Daedalus and Forest
DAEDALUS: what is the hereafter?
THE FOREST: look inside the mirror of the world
walk into the mirror of the world
inside the mirror of the world I feel joy
in being annihilated inside the mirror
but Daedalus does not see nor hear the Forest
he keeps questioning the walls
DAEDALUS: I need a plan!
the Forest no longer answers
she turns away from Daedalus to help the morning rise
THE MORNING: nil nascent decent sanguine sun
I amass myself
let’s amamass ourselves
sun titan morning
THE FOREST: inverse averse reverse
TITAN MORNING: I am the earth before encountering ruse
you Daedalus do not contaminate me with ambiguity
I am the morning
you the forest tell me to start over
Dédale et Forêt
LE DÉDALE : qu’est-ce que l’au-delà ?
LA FORÊT : regarde dans le miroir du monde
avance dans le miroir du monde
dans le miroir du monde j’ai de la joie
à me faire anéantir dans le miroir
mais le Dédale ne voit ni n’entend la Forêt
il continue de questionner les murs
LE DÉDALE : il me faut un plan !
la Forêt ne répond plus
elle se détourne du Dédale pour aider le matin à venir
LE MATIN : néant sang naissant séant soleil
je m’amasse amamassons-nous
soleil matin titan
LA FORÊT : inverse averse reverse
MATIN TITAN : je suis la terre avant qu’elle ne connaisse la ruse
toi le dédale ne me contamine pas d’ambiguïté
je suis le matin
toi la forêt dis-moi de recommencer
By Anna Serra
Translated by Hellali Penanguer
Anna Serra: I am a writer. Through writing I explore, transfigure myself, look deeply into the sensuality of the body-universe; I let the questions emerge. Through these questions, I grow. My influences are a mix of all sorts of poems from around the world, of my Catalan roots, of the medieval era and its mystic writings, of the poets surrounding me but especially of the experiences to which I am introduced by a strong longing for liberation.
I pulse out the poems I write. I mean I use my voice, my body, and sometimes instruments and objects; it can also involve other musician-composers or sound poets. All that has been done in the last century in order to get poetry out of the book (sound poetry and poetry-action are the best-known terms) also inspires my rhythmic and scenic approach to text. I can be driven to explore or improvise sound and scenic writing sessions.
I have chosen to speak about pulsed poetry to shine a light on this living poetic practice which tries to feel both its own pulse and the cosmos’s at the same time. So far, I have inspired two collective adventures, aimed at offering sensitive strength to this practice: Radio O and the Revue Or, in augmented reality, which allowed visual and oral poetry to be known altogether. I am now growing an association of pulsed poets in a farm in the Morvan.
Hellali Penanguer: A translation student deeply in love with words, I find true satisfaction in taming their (non)sensical meaning, in transposing their nuances from one idiom to another by making the closest choices of colour among the multitude of palettes that language offers.
I am now exploring the field I want to work in, and I feed on each text, each poem, each short film, each creation put into my care. I find my true place in the role of ‘meaning-bearer’, creating a bridge between two worlds.