{"id":14060,"date":"2023-08-21T16:59:01","date_gmt":"2023-08-21T21:59:01","guid":{"rendered":"https:\/\/www.lavenderink.org\/site\/?post_type=product&p=14060"},"modified":"2024-06-02T17:24:45","modified_gmt":"2024-06-02T22:24:45","slug":"yellow-otherwise","status":"publish","type":"product","link":"https:\/\/www.lavenderink.org\/site\/shop\/yellow-otherwise\/","title":{"rendered":"Yellow Otherwise"},"content":{"rendered":"

Nicolas Pesqu\u00e8s<\/a><\/h1>\n

Translated by Lee Posna<\/a><\/h2>\n

Yellow Otherwise<\/h3>\n

(The North Face of Juliau, 17)<\/p>\n

ISBN:978-1-956921-20-5\u00a0<\/span>(paperback) 978-1-956921-23-6 (case bound, limited)<\/p>\n

March 16, 2024
\nCase bound limited edition available while supply lasts.<\/p>\n

\n

 <\/p>\n

 <\/p>\n

In Yellow Otherwise<\/em>, the first translation of a complete volume (the seventeenth) of The North Face of Juliau<\/em>, we revisit Pesqu\u00e8s at work nearly a decade after Cole Swensen\u2019s last engagement. Nothing and everything has happened in the intervening pages. The work of seriality involves an inexhaustible distillation; it\u2019s a process that progresses toward itself, produces the processual. La Face Nord<\/em> proceeds by dated entries, dates along a lifeline, the seriality of life itself. The signature of this seventeenth volume is Pesqu\u00e8s’s procedural intertextuality, the ambivalent dialogue he conducts with citation throughout the text. As he writes in the \u201cApr\u00e8s Coup\u201d (which appears at the start), quotations act as coordinates or landmarks by which he navigates his navigation: they \u201cpoint-mount the hill to the page; their filters are hoisted and saluted\u201d. So too are quotations \u201cbanderillas stuck into writing, which excite and inflame it\u201d; and again, the words of others (poets, artists, theorists) constitute a kind of violent embrace to be resisted: \u201cBreaking free from the quotation\u2019s strongarm, overthrowing its acuity, its clairvoyance. Writing to escape being swallowed whole\u201d.<\/p>\n

 <\/p>\n

Juliau\u00a0is an\u00a0aventure<\/em> embarked upon over forty years ago that will comprise nineteen volumes in total, the last scheduled from Flammarion in February, 2024. Cole Swensen paved the anglophone road to Pesqu\u00e8s\u2019s infinite mountain, translating hundreds of pages of La Face Nord<\/em> collected across three volumes published between 2007-16. In Juliology<\/em> (Counterpath, 2008), Juliau\u2019s perennial protagonists\u2013hill, sentence, (English) broom, (its errant, intense) yellow\u2013emerge, as ever, in lines that evoke the continuous phenomena of a \u201csentence that\u2026raises the hill\u201d, a \u201cwealth of twist and flex\/in headstrong yellow\u201d\u2013\u201da hyper-ripe yellow propagating from yes to yes\u201d. In \u201cclipped, enigmatic phrases\u201d like these, Swensen writes in 2011\u2019s Noise That Stays Noise<\/em>, Pesqu\u00e8s \u201cexplores the intricate and innumerable connections between man and world\u201d. Memory, oblivion, death, night, presence, color, composition, expression, Blanchotian abyss and otherwise, the intransigence of language and world, our impossible and ardent negotiations between them\u2013these are Pesqu\u00e8s\u2019s themes, gathered around a mountain, as C\u00e8zanne\u2019s vision is gathered around Mont Sainte-Victoire. Indeed, Pesques, a prolific art writer, is a keen student of the Provencal master. He inaugurates the adventure of Juliau<\/i>, begun a lifetime ago, with the subtitle,\u00a0Tombeau de C\u00e9zanne.<\/em><\/p>\n

 <\/p>\n

About the Author<\/h4>\n

Nicolas Pesqu\u00e8s was born in France in 1946, and has been publishing poetry since 1971. Besides the Juliau series, which has appeared in several editions from Andr\u00e9 Dimanche Editeur and, more recently, Flammarion, books include Trois po\u00e8mes (Three Poems)<\/em>\u00a0from Edition du Limon, 1995, and several works of literary and art criticism, including books on the work of visual artists Gilles Aillaud, Anne Deguelle, Jan Voss, and Aur\u00e9lie Nemours, and on the poet Jacques Dupin. He divides his time between Paris and the Ard\u00e8che.<\/p>\n

 <\/p>\n

About the Translator<\/h4>\n

Lee Posna is the author of Arboretum<\/i> (Head & the Hand, 2016) and translator of S\u00e9bastien Smirou\u2019s A Time for Embracing<\/i> (Compound, 2023). He coedits the Winter Anthology and is a candidate at the Institute of Contemporary Psychotherapy in NYC.<\/p>\n

\n

From the Introduction to Physis<\/em> (Parlor Press), by Cole Swensen<\/h3>\n

\u2026 Juliau is a mountain in the Ard\u00e8che in the south of France, and Pesqu\u00e8s\u2019 window looks out on its north face.\u00a0He started writing this series about twenty-five years ago with\u00a0the expressed intent of doing in words what C\u00e9zanne did with\u00a0Mount St. Victoire in paint. What was C\u00e9zanne doing with\u00a0that mountain? On the one hand, trying to grasp change. We\u00a0all know that the world changes, yet somehow never get to see\u00a0it doing so, but could that change be captured in the interstices\u00a0of numerous images? Which brings us up against the question:\u00a0is an image necessarily static? Or is there a way of rendering\u00a0images that can capture their motion as well? We think of the\u00a0motion picture, which we all know is composed of single images\u00a0simply passing very quickly. Or so it was thought upon its\u00a0invention toward the end of Cezanne\u2019s life.<\/p>\n

In our own era, however, we have quite a different understanding,\u00a0and different ways\u2014digital and video\u2014of capturing\u00a0an image in its actual flow. But have we gotten any closer\u00a0to capturing change, or even the object itself? Can the poetic\u00a0image manage these feats that the visual image cannot?<\/p>\n

Perhaps, but like C\u00e9zanne\u2019s work, Pesqu\u00e8s\u2019 also has a crisis\u00a0of presence at its core, though it\u2019s a crisis that\u2019s meant to be\u00a0enjoyed; it is crisis brought to a ringing pitch that translates to\u00a0vividness, and this in itself increases the chances of presence.\u00a0We are tricked, in lucky moments, into falling through the\u00a0gaps\u2014between brush-strokes, between words\u2014into our own witnessing of the act of recording, and then this is the mountain to which we have been brought\u2014not the mountain that is\u00a0perceived, but that of perception itself.<\/p>\n

\u2026<\/p>\n

from:<\/p>\n

Physis<\/em><\/a>
\nNicolas Pesqu\u00e8s
\ntranslated and introduced by Cole Swensen<\/p>\n","protected":false},"excerpt":{"rendered":"

Nicolas Pesqu\u00e8s
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