bein' contemporary (and thus temporary) casting back trawling back to sound >... and the Queen of DaDa
Baroness Elsa von Freytag-Lorington 'Queen of DADa'
k
k
k
Ildrich mitzdonja—astatootchNinj—iffe kniek —
Ninj—iffe kniek!
Arr—karr —
Arrkarr—barr
Karrarr—barr —
Arr —
Arrkarr —
Mardar
Mar—doorde—dar —
Mardoodaar!!!
k
k
Elsa von Freytag-Loringhoven, “Klink—Hratzvenga (Deathwail),” The Little Review 6.10 (March 1920), 11; in Body Sweats, 180.Aggnntarrr—nnjarrre—knntnirrr —
Eigasing—kjnnquirrr!
Hussa—juss—huss—jalamund —
Mund—avnurrr!
Narre—tnarrr—tarrr
Ornaksin—eigasing—lahilu!
Lihula—halljei—alsuiiii —
Jalamund—mund arrrljo-i-tuuu!
Ooo—ooo—acktasswassknox —
Orljfo—eigasing—ornimachtu!
Jass—hass—wass must—
Mustjuamei—jalamund—mund odajmi!
K
K
K
Elsa von Freytag-Loringhoven, “Duet: Eigasing Rin Jalamund,” Body Sweats, 181–83.Who was she...?
'Like no other’s, the Baroness’s corporeally-charged sound poetry embodied the Dada motto of The Little Review: “Making no compromise with the public taste.” A maverick who consistently confounded the boundaries of life and art, the Baroness was known for her remarkable do-it-yourself art aesthetics, adorning her body with objects and self-made costumes, while also producing mischievously titled assemblages made from junk she found in the streets. But it was her sound poetry that provided a touchstone that created a neat division between mainstream critics who dismissed the Baroness as insane, and her admirers who championed her precisely because they recognized in her practice the promise of a new corporeal language'.2
“Harpsichords Metallic Howl—”: The Baroness Elsa von Freytag- Loringhoven’s Sound Poetry1
Irene Gammel and Suzanne Zelazo from Modernism / Modernity volume eighteen, number two, pp 255–271. © 2011 The Johns Hopkins University Press
... more poems published here in Jacket
... for the sound ...
No comments:
Post a Comment