of John Stow’s The Survey of London told me that Lambeth, the borough where Brixton is located, was previously known as Lambhithe, or Lambith. Hythe, hyth and other variations are Old English words for haven or landing place.

Brixton isn’t indexed in Stow’s Survey, although the earlier name Brixtane has existed since as early as the eleventh century. Elizabethan Stow may have omitted it because the oldest building in Brixton dates to 1812 (info in the Urban 75 Guide, online at http://www.urban75.org/brixton/history/history.html). The district’s recently opened Black Cultural Archives, re-exploring Black British history, is an attractive new democratic space on Windrush Square, a couple of minutes’ walk from Brixton underground station (architectural info online at http://www.gum.uk.com/portfolio/history-centres/black-cultural-archives-brixton).

So that is one particular hyth we found, helped along by the fair weather—sunny days and cool nights, with lots of culinary delights. “Wherof,” if I may be so bold as to copy Stow, “in another place shall be spoken.”