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THIS IS THE HUB, THE GATEWAY TO ALL MY HANDKE BLOGS

and the dozen plus HANDKE-SCRIPTMANIA sites. I welcome thoughtful critical comments on literary matters and especially for the Handke-Yugo blog. Michael Roloff, June 2010, Seattle.

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IS THE OVER-ARCHING SITE FOR ALL HANDKE BLOGS AND ALL HANDKE.SCRIPTMANIA.COM SITES, THAT IS FOR THE HANDKE PROJECT AS A WHOLE. It will have one page with links to every page on each blog and for each page on each handke.scriptmania site. Michael Roloff

Wednesday, December 30, 2015

OPENING TEASE OF SUMMARY ESSAY ON READING HANDKE & HANDKE’S PROSE

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OF COURSE, I CAN ONLY SAY, AUNTIE'S BOOK REVIEW NEGLECTS"MORAVIAN NIGHT" THE BIG HANDKE NOVEL FORTHCOMING DECEMBER 2016 


PAR FOR THE COURSE, I AM AFRAID TO SAY:

HOWEVER, IF YOU LIKE, GIVE ME A FEW OF YOUR PAGES & I WILL DEMONSTRATE TO YOU AS HAS NEVER BEEN DONE THERE HOW IT IS POSSIBLE TO BE PARTI PRISYET ALSO DO A QUITE OBJECTIVE & CRITICAL ROUND-UP ON HANDKE'S ALL IMPORTANCE. 

FELIZ NOVEDAD



      SUMMARY ESSAY
ON READING HANDKE
 &
HANDKE’S PROSE

THE OCCASION:
THE U.S.PUBLICATION OF
MORAVIAN NIGHT”
HANDKE’S FINAL MAJOR EPIC:

-I-
What kind of reader am I in 2016, seventy-five years after my mother initiated me into deciphering signs (for vowels and consonants) that appeared on a wax magic writing pad and disappeared as you stroked a finger across cellophane (and what was that dark-gray, malleable mass of material beneath?), her Christmas gift to four year extra-uterine me in 1939.
Once I had the skill to summarize the letters into words and the words into sentences I started to be “grammartilized,” “syntactfied” you might say & began to be exposed to German newspapers at the start of WW II; that is, I started to be politicized, militarized and nationalized; while yet in my private quite isolated time, of which I had a sufficiency, I retreated into a world of fairy tales and sagas, and dreaming, wishes, fantasies.
The first great reading shock and projection, a few years hence, was Fridjoff Nansen’s The Voyage of the Fram, the account of that ship’s late 19th century imprisonment in Polar ice, which I, on reading, felt would crush the ship, and me: I had had a crushing and freezing experience at age nine months and felt imprisoned by a governess. 
Many years hence I would get a powerful drift on the ramifications of projecting. Yet what transpires in you and your unconscious during the act of reading does not necessarily puzzle you, once it becomes “automatic;” these happenings, even to the extent that they are concscious, tend to be taken for granted,
Reading proved as much of an escape as climbing trees, and opened vistas.
 Fairy tales and sagas cannot be said to be unrealistic versions of the world, yet they certainly are anything but naturalistic; they are summary, deep interpretations of family configurations and human animal qualities & afford discovery of yourself and of the world in those, in their terms… as you dream the childhood puzzlement of the world you find yourself in.          Eventually you encounter the word unconscious, to describe what has been transpiring in you, and you wonder whether it might be related to the mass of grey material beneath the cellophane that mystified you as a child & perhaps you concluded that if processes can be unconscious there must be a realm that can be said to be unconscious, the unconscious, which your conscious appears to be unable to decipher and have little if any control of, and which is as filled with surprises as the rest of the world, a kind of special and especially intriguing realm.
Thus, experiences in my childhood could be formulated in the following fashion: A wounded B-17 four engine bomber plane swooshing about 100 feet above our house was initially apprehended, its screeching engines and the shadow it cast, as the mythical Griffin, the huge fairytale bird that might snatch children off the ground the way raptors do small animals; inspection of its crashed mechanical entrails, a hundred yards further off in the woods, seeks to disabuse you of the persistence of the stubborn notion of the existence of Griffens, no matter that the notion proves to be a powerful communicating metaphor for what transpires in instances such as these, especially of course to those who also live in a world where fairy tale signifiers avail. A further childhood instance of this kind was when children were told not to ice-skate too close to the forest at the flooded and frozen meadows  because there resided the man who devoured children; and so we took the advice, but shortly found out that there had been a small camp in those woods that devoured “undesirables” before delivering them to be consumed at a larger camp, and by the time I started to write my first story, at age 12 -  of how Devil’s Hill had got its name – this way of sorting out the world in that kind of metaphorical fashion had become second nature in the accessible part of my unconscious and why about a decade later I would respond powerfully to Guenter Grass fairy tales Cat & Mouse and The Tin Drum.
 My first two sour years in the New Country again allowed for ample time for reading, a new literature, from the local library and from drugstore shelves, lots of material for a novice; and by the time of graduating from wonderful Quaker prep Oakwood school, with first rate lit teachers, my being was pretty much in tune with the then mainstream canon: Joyce, Lawrence, Hardy, Conrad, James, Hemingway, Steinbeck, H. M. Forster, and what I had and was to apprehend of Harold Bloom’s assembled Western Canon  http://www.interleaves.org/~rteeter/grtbloom.html#chaos Iwhich begins to look provincoially paltry once he ventures into languages other than English. An aesthetic education was well underway. I even knew the Anna Livia Plurabelle section from Funagain Finnegan by heart and was never to be the same! -  Also, I happened to have the good fortune of a stepfather a Shakespeare nut, with recordings of performances, also of Dylan Thomas, which introduced a feel for pacing and musicality into what I read, a preference for lyrical prose. – The darkness of Dostoyevsky was always within reach. but off to the side.
 Through college and the acquisition of other languages and graduate school & editing literature magazines and some acquaintance with the backwaters of literature, subsequent to a lot, if no end of wonders, it was not until I came on Peter Handke’s work, and happened to both translate and publish him and eventually read his later texts, and closely, that I began to have absolutely different and unique experiences, and not just with his plays but with certain of these texts – enumerate GOALIE/ TREP/AOWRITER/ ASH/NMB/ODNIGHT/SDG/ - experiences that alerted me to heretofore unimagined possibilities in the realm of what might be feasible in literary representation and affecting of readers in a variety of ways and I felt that I was at least fortunate in respect of these discoveries which I will now enumerate prior to homing in on the occasion for this essay, a detailed review of Handke’s last major epic, MORAVIAN NIGHT as translated into American English by Krishna Winston. 

II GOALIE
III-LEFT HANDED
IV-HOMECOMING
V – REPETITION
VI-AFTERNOON
VII-NO-MAN’S BAY
VIII-ONE DARK NIGHT
IX-SIERRA DEL GREDOS

X-MORAVIAN
Excursus on Reality & Autobiography
X-a-CORDULA
X-b-KOSOVO
X-c-NORTHWEST SPAIN
X-d-THURINGIA
X-e-

Friday, December 25, 2015

KEYS TO THE CITY OF BELGRAD!

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Handke: My place is with you

http://www.blic.rs/kultura/vesti/handke-moje-mesto-je-uz-vas/1qbdzz0
Belgrade is a city of bright, bright inside and outside, said the famous writer today in City Hall after he was on the town celebrates solemnly granted Charter.
Peter Handke in the City Hall signed a memorandum
- Belgrade is tragic city. The city was bombed three times in a century.But he and the city lights. Bright was inside and out. I once said that I belong with the tragic people. Now I tell my place in the tragic and bright city. Twenty years ago many major world media wrote that Belgrade is a dark place in the Balkans. Belgrade was not. A dark places were some other - said directly and charismatic, the Serbian language, Peter Handke addressing the audience in full ceremonial hall of the City Assembly.
Sincerely and touching at the same time, Handke mentioned that welcomes all people in Belgrade knew and met, such as Milorad Pavic, as well as those he met and got to know, but they are very affectionate and prices, such as Ivo Andric and Novak Djokovic . He commented afterwards how big and important may be the feeling of loyalty.
Serbian champion in the Champions League
In an interview with Tanjug on the question of good news from Serbia would have rejoiced, Handke said:
- Yes Serbian champion - Partizan and Crvena Zvezda - finally re-enters the Champions League final.
- I'll stay loyal to Belgrade. This recognition does not deserve it, but I accept it on behalf of my children - said Handke.
Previously, participants were greeted by about city celebrates spoke to the Mayor Sinisa Mali, who said among other things that the Ascension Day "symbol of progress," that "the glory of all citizens of Belgrade regardless of their religion," recalled that it is the glory of Belgrade in 1403, and Despot Stefan Lazarevic, and that was restored in 1992.
Solemn Charter honorary citizen of Belgrade famous writer Peter Handke presented the mayor of Mali and President of the City of Belgrade Nikola Nikodijević.
Sinisa Mali, Nikola Nikodijević and Peter Handke
The famous writer Peter Handke (1942, Austria) in the seventies, recall, his work ranked among the leading European writers. Nineties was the territory of the former Yugoslavia and wrote an essay, "Justice for Serbia" in which, among other things, talked about the fact that the Western world, when it comes to conflicts in the region concerned, should not only attacking the Serbs. He was considered a man of the Milosevic regime ... For his part, Wim Wenders filmed the famous movie "Wings of Desire", was awarded the Büchner Prize, the award "Franz Kafka".
"A mixture of myth and history: A disease that kills," he wrote in a drama "Ride shuttle type or a story for a film about war," which was to be set up a few years ago at the National Theatre.

Wednesday, December 9, 2015

2015 ROUND-UP OF HANDKE MAGAZINE POSTINGS

Follow summapolitico on Twitter[1-MAGAZINE]

[2-DRAMA BLOG]

[3-SCHOLAR BLOG]

[4-HANDKE YUGO]

[5-THE HANDKE WATCH]



=1=

http://handke-magazin.blogspot.com/2015/12/letter-to-new-yorker-about-their.html



http://handke-magazin.blogspot.com/2015/11/scott-abbbotts-translation-of-handkes.html



http://handke-magazin.blogspot.com/2015/11/handkes-moravian-nights-scheduled-for-d.html



THE F.A.A. "WUT" INTERVIEW!

http://handke-magazin.blogspot.com/2015/10/httpwww.html



http://handke-magazin.blogspot.com/2015/08/the-death-of-reading-call-for-discussion.html



http://handke-magazin.blogspot.com/2015/08/peter-handke-blickt-auf-sein-jahr-in.html



http://handke-magazin.blogspot.com/2015/04/peter-handke-ny-times-50-year-horror.html



http://handke-magazin.blogspot.com/2015/02/else-lasker-schuler-preis-fur-sein.html



http://handke-magazin.blogspot.com/2015/01/peter-handkes-aranjuez-to-be-done-at.html



======================

=2=

HANDKE DRAMA

http://handke-drama.blogspot.com/2015/01/theater-y-handkes-beautiful-days-of.html



http://handke-drama.blogspot.com/2015/03/aranjuez-comments-for-world-english.html



 http://handke-drama.blogspot.com/2015/06/american-aranjuez-discussion.html



http://handke-drama.blogspot.com/2015/10/handkes-kindergeschichteas-theater.html



=================

=3=

HANDKE SCHOLAR

http://handke-scholar.blogspot.com/2015/06/ubersetzt-von-peter-handke.html



http://handke-scholar.blogspot.com/2015/06/peter-handke-leben-ohne-poesie.html



http://handke-scholar.blogspot.com/2015/06/ceci-nest-pas-une-auto-traduction-zu.html



============

=4=

HANDKE YUGO



http://handke-yugo.blogspot.com/2015/05/handke-wettert-gegen-westliche-politiker.html
-======================



5-HANDKE WATCH

http://handke-watch.blogspot.com/2015/01/wenders-handke-at-museum-of-modern-art.html- 

==========================

Wednesday, December 2, 2015

LETTER TO THE NEW YORKER ABOUT THEIR NEGLECT OF PETER HANDKE

 HMS ROLOFF'S OPEN LETTER
 to 
THE NEW YORKER,
IN MATTER’S HANDKE

part I

Three & a half months ago I submitted a copy of my and Scott Abbott’s translation of your once author Peter Handke’s play
THE BEAUTIFUL DAYS OF ARANJUEZ






WIM WENDER'S
HAS COMPLETED FILMING ITS VERSION OF THE PLAY

But to this day we have no acknowledgment even of your receipt, nor to a reminder sent about ten days ago. After all, there was a time that the New Yorker ran Handke’s novella LEFT HANDED WOMAN in its entirety, as well as a specially designed excerpt from his novel THE REPETITION, as well as some translations of mine from his INNERWORLD OF THE OUTERWORLD OF THE INNERWORLD; and the opening section of the novel part of the tri-partite American A SLOW HOME-COMING albeit in its notoriously miserable  Mannheim translation that entirely misses its pathos and long breath. Those are the long ago days they are of you then poetry editor Howard Moss https://en.wikipedia.org/wiki/Howard_Moss
and whoever was chiefly responsible for the fiction.

 Here is what “Search” brings up in the New Yorker’s pages:

amongst which results is the impossibility - in 1953 Handke was an eleven year old regression-prone student at the priest trainer Tanzenberg - who had just written his first story entitled “My Fountain Pen”. I.e. there is something amiss at the New Yorker archiving function, when it claims that he wrote and published in 1953 a story


 OCTOBER 17, 1953 ISSUE

Sylvander and Clorinda


BY 



nor am I aware of a story of that title in his name.

The New Yorker also has a couple of fine reviews of his work, two, especially of the film LEFT HANDED WOMAN & a brief but fine take on his 2007 DON JUAN. I thought that John Updike’s unusually stupid piece on MOMENT OF TRUE FEELING where he berates Handke for being too influenced by the Grilled-Robbe was to be found here, but apparently not. In other words, none of the New Yorker’s fine fiction reviewers have had it in them to have a go at Handke’s MY YEAR IN THE NO-MAN’S BAY or CROSSING THE SIERRA. Nor any of its fine drama critics have had a gander at Handke’s KASPAR or RIDE ACROSS LAKE CONSTANCE or THEY ARE DYING OUT when these works premiered in my translation at B.A.M & Lincoln Center, or the Yale Drama School; or at Handke’s extraordinary HOUR WHEN WE KNEW NOTHING OF EACH OTHER, the only later play that the gutless faithless American theater folk have managed to premiere since 1979 – ARANJUEZ owes its premiere to the fine work of its Serbian-trained director Zejlko Dukich working out of Chicago. John Lahr and I talked about Handke during his London days and I have sent suggestions to him from these far away parts to follow up.

Currently – in “the days of Muldoon” –the New Yorker found itself unable to excerpt from Scott’s translation of Handke’s book-length poem TO DURATION, a book of the year in the TLS.

I am praying that what with Seagull Books doing most of Handke’s work Farrar, Straus will have the good sense to offer the New Yorker an excerpt of one or the other great sections in MORAVIAN NIGHT, now that this 2007 title is finally translated.
At any event, there has been nothing of Handke’s in the New Yorker’s pages FOR THIRTY LONG YEARS a period during which he wrote most of his mature work. I can only hope that this is not the case, as in so many others, that Handke took his own so much more intimately informed take on matters disintegration Yugoslavia than those American Balkan experts, Salmon Rushdie, Susan Sontag, and the sorriest of them all, a certain Delaruntay, or because a character in Handke’s great VOYAGE BY DUGOUT: THE PLAY ABOUT THE FILM ABOUT THE WAR


 makes a derisive mishmash quote that includes texts from the once New Yorker writer “Lauren Wexler”. Anyhoo, I hope.  And could go on at book length on that controversy See: handke.yugo blog
Sincerly,
Michael Roloff

My quarrel with the New Yorker in this regard is not on the scale as it is with Farrar, Straus

http://artscritic.blogspot.com/2015/04/summa-farrar-straus-roloff.html
  
or with the New York Times


or with  American theater.
See the various entries @:
 http://handke-drama.blogspot.com

part ii


*  I submitted a copy of my and Scott Abbott’s translation of your once
author Peter Handke’s play*

*THE BEAUTIFUL DAYS OF ARANJUEZ*


*http://handke-magazin.blogspot.com/2015/12/letter-to-new-yorker-about-their.html
<http://handke-magazin.blogspot.com/2015/12/letter-to-new-yorker-about-their.html>*

*In the mean & the while Handke might have won the Nobel Prize for
Literature*

*as his work most deservedly does*


*http://www.handke-nobel.scriptmania.com/
<http://www.handke-nobel.scriptmania.com/>*

*He was third or fourth at Ladebrokes in the betting!*

*And in the meanwhile*

*the New Yorker*

*has published its usual daily dozen plus chiefly** drivel commentaries on
the daily miseries*

*or the occasionally truly awful*

*such as *


*http://www.newyorker.com/magazine/2015/12/14/jelly-and-jack
<http://www.newyorker.com/magazine/2015/12/14/jelly-and-jack>*

*by dana spiotta*

*the first story in a long time that I actually managed to want to read to
the end if only to comment here:*

*where everyone is jerked off,*

*the narrator, the fish she hooked, and the reader*

*though, initially, the writing of a story *

*-that might have been termed*

*GOOD PHONE *

*30 years ago -*

*is promising*

*on that level of everyday authentic realism.*

*But it is a cop-out all the way,*

*the writer does not venture to imagine what might transpire if  and once
jack and jills mutual fantasies are disabused if they actually meet,*

*withal the narrator's ears as eyes' knowingness *

*of what Jack is up to she toys with porn but won't let us know her
pornographic imagination when she masturbates. it's prudish. *

*anyhoo,*


*from "miss lonelyhearts"*

*to this. *

*Leaves a bad taste here.*


*In the case where you declined my translation of Josef Winkler's
BUTTERCUPS*

*you at least had the courtesy to let me know.*

*I withdraw the Handke, also my story "Acute Otis Medi"a that you have had
 nearly as long.*

*Michael Roloff*



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MICHAEL ROLOFF http://www.facebook.com/mike.roloff1?ref=name Member Seattle Psychoanalytic Institute and Society this LYNX will LEAP you to all my HANDKE project sites and BLOGS: http://www.roloff.freehosting.net/index.html "MAY THE FOGGY DEW BEDIAMONDIZE YOUR HOOSPRINGS!" {J. Joyce} "Sryde Lyde Myde Vorworde Vorhorde Vorborde" [von Alvensleben] contact via my website http://www.roloff.freehosting.net/index.html