Notes from Octavio Paz, The Art of Poetry interview from the Paris Review:

-History, you know, is one thing and our lives are something else.

-human freedom is conditional. In English, when you are let out of jail you’re “on parole,” and parole means “speech,” “word,” “word of honor.” But the condition under which you are free is language, human awareness.

-There are two situations for every human being. The first is the solitude we feel when we are born. Our first situation is that of orphanhood, and it is only later that we discover the opposite, filial attachment. The second is that because we are thrown, as Heidegger says, into this world, we feel we must find what the Buddhists call “the other share.” This is the thirst for community. I think philosophy and religion derive from this original situation or predicament. Every country and every individual tries to resolve it in different ways. Poetry is a bridge between solitude and communion.

-But even between lovers solitude is never completely abolished. Conversely, solitude is never absolute. We are always with someone, even if it is only our shadow. We are never one—we are always we. These extremes are the poles of human life.

-The poet is at the service of his poems.

-I believe in inspiration, but I also believe that we’ve got to help inspiration, restrain it, and even contradict it.

-poetry today is like a secret cult whose rites are celebrated in the catacombs, on the fringes of society.

-If a society without social justice is not a good society, a society without poetry is a society without dreams, without words, and most importantly, without that bridge between one person and another that poetry is. We are different from the other animals because we can talk, and the supreme form of language is poetry. If society abolishes poetry it commits spiritual suicide.

(Source: ahuntersheart)

Sartre pointed out that the trouble with narrative is that it secretly begins at the end: the preordained telos shapes and selects and shines the light of significance over all that precedes it.

gairaigo + wasai-eigo from French

アベック (abekku), ‘romantic couple’, from avec (‘with’)
ロマン (roman), ‘novel’, ‘s
omething that rouses one’s dreams / longings’, from roman
ズボン (zubon), ‘trousers’, from jupon (‘petticoat’, i.e. related to jupe, ‘skirt’) [zubon are worn under an uwagi, and sometimes under a hakama]
シュークリーム (
shūkurīmu), ‘choux bun’, from choux (à la) crème
ピエロ (piero), ‘clown’, from pierrot
 アンケート (ankēto), ‘questionnaire, survey’, from enquête
バカンス (bakansu), ‘holiday’, from vacances
エステ (esute), ‘beauty salon’, from (salon d’)esthé(tique)
バリカン (barikan), ‘hair clippers’, from Bariquand & Marre
アンニュイ (annyui), ‘ennui’ 

and a bonus:
ロンパリ (ronpari), ‘lazy-eyed’ (strictly, someone with strabismus), from London–Paris, rudely suggesting one eye looks to London while the other looks to Paris

via Wikipedia / related: édredon

coincidental post three on time

DP: Every sentence written in English contains some anxiety about time. I’d love to write a poem that was Time-Free. Is that possible?

RZ: Why? Is this particular to English?

DA: I don’t think English is necessarily the only language in which time is embedded in the verbs. But I know that in Mandarin it’s easy to make a sentence that doesn’t tell you at what time things happened. And I wish that were possible in English. A sentence in English begins and ends; it has direction; it carries you, relentlessly, toward a period, a place of death. It’s why I avoided sentences for so long in my poems–because I didn’t want to feel like I was living out a sentence.

(D.A. Powell and Rachel Zucker, interview, Poetry Foundation)

Just as language evolved with increasing specificity, breaking further and further into qualifying parts, so words, as weak as birds, survive because they move collectively and restlessly, as if under siege.

— From Fanny Howe’s essay “Bewilderment”  (via erininthebay)

language instruction adventures, five

from oncelosthorizon / boomspeed

Hey!
Haluu!

That’s good.
Ajunngilaq.

I understand.
Paasingilakkit.

Could you repeat that?
Uteqqissinnaaviuk?

I’d like a double room.
Marluuttariamikpiumavunga.

Does anyone here speak English?
Tuluttoorsinnaasoqarpa?

from Omniglot

This gentleman/lady will pay for everything
Uuma Angutip/Arnap tamaasa akilissavai

Would you like to dance with me?
Qiteqatigerusuppingaa?

I love you
Asavakkit

Get well soon
Iluarsilluarina

Leave me alone!
Tassa eller asu!

Help!
Ikiunnga! Ikiortissannik!

Call the police!
Politiimik kalerriigitsi!

One language is never enough
Oqaatsit ataasiinnaat naammanngillat