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Crevice Weeds Writings—«waifs of many a wreck»—motley and fragmentary writings—sketchy and faulty—failed, perhaps—unconfined—along the borders, upon the thresholds and into the chinks of literature, «as foam that the sea-winds fret»…

How To Dream Over a Map (Adventure Tales as Constellations, or James Oliver Curwood and Hugo Pratt as producers of «objet imaginaires»—Sixth Clipping)

Alessandro Zabini
How To Dream Over a Map (Adventure Tales as Constellations, or James Oliver Curwood and Hugo Pratt as producers of «objet imaginaires»—Sixth Clipping)
How To Dream Over a Map (Adventure Tales as Constellations, or James Oliver Curwood and Hugo Pratt as producers of «objet imaginaires»—Sixth Clipping)

Adventure novels bestow upon any reader the chance to call forth or create constellations of words and images which are like Pratt’s watercolors—maps to be contemplated—imaginative devices spawning images, associations and meanings—so that reading adventure tales and beholding pictures or illustrated dustwrappers, as well as to read poetry, are experiences going well beyond the enjoyment of craftily told yarns or artfully executed drawings—like staring into a catoptromantic mirror to open underworld gateways, or dreaming over a map, as Hugo Pratt declared: «Poi mi è cara un’altra cosa delle carte...

Reading As Constellation Making (Adventure Tales as Constellations, or James Oliver Curwood and Hugo Pratt as producers of «objet imaginaires»—Fifth Clipping)

Alessandro Zabini
Reading As Constellation Making (Adventure Tales as Constellations, or James Oliver Curwood and Hugo Pratt as producers of «objet imaginaires»—Fifth Clipping)
Reading As Constellation Making (Adventure Tales as Constellations, or James Oliver Curwood and Hugo Pratt as producers of «objet imaginaires»—Fifth Clipping)

I could trace many of the constellations wrenched from adventure tales that are ineffaceably impressed in the theater of my imagination, as any reader could do with relish, probably. However, a few haphazardly evoked images from the saga of Mefisto, mortal enemy of Tex Willer, will suffice as an example: the Hualpais, with their mysterious M-engraved medals and their blowpipes blowing poisoned darts from under flat rocks and stone slabs in the night desert; the blood letters cut on the bare breasts of the prisoners; the catoptromantic mirrors and lecanomantic echinuses of the evil wizard; a magic...

More Dreadful Than Gloom (The Green Window Sequence)

Alessandro Zabini

«In countenance she is wondrous like unto the immortal goddess» Homer (Translated by Theodore Alois Buckley) … somehow it is written somewhere … sometimes Cora … She / … / me … loved … never met her. Or not? Or looking from afar at an unknown one which otherwise might become a loved one … … aside & away, her face appears at ye green window, arise, show itself, loom … … wind throws ye half-closed window open, her presence fading away, her voice calling back just in time … … eyes of mine following her gaze, more appalling than dark, a light darting through the vault of heaven, dizzyness, fleeting...

Blue World Bridges Interlude—First Cut-Up Version (Liminal Park Sequence)

Alessandro Zabini

… end of a trail, over ye silent wooden gate / stars/sky/sea/ye otherworld island, goddess remains like the wind on ye literal word made void and ye nether gates opening here between ye worlds or so it seems / borrowed light / moon / supernal voices died in ye distance or reached by sailing from under ye sparse bushes like ye wind that blows … Liminal Park Crossway

«Cut-ups are for everyone»: Margin Notes to «A Cut-up Fragment Rearranged»—A Postlude

Alessandro Zabini

… gaze the world changes across the selection of sixteen cards / to this time track—for example I take in the worlds, but she also acts—irretrievably deranged into apply cut-up techniques, she looks down unto the crossway, a disembodied voice / & black typed rearranged sections … write the concomitance, monuments of a trip, repetition & rearrangements to move backward and forward on musical themes—nothing was easily sutton smith in le métro blanc, metabolic regulator / fuck you, last two novels, nova express and cadets. It is enough. The voice is long rusty railings on ye left, & extends to writing...

«Cut-ups are for everyone»: Margin Notes to «A Cut-up Fragment Rearranged»—Cluster the Third

Alessandro Zabini

… in order to understand or to remember, so as to arrange the card sequence in a new pattern and draw out of it an interpretation which might present its meaning in contemporary terms, she decided to apply the cut-up techniques created by William S. Burroughs … … the cards were laid out over the green sottomano, The Pictorial Key to the Tarot was placed on the bookrest and opened to the comment on the first card of the sequence, then the portable typewriter, a ream, carbon paper … … «copy, cut, fold, rearrange, transcribe, hear the disembodied voice» … … & black typed yellowed white sheets came...

King Arthur’s Sons: A Brief Summary With References

Alessandro Zabini

Nei testi arthuriani più antichi si trovano accenni ad alcuni figli di Arthur. La Historia Brittonum , composta forse intorno all’anno 800 da un monaco gallese chiamato Nennius, ricorda un figlio di Arthur, di nome Amr, la cui tomba meravigliosa, situata in una regione chiamata Ercing, presso una sorgente chiamata Licat Amr, era inclusa fra le Mirabilia della Britannia, giacché ogni volta che veniva misurata, e chiunque la misurasse, non aveva mai le medesime dimensioni. Nello stesso passo (Historia Brittonum, 73), si legge che fu proprio Arthur a seppellirvi il figlio, dopo averlo ucciso. Nei...

Note a «Intermezzo paradisinfero» (AVALON: Appunti d’invito alla lettura)

Alessandro Zabini

Oltre ai passi elencati di seguito, ho utilizzato Goffredo di Monmouth, Goodrich, Markale, Pomponio Mela, Seppilli. Citazioni. Graf, pp. 16-18, 25-27, 101. Pomponio Mela, De Situ Orbis, III, 6. Pound, Cantos, I:3. Markale, p. 253. Seppilli, p. 480. Goodrich, Ginevra, p. 168. Markale, p. 250. Intermezzo paradisinfero Indice Riferimenti bibliografici

Shapes of Isobel (Adventure Tales as Constellations, or James Oliver Curwood and Hugo Pratt as producers of «objet imaginaires»—Fourth Clipping)

Alessandro Zabini

Her face was pale and haggard now, but she smiled at him. Her eyes never left his face. They were dazzlingly blue in the firelight. It was the blue flower Billy had given her. But now its petals were torn apart, and nine of them lay in the palm of her hand. «It can’t go with one.» She spoke softly and the smile died on her lips. «There are nine petals, three for each of us.» She gave three to her husband and three to Billy, and for a moment the men stared at them as they lay in their rough and calloused palms. Then Billy drew out the bit of buckskin in which he had placed the strands of Isobel’s...

«Cut-ups are for everyone»: Margin Notes to «A Cut-up Fragment Rearranged»—Cluster the Second

Alessandro Zabini

… Paris, August, 1979 … … a bookstore in Boulevard St. Michel deliveres a treasure trove, a silver & green gateway is opened, a threshold is crossed, & going back is hampered forever … … fluttering eyes & fingers skimming & leafing through Oeuvres Croisée, «premiére publication» of The Third Mind, a «manual of elementary illusion techniques», whose unforgettable beginning is as follows… «Not much time left on set… «… officer sitting there in the attic room, late-afternoon shadows against his back. He is sitting at a desk on which we see a portable tape recorder, a portable typewriter, ledgers,...

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