AIR at M Leuven 2023
Albertina Sisulu Ave, Johannesburg. April, 2023.
EACH A LOOSE PAGE COPIED
◝◝◝ You picked up my empty cup to read the leaves, the porcelain still speaking warm breath on a frosty day. You read it out, my fortune, describing images from the debris. There is an oculus – Rome will be somehow significant. And a bundle hanging from the roof, writhing, a sort of superorganism. Tides ever rising, of course. Someone with blue eyes… And at that, you’ve lost me. It’s a fine guess and a plausible story but when I reach for my cup after you leave I see it there, the little sticks arranged into a jaunty alphabet. Like a foal just learning to walk, or people on the beach at sunset using their bodies to spell ‘LOVE’, altogether too many knees and elbows but nevertheless there it was, improbable, legible, word for word.
◝◝◝ I’d left our time together thinking that it might not be a bad idea to try out taking a vow of silence. At least for a short while. And I did try, but this change in the atmosphere made my clouds heavier and heavier until they snowed, blanketing the pavement where you stand like a compass, waiting for me to arrive, drawing your circumference with your toe.
◝◝◝ Maybe this is it, the road I take to arrive at words. A left into the cul de sac. Word and image alike can feel like a person’s mostly, their sensory experience, their cerebral one, at the door ready to meet you. For if you weren’t there, well, there is always plenty to do inside and they’ll keep themselves busy until you ring the bell. Language hangs between the coats and scarves.
◝◝◝ Mahogany L. Browne:
If I can write
I do
if I can write
I do
I can write
I do
◝◝◝ She described it as wanting to hold more moments between us. Unspoken moments, therein implied.
◝◝◝ Two posters sit at a table. One says Lost, the other Desperately Seeking. They’re both optimistic, animated and present and keep interrupting one another. At one point, one of them knocks over a glass of red wine, and it spills into the other’s lap, making the copy run, and as time goes on this one begins to look wilted and mushy like a biscuit held a second too long in tea. When they get up to leave they see that one’s number has been distorted beyond legibility, and the other’s tear-off tabs have all been taken.
◝◝◝ I’d placed my call outside the supermarket, on the pinboard. It had been fine at home when I’d practised it to myself, but here in the cacophony, I noticed how soft my voice really is. Each time someone walked past we’d all strike up, asking questions, making offers.
◝◝◝ You told me you’d learned a new trick. To move. You got to catch their eye by going like this, you told me, standing up and doing a jagged body wave, holding onto an imaginary pole with one hand. Don’t start with the chorus, it’s about creating apprehension. Kga kga kga! A snapping percussion. You’ve to make yourself stand out. Does it work though? I mean, overall there’s a decrease in quantity, but when someone does come over, they’re really quality. Like, they take the time to read and everything, they take a picture with their phone. You look like a raggedy flag, probably long expired, I say. Says you, eyebrows raised, head cocked slightly, and at that, perfectly timed, your phone starts vibrating in your pocket.
◝◝◝ After the troposphere changed, sounds ceased to carry in the same way they once had. We had all taken to walking around with mouth trumpets, cone-shaped amplification devices to help our voices carry. I had several in different sizes and would pick one depending on how great my audience would be on any given day. Still, they were an imperfect solution and gave their own set of problems. For one, the words would still fall, and begin to build up on the inside. We prolonged the use of each cone by rotating it incrementally, a bit like drinking a cappuccino from different points around the rim to get all the foam, but in reverse. We’d use them until the sediment obscured fresh speech, and then flatten them out and throw them away.
◝◝◝ Back of the bathroom door
University
Womens’ toilets
Egg donation
Up to R20000 reward
◝◝◝Learn the guitar today. Puppies for sale. A moving company. Computer and phone repair. Homme à tout faire. Domestic worker. Trailer to rent. Reiki. English tutor. Missing papegaai. High school choir concert. Open house this Sunday. Driving lessons, guaranteed success. Plow rental. Housekeeper. Have you seen this man? Wanted by police. Roll-on lawn. Babysitter with years of experience. Apartment for rent. Running club. Warning! If you see him call 083870244. The dog’s name is DJ Chien. Donate your eggs. Have you seen this woman? REWARD
◝◝◝ ‘The public, the passerby, the person on the street. To whom it may concern. For your attention.
◝◝◝ Beyond all those words, there were three implicit questions:
Did she jump?
Did she fall?
Was she pushed?
◝◝◝ REWARD
______________________________________what are curly banners
Curly banners, often characterized by their flowing and ornate curves, are commonly known as “cartouches” in the context of art and design. Cartouches are decorative elements that resemble elaborate, scroll-like shapes, often featuring intricate and artistic designs. They have a distinctive oval or oblong shape with curved ends and can be found in various forms of visual art, including paintings, engravings, illuminated manuscripts, and architectural ornamentation.
In historical artworks, cartouches were frequently used to surround and highlight important text, such as titles, names, or inscriptions, making them stand out and lending an air of elegance to the composition. These decorative features were particularly popular during the Renaissance and Baroque periods, where artists employed them to add aesthetic appeal and embellishment to their creations.
______________________________________what is the urge to write
The urge to write is a profound and intrinsic human inclination.
______________________________________how old is the urge to write
The urge to write is an ancient aspect of human history, dating back tens of thousands of years to the emergence of written language around 10,000 to 12,000 years ago.
_______________________what if what is read and interpreted is met by the illiterate
For individuals who are illiterate, written information may be incomprehensible, and they may be reliant on other forms of communication, such as oral storytelling, visual cues, or gestures, to access and share knowledge.
booksmarts by the streetwise.
Via Hannah Walton, 2023.
Paris, 2022.
WHY DAD IT WAS VERY SAD / IN MEMORY OF SANKE NATHAN KOTLOWTZ / MY FATHER WROTE / TAKE NOTE / I FOLLOW IN MY FATHERS FOOTSTEPS / HE WORKED ON PILLS IN DARLING IN 1950 WITH HIS DEAR SISTER PHILLIPS AND CRACKED THE PARKINSONS GERM / I QUOTE HIS POEM LIKE A POWERFUL STONE / IN RIPPLES / I CAST A STONE INTO A POOL AND WATCHED THE RIPPLES FADE HIS SON A TRUE BLUE POET I AM MAKING WAVES / AND HE NATHAN ENDS / OH G-D / LIVE STONES DAVID KOLTOWITZ / YOU HAVE MADE / DATED POEM MAY GOD BLESS THE HOME / TUESDAY 14TH FEBRUARY 2023 YES DAVID MELEOH YISROEK KING DAVID GODS HANDS MADE US LET THERE BE NO FUSS!
Rosmarie Waldrop
Berlin, 2022.
Berlin, 2022.
Johannesburg, 2023.
Georges Perec, Species of spaces.
Johannesburg, 2023.
Svetlana Alexievich
On the Battle Lost
“Flaubert called himself a human pen; I would say that I am a human ear. When I walk down the street and catch words, phrases, and exclamations, I always think – how many novels disappear without a trace! Disappear into darkness. We haven’t been able to capture the conversational side of human life for literature. We don’t appreciate it, we aren’t surprised or delighted by it. But it fascinates me, and has made me its captive. I love how humans talk … I love the lone human voice. It is my greatest love and passion.”
“It always troubled me that the truth doesn’t fit into one heart, into one mind, that truth is somehow splintered. There’s a lot of it, it is varied, and it is strewn about the world. Dostoevsky thought that humanity knows much, much more about itself than it has recorded in literature. So what is it that I do? I collect the everyday life of feelings, thoughts, and words. I collect the life of my time. I’m interested in the history of the soul. The everyday life of the soul, the things that the big picture of history usually omits, or disdains. I work with missing history. I am often told, even now, that what I write isn’t literature, it’s a document. What is literature today? Who can answer that question? We live faster than ever before. Content ruptures form. Breaks and changes it. Everything overflows its banks: music, painting – even words in documents escape the boundaries of the document. There are no borders between fact and fabrication, one flows into the other. Witnessеs are not impartial. In telling a story, humans create, they wrestle time like a sculptor does marble. They are actors and creators.
I’m interested in little people. The little, great people, is how I would put it, because suffering expands people. In my books these people tell their own, little histories, and big history is told along the way. We haven’t had time to comprehend what already has and is still happening to us, we just need to say it.”
https://www.nobelprize.org/prizes/literature/2015/alexievich/lecture/
The Good Story. JM Coetzee and Arabella Kurtz
Chamonix, 2022.
The Book of Disquiet by Fernando Pessoa
Brussels, 2022.
Mallo Agustín Fernández, 2014. Nocilla dream, Alfaguara.
Brussels, 2022.
Brussels, 2022.
The Care Manifesto: The Politics of Interdependence by The Care Collective
Paris, 2022.
Autobiography of Death by Kim Hyesoon
Johannesburg, 2022.
Mallo Agustín Fernández, 2014. Nocilla dream, Alfaguara.