Αυτός που διαβάζει με όρους ανοχής μπορεί να με διαβάσει, αυτός που διαβάζει με όρους συμμετοχής όχι.
Γ.Λ.

The one that reads with terms of tolerance can read me, the one that reads with terms of attendance can not.

Y.L.

"Poetry is the only adventure that's worthwhile outside itself"
- Yannis Livadas


"Άτη" - Σκόρπια Ποιήματα 2001-2009.

"Άτη" - Σκόρπια Ποιήματα 2001-2009.
Κέδρος (Μάρτιος 2011) Κυκλοφορεί

.

.

Γ. Λειβαδάς: Σημειώματα εν εξελίξει 2. [Βιβλιοθήκη, Ελευθεροτυπία, 30/08/2011]


http://www.enet.gr/?i=arthra-sthles.el.article&id=297294


αρ. 14
Η διαστρέβλωση στην οποία υπόκειται κάθε πρωτοπορία προκειμένου να πέσει στη συνεσταλμένη αγκαλιά της κοινωνικής αποδοχής είναι δεδομένη. Για να γίνει κάτι «μύθος», οφείλει ουσιαστικά να έχει υποστεί προηγουμένως ορισμένη έκπτωση. Οι πτυχές της, εκείνες που την οδήγησαν στα ανοιχτά, θα ξεπέσουν στην αναγκαία αισθητική διαστρέβλωση, ώστε να οδηγηθούν αναίμακτα στα ρηχά νερά της ανήσυχης κοινωνίας.
Ισως θα σκεφτόταν κανείς πως οδηγούμαστε σε επικίνδυνη ρήξη, σε κάποιον σκόπιμο ελιτισμό. Μα, όχι· εκείνο που φταίει είναι η οδηγία που απορρέει από την έλλειψη ενότητας, η πνευματική συστολή που καθημερινά προβαίνει από την απόλυτη δυσκοιλιότητα της διάνοιας στην ευκοιλιότητα της έκφρασης.
Σύνθετες, ούτως ειπείν, ιδέες ή ιδιαίτερα διευρυμένες πνευματικές, καλλιτεχνικές προτάσεις, συμπυκνώνονται σε ένα σύνθημα ή σε ένα ανηλεώς υπερφορτισμένο motto, ώστε να αγγίξουν επιτέλους κάποιες χορδές κατανόησης. Τι πιο δυσάρεστο από τη μαζική αποδοχή, όταν η ουσία έχει πολτοποιηθεί από το έλλειμμα της γνώσης και της γλώσσας. Την απόλυτη «συμφωνία» που προκύπτει όταν οι σημασίες και οι έννοιες αντιμετωπίζονται σαν απόνερα. Ο μύθος, λοιπόν, ενισχύει αυτό το πρόβλημα.
Και ο μύθος (απευθυνόμενος τώρα ειδικά στις νεότερες γενιές) μπορεί να είναι, και είναι, η αδυναμία δημιουργίας ενός μύθου που θα έρθει να αντικαταστήσει τον μύθο που και δεν είναι σε θέση να αναπληρώσει, να ανακαινίσει τον εαυτό του· μα και δεν υπάρχει πλέον (και ευτυχώς) τρόπος να μεταφερθεί με τις πολυποίκιλτες φιάλες των αγαπημένων παρελθόντων μας, διότι είναι πια όλες τους σπασμένες, θρύμματα από τις δυνάμεις μιας υπαρκτής, μα ανίδωτης ακόμη νεωτερικότητας.
αρ. 21
Η τιμή των φίλων σε ισορροπία με την τιμή των εχθρών. Αν και οι εχθροί δεν χωρούν παρά μόνο μέσα σε εισαγωγικά.
Είναι τιμή μεγαλύτερη να λείπεις. Η ωραιότητα του να δοκιμάζεσαι μόνο με τους αληθινούς, ειδικά όταν διαφωνείς μαζί τους.
Οι παλινωδίες των speculatori φέρνουν στη βρομιά που μαζεύουν τα νύχια. Κάποτε θα καθαρίσουν.
Εφόσον «αυτό που είναι δικό σου δεν γίνεται ποτέ να το χάσεις, αυτό που δεν είναι δικό σου δεν πρόκειται ποτέ να το κερδίσεις».
αρ. 24
Αυτή η έφεση προς το μέτριο δημιουργεί μια αίσθηση ασφάλειας· επιτρέπει στον αναγνώστη να στρογγυλοκάθεται σε παρατεταμένο χρόνο μέσα στον κλωβό, στην κοιλιά που συσπάται κάθε τόσο για να τον βγάλει στον αληθινό κόσμο. Ο αναγνώστης προτιμά τα κείμενα που υποθάλπουν, με τον πλέον πειστικό και έντεχνο τρόπο, την «ηρωική» του παραμονή μέσα στην προστατευτική σάρκα.
αρ. 29
Οταν είναι νέος κανείς, τόσο νέος που το μυαλό του είναι κυρίως απασχολημένο με τους ερανισμούς των πληροφοριών με τις οποίες πιστεύει πως θα θέσει σε περιστροφή τη σβούρα που γράφει πάνω τ' όνομά του:
Αυτήν την προσωρινή «βιβλιοθήκη» δεν πρέπει μόνο να τη θέσει σε άγριες δοκιμασίες, αλλά πρέπει, κυρίως, να την κρατήσει μυστική, ώστε τίποτε να μη διαφεύγει προς τα έξω με κίνδυνο να του επιστραφεί παραγνωρισμένη από επεμβάσεις άλλες.
Και οφείλει, για το καλό της σβούρας, να μάθει να περιμένει. Το πρώτο φως πάνω από τις πρόχειρες στοίβες όλων εκείνων των ανεπαρκών στοιχείων, τις οποίες θα κάψει ολοκληρωτικά. Καίγοντας ολοκληρωτικά και τον ίδιο. Τον νέο. Για να γίνει.
Η διασπορά, η οποία δεν μπορεί παρά να είναι εσκεμμένη, αυτής της βαθιά εκπαιδευτικής διαδικασίας, αποκαλύπτει όχι έναν παθιασμένο καλλιτέχνη, μα έναν μασκοφόρο που αναζητεί μανιωδώς τα φώτα της ράμπας. Για τα οποία μάλιστα υποχρεώνεται στην ίδια του την αμβλύνοια και στις χειραγωγίες των διευθυντών προγραμμάτων να παράγει θέαμα. Και στο θέαμα θα προσπαθήσει να σαρώσει κάθε διάκριση, φορώντας ανά περίπτωση το κοστούμι του γνώστη, του σώφρονα, του μπροστάρη, του καταραμένου· και οπωσδήποτε θα εφεύρει κι άλλους ρόλους.
Ο εν λόγω, «νέος», ένας περίφημος αντιδραστικός. Φτύνει πάνω σ' αυτό που έχουν φτύσει τόσοι, δίχως να γνωρίζει τι υπήρχε από κάτω. Η πρωτοβουλία του όμως έχει καταγραφεί, κι αυτό φτάνει.
Με την πρώτη κλαγγή του θανάτου, σαν αναλάβει το ελάχιστο, και βγει από τα μαρμαρωμένα σίελα, θα αντικρίσει τις μακρινές πλάτες όσων νοερώς πίστευε πως ακολουθούσε. Θα έχουν τα πρόσωπά τους στραμμένα σε αδιανόητο φως.


28/07/2011

Το στομάχι ένας θόλος και βγαίνουν άλμπατρος από μέσα.





Γιάννης Λειβαδάς: Harold Norse - Natura Naturans (toparathyro.wordpress.com)

http://toparathyro.wordpress.com/2011/07/10/harold-norse-%E2%80%93-natura-naturans/

Γιάννης Λειβαδάς: In Memoriam Philip Lamantia (toparathyro.wordpress.com)

http://toparathyro.wordpress.com/2011/07/10/%CE%B3%CE%B9%CE%AC%CE%BD%CE%BD%CE%B7%CF%82-%CE%BB%CE%B5%CE%B9%CE%B2%CE%B1%CE%B4%CE%AC%CF%82-in-memoriam-philip-lamantia/

Ρίο.

Το πρώτο φως στην κορυφή του αντίχειρα, ημισέληνος και αυγερινός στην άκρη του δείκτη.

"Τίποτα πια δεν με προδίδει" [Άτη, Κέδρος 2011]


Τίποτα πια δεν με προδίδει
Έχω υποστεί κάθε λέξη
Και κάθε λέξη έχει αλλάξει ―
Το κέρδος από μέσα μου όταν καιγόσουν
Χάθηκε.
Βαδίζω αργά με το πάτημα του στυλού
Μιλάω με την κατάργηση των γραμμάτων
Την ταραχή των οργάνων·
Ανυπακοή προσδοκιών για κάτι μεγάλο,

Ξέρεις

Aν δεν σέρνεσαι σίγουρα
Πας με τα τέσσερα.
Η βραδιά είναι γλυκιά όπως πριν
Από χίλια διακόσια χρόνια
Μα δίχως εκείνο το γέμισμα
Από χειροπιαστά πράγματα.

Βάζω τον ποιητή να γράφει.
Πηγαίνω κι έρχομαι
Με μια εχθροσοφία.

Έχω το νούμερο ένα.




Joëlle Léandre - Solo (Kadima, 2011)

Ουίλιαμ Μπλέικ - Δέκα Έξι Ποιήματα

[Δίγλωσση έκδοση]
Ετοιμάζεται από τις εκδόσεις "Λογείον"

"Το Σύμπλεγμα Του Λαοκόοντα" (μυθιστόρημα)

Ετοιμάζεται από τις εκδόσεις "Λογείον" http://logeionbooks.blogspot.c​om/   
 
 

Χ

Χαϊδεύεις τη γάτα μα δεν υπάρχει τίποτα πιο απαλό από το ξημέρωμα.






Γ. Λειβαδάς: Ανθολογία Κλασικής Ιαπωνικής Ποίησης

Εισαγωγικά κείμενα, μετάφραση, σημειώσεις: 
Γιάννης Λειβαδάς.
Ετοιμάζεται, από τις εκδόσεις Ηριδανός.
Περιεχόμενα:
1)Γενική Εισαγωγή,
2) Χαϊκού: Εισαγωγή, Ποιήματα,
3) Ματσούο Μπασό: Εισαγωγή, Τετράδιο Σακιδίου, Στα Μονοπάτια της Μακρινής Ενδοχώρας,
4) Τάνκα,
5) Ρένγκα,
6) Σενριού,
7) Ρυοκάν: Εισαγωγή, Ποιήματα,
8) Σαντόκα Τανέντα: Εισαγωγή, Ποιήματα,
9) Βιβλιογραφία.

Yannis Livadas An Interview to Tomica Bajsic [for Quorum Magazine / Croatia]



During years you have traveled extensively, reading a lot, doing all sorts of jobs, do you consider traveling and close range experience a fuel for your poetry?  Can you go back to the roots of your poetry?

Anything you do can be poetry if you are a poet. Any form of activity is truly vital, for writing, for the spirit, the drive of existence itself. We are all travelers in a way, into emptiness; the poet travels fully awakened and digs everything, derives from everything, pushes his way ahead with all the forces he has gained since he became a man of knowledge, that is, a lover of life. The roots of my poetry go back to the lives and poems of other men, to their vivid interactions with the phenomenon called reality; since the days of the unknown antiquity. I remember that I wrote my first poem in the last page of my pad, in high school; and it was a brute attempt to scribble down something that I had no idea what is was, what I wanted to say. It was the action amidst all this necrophilia in the classroom that I longed for: I wrote my name a few times in a line, gave it to the teacher and I went out quietly leaving the rest of the class cold and speechless.    

Your recent poetry book will soon be published in France, you have been published in US. Good poetry, as we see, and contrary to some expectations, still exists in the world today. Do you think that there are favorable and not favorable times for poetry, or is it always today, and endurance of poetry is not to be underestimated?

Not exactly; my recent book of poems is a collection of previously unpublished poetry of the period 2001-2009, called “Ati”; that accompanies in a way “The Margins Of A Central Man” a sum of poetry in english that came out in Kolkata, India, in 2010. In France there is an unexpected interest from some editors to publish my long, extended poetic synthesis called “La Chope Daguerre” which I wrote in Paris and its outskirts a few years ago. Michel Volkovitch is now translating it. There is also something that will come out soon, a surprise. I will let you know.
The human history would be a clear zero if there was no poetry. The whole history of man is a series of forgiven and un-forgiven mistakes; needful and needless risks.  Poetry is the epiphany of truth; of absolute beauty; the energy that proves that everything is an illusion. The difference between the poet and the not-poet is that the poet embraces it all, lives it to the full and stands upright before death because he understands what it seemed that was made not to be understood. I have written an essay where I explain my thesis on poetry and the poet; by the way, it just published a few days ago in a literary review in Greece. Anyway; Poets are very few in the world today, there may be thousands of people called poets but they are just names; the signature of the poetic spirit is missing.

What about the importance of reading? Is it essential for a poet to create his own approach to language, a unique form of expression? Can you give us a few hints what goes on in contemporary poetry of Greece?  

Reading contributes seriously. Above all, by reading the best of the kind you see the best of the mistakes and so you can avoid them. But I think that is a natural danger in reading. If you are not reading the best writers you will get ill. That illness called mediocrity; and shoots you right in the head. The real poet is he who offers the most serious mistakes, who writes by constantly risking his language, that is, his uniqueness, his signature. Poetry is uniqueness or nothing.
As I have said many times before; Greece has a broken leg yet runs in the races; the whole situation here in real life, in ethics, in literature, is harsh and declined. I have turned my back to it.

Blaise Cendrars said that language is not something dead, frozen, but something in motion, fugitive, attaching itself always to life and reality ... what is left from his legacy? Is poetry nowadays attached to life and reality, or misplaced to not easily approachable location?

Cendrars was absolutely the greatest poetic spirit of the twentieth century; that is unquestionable for a man like me. His legacy I presume is here, alive and kicking; because, what the hell! Cendrars’ legacy is poetry itself! Poetry today continues to express itself everywhere; in many forms, in many places, in moving and not-moving. The matter is if one can be a creator; a poet who creates a poem; not just someone who writes a poem. If one realizes that difference becomes automatically a poet, not a man who simply writes down the cheap throes of his negativity.         
     
Once upon a time the poet was a wanderer, and a good poem was a voyage to unknown ...  is a poet and poetry tamed, so to speak, being overly institutionalized, out of reach, vegetating in university libraries-laboratories, handy tool for acquiring the scholarly or intellectual career. Also a kind of circus, shown on festivals, but mostly as an exposition of endangered species. Can you say something about importance of poetry in everyday life, and importance of everyday life in poetry? Can a poet be truthful if he doesn’t dive deeper in the currents of life, deep enough that he can touch the riverbed with his fingers, as Cendrars did?

In accordance to my answer above; poetry was never and will never be institutionalized, or out of reach, or will ever be cultivating as a cabbage of foolery.  Also poetry, the poet, is not an endangered species; the few dozen poets of every century are more than enough for all humankind; the “galore” of poets is a matter of the trade of poetry, the whole publishing industry worldwide that sells garbage for culture, poetry, etc. That industry maintains and supports strongly its products. Festivals and universities also do the same. The facts speak for themselves. So, according to your question; the poet is a diver, is a miracle-man, a constant wanderer, an outsider and an insider, an innovator.

Sometimes reading a good poem can take a person to a place already visited, but only vaguely, in hers / his imagination, and now everything opens fresh and clear, scattered impressions become united ... you are a valuable translator of poetry, what is your opinion on importance of translating poetry, primarily for you as a poet, and for culture in general?

Translation is quite a trial; but I believe it is essential for transmuting and communicating poetry in other languages. And is wonderful too as a literary exercise. Sometimes it’s like you have a direct contact with the poet himself. You are messing with his peculiarities. Poetry travels the world through the works of the translators; that is a big deal, really.

Poetry, ever since the days of Gilgamesh 5.000 years ago, has been one of the strongest forms of human expression. Is it correct that true poetry from the past is an estate that we inherit, and thus should behave like gardeners?

It is somehow like what is happening right now, while I am answering to your kind questions; to speak from the depths of my spirit I must speak greek; but if I speak greek that would be a serious trouble for you.  I am Gilgamesh and you are the 5000 years; we must create something like a bridge between us. Basically; not a bridge, we just need a rope, stretched from the one edge of the spirit of mine to the edge of the spirit of yours. Always at stake. Poets are the molecules of spiritual danger; there are no gardens, no gardeners; poetry springs into nothingness.

Yannis Livadas Interview to Gary Cummiskey



Tuesday, March 1, 2011
Yannis Livadas: The margins of a central man

Yannis Livadas was born in Kalamata, Greece in 1969. He has done dozens of different jobs and travelled extensively in India, Tunisia, Algeria, Italy, France, Morocco, Portugal and Spain. He has published seven poetry collections, the most recent being Ati: Scattered Poems 2001-2009. He has translated the work of authors such as Jack Kerouac, Gregory Corso and Charles Bukowski. He now lives secluded in the Greek countryside.

I'm curious about your background. When did you start writing seriously?

YL:My background was the mess of the entity. Existence whirls and spirals unceasingly in its void; one must find ways to scan it on the wing. To lose self, to be a poet. I started writing poetry because I had a congenital tendency for writing, ink and paper. It was the only thing that was making me feel complete. I started writing seriously when I was sixteen or so, but I first published when I was thirty. It was really great to experience fortitude all this years. I had no reason to be in a hurry about it.

You were once a bookseller and a publisher. What was that period like?

Ahh, that was a period full of mishaps and troubles. But I had to do that; I really liked the idea of making books, selling books, but those four years were more than enough. I faced too much bureaucracy in this country. So instead of being fulfilled publishing books I just suffered at the hands of officialdom. But it was also fun and I made new friends.

At first glance, your poetry looks surrealist, but your main influences seem to be pre-surrealist authors such as Apollinaire, but particularly Blaise Cendrars. What is it about Cendrars' work that attracts you and how has his work influenced you?

Apollinaire? No way! Not even the surrealists! I have studied their work extensively and I still enjoy reading a poem or two of theirs; maybe I prefer them to most of the poets of our time, but that’s all. There are no influences from that kind of stuff. Surrealism lacks what I call, with regard to my own poetry, “awakened realism”. Cendrars, my grandfather, was the most pulsating of all modernists and, of course one of the first. Cendrars still remains a poetic capital. Cendrars is a perfect exception. I consider him the greatest poetic spirit of the twentieth century. His main influence on me was his idea that consciousness is the highest hallucination of all. As a poet I am interested only in the voice of the Muse. I have no other interests. That’s what the poem is all about. Poetry is art, not just writing, as it seems generally considered to be just about everywhere. The world is full of hobbyists, poets are so few. That’s a sign of our times. But this situation still provides a great opportunity to people with dignity to make a difference. Honor alit artes.

You have translated many of the Beat writers, particularly Kerouac, but also borderline Beat figures like Bukowski. What attracts you to the Beats? What relevance do they have in 2011?

Some of the Beats; like those you mention, were geniuses. They forced writing to exalted levels. They were true and serious and headed only straight ahead. A few days ago, my second volume about the Beats came out. It’s a volume of essays, various translations and original criticism. I am translating Kerouac, Bukowski, and many others of that period because readers and new scholars in my country must be aware of them in order to start something new. Which I hope will happen someday.

Right now I am translating Kerouac’s Vision Of Cody and afterwards there is a series of books waiting. But the Beats have not influenced my writing, as some idiots in my country think.

What about some of the modern Greek poets – such as Seferis, Elytis, Ritsos and Valaoritis – have they had much an influence on your work?

None at all. I am completely indifferent to their work. They are mediocre for my taste. I have studied a tremendous amount of Greek poetry but I choose to turn the other way. I had no time to waste. There were other Greek poets such as Karouzos, Papaditsas and Spanias who elevated Greek poetry in other, more eclectic approaches. Still, there is no influence from them either; I prefer more dangerous and dexterous ways. I gamble, and exalt the existence of man into its natural emptiness. I laugh while I am meditating on death; that’s my aesthetics.

Like many of the Beat poets, you are a jazz aficionado. You have written an as yet unpublished history of jazz. What attracts you to jazz?

Jazz is a whole culture; a way of life. Thus, it is a way of making art. I started to hear jazz and collect records in my late youth, at a time that I was mainly listening to other stuff. But jazz knocked me out. Really. Jazz is absolutely free and at the same time absolutely unequivocal. I wrote a book about jazz called Round About Jazz: The History of Jazz from the Age of Bebop to The Present. It took some years to find a publisher; now I am waiting to hear from him when the book will finally come out.

What is the literary and publishing scene like in Greece? I should imagine the financial crisis has had a huge effect on publishing? And the small publishing scene?

Greece was running in the wrong direction for many years. It still is. This country faces huge problems. A lack of political direction and, most of all, education and culture. Most of the creative publishers here are in trouble. Still, there are things happening. The future will provide the evidence. We’ll see.

You had two books of poetry published in English, Coltrane and 15 Poems for Jazz, and The Margins of a Central Man, which was published by Graffiti Kolkata. The Coltrane book was translated into English by the well-known US poet Jack Hirschman and Dimitri Charalambous. How did that come about?

I have been in contact with Jack Hirschman since about 2000. I was fortunate to have some of my poems translated by him with the assistance of Charalambous. The book is now out of print. Maybe it will come out again, I have no idea. The Margins Of A Central Man is a book of twenty or so poems of mine, translated by myself for my Indian friends who luckily speak English. It’s a great honour for me.

You have an unpublished prose work – what is it?
Is it fiction?

I am not a prose writer, but I wrote that book. I find hard to describe its contents but I can tell you that is quite unique in its style and connectiveness. I keep it somewhat secret. I have not published even a section of it. Most publishers find it too non-mainstream. It’s not going to sell the way they would like. Publishers are in need of a bestseller, so they don’t bother. And that’s fair.

You have travelled quite a bit, mainly around Europe. You obviously like travelling. Do you find that it enriches and inspires you?

Yes, I have also travelled in India and in North Africa. But the matter is not the place, the destination of the journey; it’s all about the traveller. That’s why the journey itself is what matters. As we say: the journey is you, nothing else. But let us not become fakes of the sensibilities. If you have to travel, you travel. When I travel, I do it for a sense of seclusion. Believe it or not, I am in a state of joyous, creative seclusion when I travel. Lately, I find my everyday life to convulse the same way. I am more than lucky. I am in my forties now, and life provides all kinds of gifts with outrageous generosity. Life is itself a poem.

What projects are you busy with at the moment?

Life, as always.

Αναζήτηση στην αρχειοθήκη του ιστολογίου

Yannis Livadas: The Margins Of A Central Man

Yannis Livadas: The Margins Of A Central Man
Graffiti Kolkata, India (May 2010)