Ron Padgett, "Joe Brainard's Painting Bingo" & "The Austrian Maiden"
LISTEN TO THE SHOW
Al Filreis brought together James Berger and Richard Deming (who traveled together from Yale) and Sophia DuRose to talk about two poems by Ron Padgett. The poems are “The Austrian Maiden” and “Joe Brainard’s Painting Bingo.” Our recording of “The Austrian Maiden” comes from a February 26, 2003, reading Padgett gave at the Kelly Writers House; the poem had just recently been published in Padgett’s book You Never Know (2002). The recording of “Joe Brainard’s Painting Bingo” — a poem published in Great Balls of Fire (1969) — was performed at a November 20, 1979, reading given at a location that is now (sadly) unknown. That reading in its entirety is available at Padgett’s PennSound page; the recording comes to us courtesy of the Maureen Owen Collection of Greenwich Village Poetry, now housed at the Yale Beinecke Rare Book and Manuscript Library.
April 17, 2024
Translation as step outside time
That’s Maurice Blanchot, from the start of his Le pas au-delà, translated by Lycette Nelson as The Step Not Beyond twenty years after its French appearance, in a strange bit of torquery that at times infects English, for the title would be more literally translated as The Step Beyond/The Not-Beyond. At first sight. Lycette Nelson, in her introduction, was well aware of the problem of the sound wave and its oscillation. For, with “pas” being “step” and negation, the second particle of negation placed “au-delà”, on the far side of, the verb (the first particle, the “ne”, is found in French on the near side of the verb, rubbing up against the subject), I understand her desire to insert a “Not” in the title beside “Step”. But the dual meanings, in Blanchot, work in self-obliterating oscillation, and do not cohabit shared space-time. The Step into the dark, the no-life-after-death. Deepstep Come Shining, as CD Wright might have titled it.
Except, in all these cases we lose the sonority of Blanchot’s title, its playful sound, which could be rendered perhaps as The Pim Pam Man. In French, the sonority and repetition, the clipped syllables, however unrelated they are to meaning, inevitably infect the meaning, and point us to the absurdity of the title, to its instability. Out of Step Way Out.
In Spanish, Cristina de Peretti translated the title as El Paso (no) más allá. Following her example, could we say The Step (Not) Beyond? But this destabilizes too far; the grasp the reader in French has on the words and alternation of meanings is now far too lost in graphisms.