Independent Filmmaker Ann Huang to Attend 2017 American Film Market

Ann Huang Filmmaker

Contact
Ann Huang
Independent Filmmaker
Phone: (949) 280-5290
huang.yuwei.ann@gmail.com
FOR IMMEDIATE RELEASE

Filmmaker Ann Huang to Attend 2017 American Film Market

Ann Huang from Saffron Splash Media, writer and director of experimental short films Palpitations of Dust and Inedible Winter, will be attending the 2017 American Film Market. This year’s conference will be held from November 1st through November 8th in Santa Monica, California. 

American Film Market is Hollywood’s largest international conference and cultivates tremendous insight and knowledge among fellow independent filmmakers, global thought leaders, and other industry professionals. The conference hosts producers, writers, directors, production houses, and film enthusiasts from 80 countries for a week of networking, workshops, roundtables, and speakers.  

About Ann Huang

Ann Huang is a filmmaker based in Newport Beach, Southern California. Huang was born in Mainland China and raised in Mexico and the US. World literature and theatrical performances became dominating forces during her linguistic training at various educational institutions. Huang possesses a unique global perspective on the past, present and future of Latin America, the United States and China. She is an MFA candidate from the Vermont College of Fine Arts and has authored one chapbook and two poetry collections. Huang’s debut experimental short film “PALPITATIONS OF DUST” won the Best Experimental Film in 2017 PAECA (Prince of Prestige Academy Award), Best Award in Los Angeles Film & Script Festival, and Best Experimental Film in LA Cinema Festival of Hollywood. For more information, visit http://annhuang.com.

“Palpitations of Dust” is Selected for Festival Angaelica, Preselected for Rome Film Awards & Madrid Art Film Festival, & on the Short List for Cinema London Film Festival

Ann Huang Filmmaker

Contact
Ann Huang
Independent Filmmaker
Phone: (949) 280-5290
huang.yuwei.ann@gmail.com
FOR IMMEDIATE RELEASE

Palpitations of Dust is Selected for Festival Angaelica, Preselected for Rome Film Awards & Madrid Art Film Festival, & on the Short List for Cinema London Film Festival

September 2017: Ann Huang’s film Palpitations of Dust has been officially selected for this year’s Festival Angaelica, which will take place at Big Bear Lake in California from September 18th through September 24th.

Angaelica is a non-profit organization with roots in ecology and art that believes in the power of storytelling. The festival helps artists and collaborators connect through film and other projects. More information about the festival can be viewed here.

Festival-Angaelica-2017-Official-Selection-White-Background copy

 

Palpitations of Dust has also been preselected for the 2017 Rome Film Awards (RFA) which will take place from October 28th through 29th in Rome, Italy at Detour Cinema.

The festival highlights the best films of Italy, Europe, and the rest of the world. More information about the RFA can be found here.

rome film awards preselected 2017

 

Additionally, Palpitations of Dust is in the short list for the 2nd annual Cinema London Film Festival which will be held on September 22nd in London. The festival aims to increase diversity in European countries and promote the art of cinema all around the world. Cinema London screens self-financed films by a diverse group of filmmakers from several different countries. More information about the festival can be found here.

Semifinalist

 

Lastly, Ann Huang’s film has been preselected for the 2nd annual Madrid Art Film Festival which will take place on September 29th and September 30th, 2017 in Madrid, Spain.

The festival offers multiple award categories including best screenplay, best cinematography, best director, and best narrative short and celebrates art and film from around the world. More information about the the Madrid Art Film Festival can be viewed here.

Semi-finalist

About Ann Huang

Ann Huang is a filmmaker based in Newport Beach, Southern California. Huang was born in Mainland China and raised in Mexico and the US. World literature and theatrical performances became dominating forces during her linguistic training at various educational institutions. Huang possesses a unique global perspective on the past, present and future of Latin America, the United States and China. She is an MFA candidate from the Vermont College of Fine Arts and has authored one chapbook and two poetry collections. Huang’s debut experimental short film “PALPITATIONS OF DUST” won the Best Experimental Film in 2017 PAECA (Prince of Prestige Academy Award), Best Award in Los Angeles Film & Script Festival, and Best Experimental Film in LA Cinema Festival of Hollywood. For more information, visit http://annhuang.com.

“Palpitations of Dust” Wins Best Experimental Film for Prince of Prestige Academy Award, & is Selected for Screening at Hollywood Dreamz International Film Festival, Action on Film Festival, & Near Nazareth Festival

Ann Huang Filmmaker

Contact
Ann Huang
Independent Filmmaker
Phone: (949) 280-5290
huang.yuwei.ann@gmail.com
FOR IMMEDIATE RELEASE

Palpitations of Dust Wins Best Experimental Short Film for Prince of Prestige Academy Award, & is Selected for Screening at Hollywood Dreamz International Film Festival, Action on Film Festival, & Near Nazareth Festival

August 2017: Ann Huang’s film Palpitations of Dust won Best Experimental Film for the Prince of Prestige Academy Award for 2017! 

Huang says that her debut film is solely based on her pure lyrical poems. That her biggest challenge of adapting her poetry from page to big screen was to render a narrative arc from non-lineal surrealistic poems. “Chance, happenstance, and energy of synchronicity are the centerpiece of this project, interweaving and juxtaposing frail humane emotions such as love, longing, and belonging.”

Films submitted to the Prince of Prestige Academy Award were nominated through a selection committee. The top scorers were reviewed by the festival jury and winners were announced on Saturday, July 29, 2017. More information about the Prince of Prestige Academy Award as well as other film categories and nominees can be viewed on the PAECA website as well as on IMDB

photo copy 4

Palpitations of Dust has also been officially accepted to be screened at the the Hollywood Dreamz International Film Festival (HDIFF) and Action on Film Festival (AOFFEST). Both events will run concurrently and will host black tie award celebrations from August 24th through August 26th, 2017 at the Palms Resort and Casino in Las Vegas, Nevada.

HDIFF is an international film festival that brings together talented experts and newcomers from film, entertainment, and writing. More information about the festival can be found here. The Action on Film Festival is an annual event that features films from all genres including features, shorts, experimental, animation, music videos, and action sequences. Learn more about AOFFEST here.

Action on Film 2017 Acceptance Laurels

Palpitations of Dust is also a semi-finalist for the 2nd annual Malta Film Festival this year. The festival will take place on August 24th and 25th, 2017 at Eden Cinemas, located in St Julian’s, Malta. The Malta Film festival features a selection of diverse films from Europe, South America, as well as the rest of the world. More information can be found here.

Malta Semifinalist

Additionally, Palpitations of Dust has been selected for the Near Nazareth Festival in the Experimental Category for Winter 2017. The film showcases five surrealist poems and will be screened at the festival which will take place in Afula, Israel from December 13th through December 17th, 2017.

The Near Nazareth Festival has been ranked as one of the 100 Best Reviewed Festivals on FilmFreeway and features work by filmmakers from 70 different countries. The Experimental category for the Near Nazareth Festival can be viewed here.

2017_Participant (1)

About Ann Huang

Ann Huang was born and raised in Mainland China and her passion for words dates back to her childhood. World literature and theatrical performances became dominating forces during her linguistic training at various educational institutions. As a first generation Chinese American, Huang possesses a unique global perspective on the past, present and future of Latin America, the United States and China. She is an MFA candidate from the Vermont College of Fine Arts and has authored two poetry collections. For more information, visit http://annhuang.com.

“Palpitations of Dust” is Selected for Synimatica’s Short Film Festival & California Women’s Film Festival, Nominated for World Music & Independent Film Festival

Ann Huang Filmmaker

Contact
Ann Huang
Independent Filmmaker
Phone: (949) 280-5290
huang.yuwei.ann@gmail.com
FOR IMMEDIATE RELEASE

Palpitations of Dust is Selected for Synimatica’s Short Film Festival & California Women’s Film Festival, Nominated for World Music & Independent Film Festival

July 2017:  Ann Huang’s film Palpitations of Dust has been officially selected for the first annual Synimatica Short Film Festival in the Narrative category. The screening will take place during the week of July 15th through July 30th, 2017 via Synimatica’s online viewing platform which streams digitally on on Roku, Apple TV, Chromecast, and Amazon Fire.

Screening and panel judging for the festival is done online and the best-in-category films will be honored at an awards mixer in Boise, Idaho. Synimatica will feature short films by Ann Huang and other emerging filmmakers. Palpitations of Dust will be available through Synimatica’s online viewing platform. In addition to narrative short films, the festival will also feature documentary and animated films.

More information about Synimatica’s Short Film Festival can be viewed here.

Palpitations of Dust has also been officially selected for the California Women’s Film Festival (CWFF). The film showcases five surrealist poems and will be screened at the festival which will take place in Los Angeles, California at the Acme Theater from July 14th – July 16th, 2017.

The CWFF is a bi-annual event that showcases the work of women filmmakers, artists, and writers. More information about the festival can be viewed here.

Additionally, Palpitations of Dust has been nominated by the World Music & Independent Film Festival (WMIFF) in 3 categories. Eric Stoner and Tatiana Rozo have been nominated for Best Actor, Dean Nathan is nominated for Best Cinematography, and Ann Huang received a nomination for Best Director in a Short Film.

This year’s Annual Awards Gala for WMIFF will be held from July 22nd through July 30th, 2017 on an 8-night Caribbean cruise. The gala will screen Palpitations of Dust as well as other films that have been nominated.

The festival was created in 2010 as a platform to celebrate the achievements of all cinema artists and has been an IMDB-qualifying event each year. Additional information about the World Music & Independent Film Festival can be found here.

About Ann Huang

Ann Huang was born and raised in Mainland China and her passion for words dates back to her childhood. World literature and theatrical performances became dominating forces during her linguistic training at various educational institutions. As a first generation Chinese American, Huang possesses a unique global perspective on the past, present and future of Latin America, the United States and China. She is an MFA candidate from the Vermont College of Fine Arts and has authored two poetry collections. For more information, visit http://annhuang.com.

2017 Nice Independent Filmmaker & Auckland International Film Festivals Nominate & Screen “Palpitations of Dust”

Ann Huang FilmmakerContact
Ann Huang
Independent Filmmaker
Phone: (949) 280-5290
huang.yuwei.ann@gmail.com
FOR IMMEDIATE RELEASE

 

 2017 Nice Independent Filmmaker & Auckland International Film Festivals Nominate & Screen “Palpitations of Dust”

June 2017: The 2017 Nice International Filmmaker Festival nominated Ann Huang for their Talented New Filmmaker Award. In addition, her film “Palpitations of Dust” was nominated for Best Cinematography in a Short Film. The film was screened on May 18, 2017 in Nice, France.

View the screening schedule: http://filmfestinternational.com/may-18th-room-1-nice-iff-2017/

Since 2006 the festival has given Indie Filmmakers a platform to showcase their work. From humble beginnings in Tenerife, they now host events in some of Europe’s most renowned cities, including Nice, London, Amsterdam, Madrid, Berlin, and Milan.

The festival is a week-long showcasing of films that concludes with an awards ceremony gala dinner, where winners from each of category receive a prestigious trophy in recognizing their talents and achievements.

The renowned festivals also include workshops, guest speakers, film premieres, director Q&As, networking events, and much more. The events support filmmakers around the world by establishing and connecting a profoundly rich community of like-minded individuals.

Learn more about the festival in Nice as well as upcoming festivals in other cities by visiting http://filmfestinternational.com/

The Auckland International Filmmaker Festival jury selected Ann Huang’s film, “Palpitations of Dust,” for their autumn session awards.

The acclaimed Auckland Film Festival provides support to independent film-makers through reviewing, judging, marketing, and networking. In addition, the festival aids filmmakers in overcoming any obstacles which potentially hinder the artist’s ability to create.

Official_Selection_Autumn_2017_Color

Visit http://www.aiff.co.nz/ to learn more.

About Ann Huang

Ann Huang was born and raised in Mainland China and her passion for words dates back to her childhood. World literature and theatrical performances became dominating forces during her linguistic training at various educational institutions. As a first generation Chinese American, Huang possesses a unique global perspective on the past, present and future of Latin America, the United States and China. She is an MFA candidate from the Vermont College of Fine Arts and has authored two poetry collections. For more information, visit http://annhuang.com.

Meshes of the Afternoon by Maya Deren

Poetry & Film Fuse in the Works of Maya Deren

Meshes of the Afternoon by Maya Deren

One of the most influential filmmakers in American cinema and a pioneer in dance films, Maya Deren (1917-1961) believed the function of film was to offer a viewer an experience that would evoke new conclusions. As with her poetry, Deren’s focus continually evolved and remained dynamic as she combined her interests in subjective psychology, dance and Haitian culture in her short films. Deren’s best-known and most influential experimental film, Meshes of the Afternoon (1943), beautifully combines poetic elements with cinematic devices. In 2015, the BBC hailed it as one of the top 100 greatest American films. Deren’s popular cinematic works also include At Land, Ritual in Transfigured Time, Meditation in Violence, and A Study in Choreography for Camera.

Maya Deren best expressed her view of the freedoms of independent cinema when she said, “Artistic freedom means that the amateur filmmaker is never forced to sacrifice visual drama and beauty to a stream of words…to the relentless activity and explanations of a plot…nor is the amateur production expected to return profit on a huge investment by holding the attention of a massive and motley audience for 90 minutes…Instead of trying to invent a plot that moves, use the movement of wind, or water, children, people, elevators, balls, etc. as a poem might celebrate these. And use your freedom to experiment with visual ideas; your mistakes will not get you fired.”

‘Meshes of the Afternoon’ and its Influence

Using a second-hand Bolex camera, Deren and husband Alexander Hammid created Meshes of the Afternoon. It was the first narrative work in avant-garde American film, establishing the New American Cinema. The editing and filming techniques used in the short have a deep sense of rhythm and create a sense of continued motion through discontinued space, conveying a deeper meaning of discomfort and distrust. The abandoning of the concepts of space and time in the film, the juxtaposition of shots, and multiple views of “self” convey a stream of consciousness that breaks viewer expectations.

Compelling themes throughout Deren’s work include reflection, dreaming, vision, ritual, identity and rhythm. Meshes of the Afternoon directly inspired David Lynch, John Coney, Su Friedrich, Stan Brakhage, Kenneth Anger and other major traditional and experimental filmmakers.

Deren on the Freedoms of Independent Cinema

When discussing the liberties of independent cinema, Deren was opposed to Hollywood’s practices and standards. She felt that artistic freedom meant never sacrificing visual beauty and drama to spoken lines and explanations of plot. Deren took advantage of movements that happened naturally—the wind blowing, balls bouncing, water running—rather than invent plots. She stated that when an artist uses his or her freedom to experiment with visual ideas, mistakes are forgiven.

At the 1953 Poetry and Film Symposium, Deren stated that poetry “is an approach to experience.” She explained that a poem’s structure makes it distinct. Its construct is the result of a situation’s vertical investigation, as it looks into a moment’s implications, qualities and depth. Deren stated that the result is poetry that doesn’t focus on what’s happening, but on how a situation feels or means.

Filmmaker and Poet, Ann Huang, has long been inspired by the Deren’s works. Cinematic and poetic visions influenced her first film, Palpitations of Dust. Reviews received from a film festival’s screening committee further support that Huang’s work reflects the freedom ideas promoted by Maya Deren:

“Interesting juxtaposition of the actors and artwork with the poems.”

“Loved the dichotomy of the Renaissance art with the visuals of the film.”

Surrealists suggest that art is a part of life. Therefore, it is vital that filmmaking be viewed as pure and keen as automatic writing or poetry writing. Poetry, filmmaking and other forms of art make the invisible, undocumented moments in an individual’s life tangible. For example, these moments are eloquent yet mysterious, wise yet innocent, and charismatic yet elusive. The portion of existence that survives without an audience must be preserved for an artist to remain whole.

poetry translation

How Culture and Literature Intertwine During Poetry Translation

poetry translationIn the United States, a trainer is an individual who teaches skills. In Great Britain, it is an athletic shoe. A bog in the U.S. is a swamp. In Great Britain, it’s a toilet. In Oregon, a buggy is an old-fashioned term for a stroller, horse carriage or car. In North Carolina, it’s a modern term for a shopping cart.

Even when nations speak the same language, the cultures within it greatly influence what different words mean. When translating poetry, an individual must take a broad idea that can be interpreted in many different ways and translate it into a recognizable, familiar idea that remains true to the original text. The skill is a subject activity and multi-faceted process tangled with linguistic and cultural restraints that lends itself to new interpretations that the original poet may have never imagined.

Cultural Considerations When Translating Poetry

Literary and Cultural Understanding and Bias

One of the most challenging tasks when translating poetry is communicating culture-specific ideas because a translation isn’t just affected by the poet’s culture, but also the translator’s understanding of and biases toward the poet’s and target’s culture. Ancient Romans understood this during their conquests. To introduce Romans to Greek culture, for example, Roman translators carefully imitated Grecian stylistic elements to keep the literature as faithful to the original literature as possible. After conquering Greece, however, Roman translators did not feel the need to pay as much attention to preserving the integrity of the original texts. Instead, they adapted the texts as a way of demonstrating Roman literary achievements. As a result, the translations didn’t serve as an imitation or interpretation; they were the competition. The translations accommodated Roman views of Grecian society. This was not the first culture to do this, nor will it be the last.

Metaphors

Metaphors are one of the most important elements of figurative language and are often ripe with culture-specific undertones. They contain the core of a poet’s message and serve as a source of enrichment for the target audience. Because metaphors often relate to a culture’s customs and history, they may create unique difficulties in translations.

Metaphors born of traditions, religious beliefs, geographical surroundings, environment and historical events are sometimes difficult to translate. In English, for instance, the word dog is relatively neutral. An individual might say a lottery winner is a lucky dog. In Chinese, the word dog may have a derogatory connotation and be a word used to describe someone who is snobby or mean. When a metaphor in the original language does not make sense in the target language, an individual might have to translate metaphors using similes to retain the original idea or image.

Allusions

Allusions in poetry can be just as difficult, if not more difficult, to translate if the cultures in question did not share the same history or texts. When an Arab poet alludes to Qu’ranic texts, for example, a Western reader might not understand the scriptural origins. In such instances, a translator might have to provide a reader with footnotes, glossary or other notes to explain the context of the idea.

Translating the nuances found in poetry is a complicated yet vital task. When a translator sees culture as a collection of experiences that give daily life its form, the individual links more than just words; she links worlds.

Crossing the Line: When a Translated Poem Becomes an Original Work

 

poetry book

Language is a barrier in more than one respect. If you’re in a foreign country and can’t speak the native language, you might find it difficult to communicate. These barriers sometimes form when words are translated from one language into another. You can find extreme examples of this on some imported products, like a warning label for plum jelly that states, “1. Please do not attract one grain by to swallow. 2. Below five years old, please not edible.” These phrases might make perfect sense in the original language, but the literal translation ends up being a source of confusion and amusement. The same happens with varying degrees with translated poems. As a result, scholars often debate the effectiveness of translations.

Blurred Lines

When done correctly, translations are wonder devices that open doors to new worlds. They are essential to introducing readers to new cultures and ideas. Without them, you might not be exposed great works, like Miguel de Cervantes’ Don Quixote, Candide by Voltaire, or Laozi’s Tao Te Ching. Poet Haroldo de Campos was celebrated for his masterful translations of some of the Western world’s most important works into Portuguese, such as those by Mallarmé, Dante, Homer and James Joyce.

The problem with translations generally stems from the fact that you are dependent upon a translator’s subjective interpretation. You rely on this individual’s understanding of the poet’s language, dialect, culture, life, target audience, historical period and more. You trust that the translator fully understood the original work and remained faithful to its essence and voice. You have faith that the translator is on par with the poet’s artistic abilities and has a good understanding of the new target readers and their culture.

When a translator fails to be faithful to the original work, it becomes the translator’s poem—a completely new work. When this occurs, interesting things happen. For example, a culture might adopt the translated piece as an original work. An example of this is John Dryden’s version of the epic Aeneid by Virgil. In the preface, Dryden stated that he tried to make Virgil sound English, as if he were from Great Britain. He turned the original unrhymed verses into couplets while using lines from Sir John Denham’s translation. Dryden rewrote Virgil’s work to appeal to an audience in a different period that had a different language and culture. He made the audience the priority. The losses in translation remain invisible to those who don’t take it upon themselves to do a careful comparison.

When an original poem and its translation clash, there is often a failure on the translator’s part to read for meaning and the language. This ultimately hurts the audience, but creates opportunities for additional translations. While a translator cannot change a poet’s original work, the individual can present his or her own interpretation.

Translations are like artistic mimicry. While it is possible to translate poetry, it is important to keep in mind that no translation will ever be the original work. Therefore, there is always room for reexamination and improvement. Rather than give up on reading translations, get your hand on as many as you can find. Read the introductory essays written by the translators to learn what guided their work and made it unique. Soak in the words and draw your own conclusions about original poet’s words.

Examples of Translated Poems

“The Song of Despair”

By Pablo Neruda, translated by W.S. Merwin

The memory of you emerges from the night around me.

The river mingles its stubborn lament with the sea.

Deserted like the wharves at dawn.

It is the hour of departure, oh deserted one!

Cold flower heads are raining over my heart.

Oh pit of debris, fierce cave of the shipwrecked.

In you the wars and the flights accumulated.

From you the wings of the song birds rose.

You swallowed everything, like distance.

Like the sea, like time. In you everything sank!

It was the happy hour of assault and the kiss.

The hour of the spell that blazed like a lighthouse.

Pilot’s dread, fury of a blind diver,

turbulent drunkenness of love, in you everything sank!

In the childhood of mist my soul, winged and wounded.

Lost discoverer, in you everything sank!

You girdled sorrow, you clung to desire,

sadness stunned you, in you everything sank!

I made the wall of shadow draw back,

beyond desire and act, I walked on.

Oh flesh, my own flesh, woman whom I loved and lost,

I summon you in the moist hour, I raise my song to you.

Like a jar you housed the infinite tenderness,

and the infinite oblivion shattered you like a jar.

There was the black solitude of the islands,

and there, woman of love, your arms took me in.

There were thirst and hunger, and you were the fruit.

There were grief and the ruins, and you were the miracle.

Ah woman, I do not know how you could contain me

in the earth of your soul, in the cross of your arms!

How terrible and brief was my desire of you!

How difficult and drunken, how tensed and avid.

Cemetery of kisses, there is still fire in your tombs,

still the fruited boughs burn, pecked at by birds.

Oh the bitten mouth, oh the kissed limbs,

oh the hungering teeth, oh the entwined bodies.

Oh the mad coupling of hope and force

in which we merged and despaired.

And the tenderness, light as water and as flour.

And the word scarcely begun on the lips.

This was my destiny and in it was the voyage of my longing,

and in it my longing fell, in you everything sank!

Oh pit of debris, everything fell into you,

what sorrow did you not express, in what sorrow are you not drowned!

From billow to billow you still called and sang.

Standing like a sailor in the prow of a vessel.

You still flowered in songs, you still broke in currents.

Oh pit of debris, open and bitter well.

Pale blind diver, luckless slinger,

lost discoverer, in you everything sank!

It is the hour of departure, the hard cold hour

which the night fastens to all the timetables.

The rustling belt of the sea girdles the shore.

Cold stars heave up, black birds migrate.

Deserted like the wharves at dawn.

Only the tremulous shadow twists in my hands.

Oh farther than everything. Oh farther than everything.

It is the hour of departure. Oh abandoned one.

 

“Tonight I Can Write the Saddest Lines”
By Pablo Neruda, translated by W.S. Merwin

Tonight I can write the saddest lines.

Write, for example, ‘The night is starry

and the stars are blue and shiver in the distance.’

The night wind revolves in the sky and sings.

Tonight I can write the saddest lines.

I loved her, and sometimes she loved me too.

Through nights like this one I held her in my arms.

I kissed her again and again under the endless sky.

She loved me, sometimes I loved her too.

How could one not have loved her great still eyes.

Tonight I can write the saddest lines.

To think that I do not have her. To feel that I have lost her.

To hear the immense night, still more immense without her.

And the verse falls to the soul like dew to the pasture.

What does it matter that my love could not keep her.

The night is starry and she is not with me.

This is all. In the distance someone is singing. In the distance.

My soul is not satisfied that it has lost her.

My sight tries to find her as though to bring her closer.

My heart looks for her, and she is not with me.

The same night whitening the same trees.

We, of that time, are no longer the same.

I no longer love her, that’s certain, but how I loved her.

My voice tried to find the wind to touch her hearing.

Another’s. She will be another’s. As she was before my kisses.

Her voice, her bright body. Her infinite eyes.

I no longer love her, that’s certain, but maybe I love her.

Love is so short, forgetting is so long.

Because through nights like this one I held her in my arms

my soul is not satisfied that it has lost her.

Though this be the last pain that she makes me suffer

and these the last verses that I write for her.

 

“The Shape of Your Eyes”
By Paul Eluard, translated by Mary Ann Caws

 The shape of your eyes goes round my heart,

A round of dance and sweetness.

Halo of time, cradle nightly and sure

No longer do I know what I’ve lived,

Your eyes have not always seen me.

Leaves of day and moss of dew,

Reeds of wind and scented smiles,

Wings lighting up the world,

Boats laden with sky and sea,

Hunters of sound and sources of colour,

Scents the echoes of a covey of dawns

Recumbent on the straw of stars,

As the day depends on innocence

The world relies on your pure sight

All my blood courses in its glance.

 

“I Love”
By Jacques-Bernard Brunius, translated by Mary Ann Caws

I love sliding I love upsetting everything

I love coming in I love sighing

I love taming the furtive manes of hair

I love hot I love tenuous

I love supple I love infernal

I love sugared but elastic the curtain of springs turning to glass

I love pearl I love skin

I love tempest I love pupil

I love benevolent seal long-distance swimmer

I love oval I love struggling

I love shining I love breaking

I love the smoking spark silk vanilla mouth to mouth

I love blue I love known—knowing

I love lazy I love spherical

I love liquid beating drum sun if it wavers

I love to the left I love in the fire

I love because I love at the edges

I love forever many times Just one

I love freely I love especially

I love separately I love scandalously

I love similarly obscurely uniquely

HOPINGLY

I love           I shall love

5 Things to Know about Surrealist Poetry

surrealism

André Breton’s Le Manifeste du Surréalism (Manifesto of Surrealism) in 1924 sparked a cultural movement that unlocked limits. Surrealist artistic philosophy follows the premise that Breton set forth—that “omnipotence of dreams” and “disinterested play of thought” take precedence over logic and reason. The forefathers of the movement felt inspired by ideas surrounding the power of unconscious thought, and used writing and art to reconcile the unconscious mind with rational life.

A Guide to Surrealist Poetry

1. Beginnings in Dadaism and Freudian inspiration: The Surrealist movement grew out of Dadaism, which broke codes regarding society’s accepted values and conventions. Surrealism aimed to be an instrument of knowledge, as those who followed the movement believed that the subconscious contained true reality. Poets who followed the surrealist movement agreed with Freud’s theory that the unconscious mind is deeper than the conscious mind.

2. A higher reality and point sublime: Surrealism involves the concept of a reality that is higher than the reality that individuals experience in everyday life. Poets who followed the movement focused on the reality created by the waking consciousness, which unites imagination and the real world, subjectivity and objectivity, and dream states and wakefulness. Breton stated in The Communication Vessels that the real and dream worlds are the same; the mind in each state of being communicates like two connected vessels. This principle is also known as point sublime, which is the realization of surreal unity—the point at which contrasts merge, such as life and death, beauty and ugliness, the past and future.

3. The marvelous and objective chances: The concept of the marvelous, or aggravated beauty, had a large role in Surrealist poems. Marvelous concepts depicted in these poems portray the ongoing anxiety that underlies the human experience. The involuntary shudder that marvelous images cause is the result of objective chances—the juxtaposition of two terms that seemed to conflict with each other, but are secretly related.

4. Delirious love: Following Breton’s lead in the Second Manifesto, Surrealists celebrate love as the only idea that unites every individual to the idea of life, even if for a brief moment. Therefore, passionate commitment is a liberating force.

5. Automatic writing: Some surrealist writers used automatism. This means that as a poet writes, there is no conscious control over thoughts. She or he writes whatever comes to mind. According to Breton, a Surrealist poet should not filter, select or shape his or her writing. The words should be raw and vivid.

Examples of Classic Surrealist Poetry

Choose Life (excerpt)
Choose life instead of those prisms with no depth even if their colors are purer
Instead of this hour always hidden instead of these terrible vehicles of cold flame
Instead of these overripe stones
Choose this heart with its safety catch…
-André Breton

Arp
Turns without reflections to the curves without smiles of shadows with mustaches, registers the murmurs of speed, the miniscule terror, searches under some cold cinders for the smallest birds, those which never close their wings, resist the wind.
-Paul Éluard

Series
For the splendour of the day of happinesses in the air
To live the taste of colours easily
To enjoy loves so as to laugh
To open eyes at the final moment
She has every willingness.
– Paul Éluard

Enigmas (excerpt)
You’ve asked me what the lobster is weaving there with
his golden feet?
I reply, the ocean knows this.
You say, what is the ascidia waiting for in its transparent
bell? What is it waiting for?
I tell you it is waiting for time, like you…
-Pablo Neruda

Mobius Strip
The track I’m running on
Won’t be the same when I turn back
It’s useless to follow it straight
I’ll return to another place
I circle around but the sky changes
Yesterday I was a child
I’m a man now
The world’s a strange thing
And the rose among the roses
Doesn’t resemble another rose.
-Robert Desnos

[Photo from Ian Palmer via CC License 2.0]