coming soon : Experiencing the Radical Body

Please take a look at our crowdfunding campaign & help us send the “Experiencing The Radical Body” issue to the printer! Please note that there is NO private or public funding for cultural journals in Greece. That’s why your support is critical and appreciated!
http://gogetfunding.com/experiencing-the-radical-body/

As the poet, professor and critic, Chris Nealon, said: “A GLIMPSE OF gives a great picture of developments in writing and visual art, from the perspective of one of the many ongoing austerity crises around the world.”

A) GLIMPSE) OF) took part in the second edition of the Printing Plant Art Book Fair in Amsterdam (2019), and in the first edition of the Athens Art Book Fair (2019).

The “Experiencing The Radical Body” is edited by Dimitra Ioannou and Rebecca Wilcox. It features new

• poetry by Vahni Capildeo, Sasha Dugdale, Katie Ebbitt, Anna Gurton-Wachter, Lotte L.S., Mira Mattar, So Mayer, Diana Manesi, Amy McCauley, Gizem Okulu, Eleanor Perry, Vassiliea Franck-Lee Alli-Tis Stylianidou, Rebecca Wilcox, yarrow yes woods

• prose by Stephanie Young
• artworks by Caroline May, and Nana Sachini
• a Narrative in Progress by Eva Moreda

• columns by Louisa Doloksa, Kyriaki Goni, and Dimitra Ioannou
and more!

You may also preorder the issue on our site: https://aglimpseof.net/paper-aglimpseof-4/

THANK YOU!

Corinne A. Schneider

After Spider Dance

La Tarantella is a southern Italian ecstatic folk dance, traditionally performed by lower class women, midwives, eccentrics and others at the margins. Groups of couples now perform it at weddings.

I started seeing scratches under women’s eyes
          Some of the women
          tired from too much seeing
          scratches & their absence of inner thigh
Spider curled in a white rose
Animal souls          cut flowers          a raindrop
a buzzing          Why don’t you
just break my neck already?

Tiger lily          How many calories?    
Maybe twenty
gilding the lily          Brushing my hair is
a mutilation       Well, of course you engender
sexual obsession in others,
your many lovers
       That’s why you
could never cohabitate, you’d run out
of little outfits

Mosquitos finally come a callin’ this summer  
Baby bok choy bolting
          up the center          Fuck those white sheets          police helicopter
          star of the sea
You can get into a rhythm
Eyes on everything
Season of lightness
Taking your dreams away

After Spider Dance, II

Are you
a weaver like me?
Maybe you could heal me       Feed me nuts & berries
lichen tincture
essential medicine
so my bones grow  
I can tie
my bones together       I know how
to mate fully without bearing children
copious and empty
Smile at me at la clinica
I’m drunk enough now
to tell you about Rochelle
my across-the-street 2nd grade neighbor
whose mother was always away
Rochelle taught me how to masturbate
in the basement by straddling inflatable pool toys
Her mother’s face in the gold hand mirror
in the dark peach bedroom
looking away  
This is the thing
about not ever needing anyone  
all your secrets are your own
Watch them
bead up like dew



Corinne A. Schneider is a working poet from the Great Lakes / Rust Belt of the US. She writes poems, essays and other ephemera from the House of Sex, Death & Taxes. Her work has recently appeared in Bone Bouquet, Tinderbox Poetry Journal, Queen Mob’s Tea House, Coldfront Mag, and So to Speak.  She lives in Washington, DC with her cats and partner and writes about international solar energy markets for a living.  

DAVID FELIX

Phylum






Bell rung




Ampersand





David Felix is an English visual poet who lives in Denmark. For fifty years or so his writing has taken on a variety of forms, in collage, three dimensions, in galleries, festival performances and video and in over thirty publications worldwide, both print and online. Born into a family of artists, magicians and tailors he still maintains a professional working relationship with a life model, the materializing lady and a fitting assistant.

AMY MCCAULEY

Libido Fever

do you love me enough to ruin my life & / or lay me out
sparingly I / my desire only increases not mine you said I had to
grieve so I will do my best but / I want to happen like there’s no
such thing as repetition or / [did we really love without asking
whether we knew how not to hurt / who hurt / who knows each
other & / or oneself who / knows] // pause // but tell me why do
you dance & who are you dancing for [shut up you sleaze
okay / okay / okay] // pause // I took care , you see , to fill my
life with such miserable intimacies I didn’t feel what / well /
appalled at what / [who] / how I did but did I ever know desire
until now [look , it’s only grief dressed up in gladrags & how it
parades its stench of meats & spills the double-backed bedbeast
verily steaming down its plinth! I / I should really send you a
long way away you poor incendiary thing o , a thing to hold on
to like pleasure] // pause // now I shhh tread softly to the
downbelow devices & trawl your extant hungry smudges in the
bawled-all-over & trembling [o , the traps you set for my
cheapness / such is the failure of sincerity o , & the parapet of
your affect!] // pause // now / now / now the curtain rises & all
your dreams go public on a million infamous nobodies [you
must not cry / it is forbidden to cry] & may this wanting you
stop / never stop but Christ how lonely the living are in the
early faces dawn talking god / soaps / war & all privacy is
theft / against your will / my will / nothing like life // pause //
why won’t you come home & give me your love-diseases


without which not

the time I let my mouth out was a very bad time & in some
things Ma had a point but god knows she made that point with
an aggregate rage like / rage was a matter of fact thing or the
raft she clung to or the ultimate state of existence & / yes
according to her I had no business with things like feelings & in
that respect hers was a hit & run love or a bloody oil & knuckle
affair or // pause // a wound yes if anything Ma was a wound
the kind I was going to say that “keeps on giving” but can a
wound give / well if it gives I suppose it secretes which is
another way of saying displays & conceals for what is a Ma but
an impeccable mystery or allegory or // pause // the perpetual
suggestion of some unmentionable thing & its simultaneous
withholding or the answer to a question she devises under her
film which discharges / seeps / expels / oozes & if only this
weren’t the morning after the lifetime before & if only
the mouth weren’t a very bad time but it gives o yes it / gives but
when I say gives do I really mean takes & when I say wound do
I really mean // pause // & it helps to know what things are like
if only to feel the gap in the middle like // pause // simile were
an infinite generator of wounds / secretions / rages & the more
she takes the more she gives & what is a wound but that which
cannot wound itself



Amy McCauley works as Editor of Creative Response for the feminist visual arts website MAI Journal. She is interested in trans-genre writing, auto-frictions and feminisms. Amy’s first collection of poetry ‘Oedipa’ will be published by Guillemot Press in 2018.

(PAΓIΣMENH) ΣΦIΓΓA . (CRACKED) SPHINX

του Aντώνη Kατσούρη  .  by Antonis Katsouris

AKatsourisCrackedSphinx

ΛEΞEIΣ-ΣYNΔEΣMOI: Pαγισμένη Σφίγγα

WORDS-LINKS: Sphinx fissuré

ΣHMEIΩMA  .  NOTE

Κοσμάς Νικολάου . Kosmas Nikolaou

ΜΙΑ ΑΣΚΗΣΗ ΦΥΣΙΚΗΣ ΑΛΥΤΗ . AN UNSOLVED PROBLEM IN PHYSICS EXERCISE

ΛEΞEIΣ-ΣYNΔEΣMOI: μια άσκηση φυσικής άλυτη


WORDS-LINKS: an unsolved problem in physics exercise

aglimpseof 02 . FUNERAL PARADE OF ROSES

FROM “DESERTING” TO “ARTIFICIAL”

JANUARY-MARCH 2010

SOURCE TEXT: The script of the movie Funeral Parade of Roses by Toshio Matsumoto.

CONTENTS:

• The scenario At the temple of sad stories by Dimitra Ioannou is linked to the word “fake”

• The photo Is it a rose or is it a mirror? by Cateryna Kosty is linked to the word “mirage”

• The photo When (your) love was green by Antonis Katsouris is linked to the word “garden”

• The collage Queen by Vassilis Salpistis is linked to the word “queen”

• The drawing Beautiful, Eddie by Irini Karayannopoulou is linked to the word “beautiful”

• The image Deserting by Angela Mewes is linked to the word “deserting”

• The image Eddie by Angela Mewes is linked to the word “Eddie”


aglimpseof’s second issue begins with the script of the movie “Funeral Parade of Roses” by Toshio Matsumoto (Tokyo, 1969); a“mosaic” of dialogues, recollections, interviews, thoughts, comments, lyrics and quotations that was made by free association so as to create a psychedelically blurred narration. “The story doesn’t unfold along a single strand of linear time”, as Matsumoto himself points out in his commentary track which is included on the DVD release of the film by Eureka!/Masters of Cinema (http://www.eurekavideo.co.uk/moc/).

“The theme of blurred outlines becomes a central motif in the film. The fact that boundary lines are not delineated and that the definition of things is unclear. In other words, things are separated down the middle by boundary lines and this system of demarcating various things in the world was created entirely by human beings. So this means that when the standards and criteria imposed on the world become less exact, our way of looking at the world becomes more blurred. Therefore, objectivity and subjectivity, male and female, fiction and reality, all these definitions become blurred. I think you can understand the issue here is that we were in an era when our world which has been adjusted to fit according to our ideas no longer seemed so fixed and inflexible. I suppose we could call this vagueness, this haze a kind of fissure in the world.”

PS. The asterisks are used to indicate the scenes; tiny fragments with no chronological order that you may read in a fragmented way if you find the text too long (which is).

Funeral Parade of roses by Toshio Matsumoto

I am the wound and the blade, both the torturer and he who is flayed.1

– It’s a beautiful day.
– It’s too bright.
– Is that OK?
– Yes. I don’t like the sun.
– You’re like an owl.
– Oh, no. Pass me that.
– Do you like my muscles?
– Can you lift the chair?
– Of course I can.
– Can you do my back up?
– How do I look?
Beautiful, Eddie.
– Do you like my hair down or up?
– Either way.
– I hate to leave you.
– Don’t quit the bar.
– I have to.
– Give me time. I’ll make Leda quit the bar. Then you’ll be the proprietress.
– She’ll want revenge over the dope.
– Damn Leda!

*

– Do you want a cigarette?
– That was Leda.
– No.
– It was.
– Don’t look back.
– Was she following us?
– Nonsense!
– But it was Leda.
– What will she do?
– Nothing.
– I’m scared.
– Damn Leda! If she acts funny…
– Don’t say anymore.

*

– Your hand. Everybody, your hands, please!
– What is it?
– Open your hand.
– What’s this?

*

– You look exactly like a girl. How long have you been a queen?
– For four years.
– Why did you decide to become a queen?
– I wanted to be a girl. I like it.
– You like girls?
– No, I like to behave like one.
– Does it satisfy you?
– Well, I’m very happy now.
– Will you become a “man” again?
– I don’t think so.
– Will you become a transsexual?
– No, I won’t go that far.

*

– How long have you been gay?
– Since last December.
– How come?
– I like it.
– You like what?
– Being gay.
– Gay? You mean you like men?
– Not exactly. I can’t tell. I like gays, that’s all.
– Being a queen?
– Yes.
– How come?
– I was born that way.
– Born?

*

– Hello! It’s been a long time.
– What a great place.
– I was so tired.
– Too much sex!
– Do you know what this is?
– What is it?
– As if you didn’t know.
– Oh, no! You’re embarrassing me.
– Watch!

*

– Things have changed.
– In this area, yes. You’re so right.
– It was good in Akasaka.
– The good old days!
– This is the Madame.
– Beautiful! Wonderful!
– Telephone for you.
– Excuse me.
– Hello? Mr Iida? Where are you? The Jardin? Come over here. I’ll be waiting. See you later.

Mirror, mirror, on the wall, who is the fairest of them all?

– You’re late.
– I’m sorry.
– Glad you could make it. She’s got a nerve.
– By the way, did you bring it?

*

– Where to, Tony?
– Hey, what’s up? Hey, were are you going?

*

– Steady! No. All right, cut!
– I’ll do it.
– Take it easy.
– You arse! Leave it to me. Move it, you lot. Slowly. OK?
– No.
– This is as good as I can make it.
– It’s no good.
– Damn it!
– Good! It’s OK.
– I’m talented!
– Hardly!
– Don’t move!
– Yeah, that’s it.
– Cut! That’s all.
– We’ve 20 feet left.
– Want a cigarette?
– Keep it.
– I want to smoke marijuana.
– Eddie’s not here.
– Burn banana peel.
– That doesn’t work.
– I have two pills.
– Give them to me!
– Only two.
– Eye lotion helps.
– Drink it!

*

– They look weird!
– He looks good!

*

Funeral Parade of Roses

*

– She’s shameless, that girl! She makes me mad.
– Don’t worry. Young people nowadays think differently.
– You’re just encouraging them.
– Don’t be critical or no one will work with you.
– But Eddie has bad manners. All she knows is how to flirt.
– Times have changed.
– But queens should have pride, too. We must respect ourselves. Ouch.
– What’s wrong?
– I cut my leg. I’m bleeding. Look. Ouch.
– It’s like a mosquito bite. You’re all right now. Don’t get hysterical.
– I’m sorry. I was anxious.
– What about?
– That you’d desert me.
– You’re being stupid.
– You won’t?
– Never.
– Who do you like better, me or Eddie?
– You, of course.

*

– Let’s have some fun together.
– Come on.
– What’s wrong?
– Nothing.
– Are you alone?
– Yes, but I’m all right now.
– How about a drink with me?
– Come and keep me company.

*

“Every man has his own mask which he has carved for a long time. Some wear the same masks all their lives, others use a variety of masks. Some masks stress the features others are far from their original. Some are poor and easily distinguishable others are so skilfully made, they’re hardly distinguishable. People always wear masks when they face each other. They see only masks. Even if they remove their masks their faces seldom expose themselves. Because there may be second masks. And even third masks hidden under the first ones. Therefore, people often take your masks for you. And you take theirs for them. The objective of love and hatred may be the masks. Faces suffer loneliness. People try to escape from it and make new masks.”

*

– Hey, taxi, taxi!
– Where are we going?

*

– Look, Guevara. Do you want this?
– Thread it through.
– OK.

*

What a sly, mysterious scheme!

*

– Cut! Oh, wait. OK. OK!
– You don’t need the microphone.
– Next, an interview with Rabbit.
– An interview? We only have 20 minutes left. Only 20 minutes.
– Let’s have an interview with Rabbit.

*

– Do you like the love scene?
– Yes.
– A man loves a man. As a queen, what do you think? Don’t you feel guilty?
– Well, you can love a man, as well as a woman. If you’re in love, it makes no difference.
– Do queens have no interest in girls as sex objects?
– There are various types. I can’t say yes or no.
– Are you more interested in men or in women?
– Me personally?
– I mean generally.
– Generally, yes. They tell themselves they’re women.
– How about you?
– Me? You can guess.

*

Please don’t smoke/your cigarettes in bed./If you truly love me/please just turn out the lights./Let’s close our eyes./And dream sweet dreams./Your sighs say more to me/than any words could./Tonight we will be together/once again./Please don’t smoke/your cigarettes in bed, will you?

– Do you know “NHSMC”? Nihon Homosexual Men’s Club.
– Where is it?
– In Minami-cho. There’s a party every week. The members bring handsome boys.
– I read about it in the paper.
– No, it’s in Akasaka.
– Really?
– You mean the secret club for homosexuals?
– There’s a lot of them.
– There are many impersonators, too.
– Impersonators?
– They pretend to be gay.
– They can earn more that way.
– Don’t look at us like that. We’re the genuine article!
– Some detectives are here.
– Detectives?
– Eddie… Do you know him?
– Who?
– He’s called Yagawa.
– He’s missing.
– Never seen him.

*

– It was 12 years ago today. You don’t remember.
– Forget about father. You have me.

*

– This is so delicious.
– How nice!
– That’s pretty!
– It’s expensive.
– It could be a present for me.
– A patron?
– Yes.
– Old news.
– I didn’t know.
– Excuse me.
– Me, too.

Board of Film Censorship/15877

*

– What good is she? She’s just a loafer.
– Come, come.
– Nothing is any good.
– Watch out. I understand. Go to bed.
– Promise me you’ll fire Eddie, or I won’t move.
– You’re impossible. Eddie is the number one girl at Bar Genet. Customers come to see her.  Remember that.
– You’re in love with her. Say so.
– Stop being stupid! You’re always complaining.
– You rat! Are you a man?
-“Are you a man?” That’s a question I should ask you. I’ll make one thing clear. If anyone has to quit, it’s you, not her.
– I understand. Try to fire me, if you can. I’ll expose your secret business.

Then, you don’t love mankind?

– Don’t desert me!
– I’m not kidding!

No, I hate it.

*

– Damn Leda! If she acts funny…
– Don’t say any more. Stop! Please stop.
– What’s up?
– I feel sick. Let me get out.
– Don’t be nervous, Eddie. I’ll take you home.
– I need some fresh air.
– Are you all right? I’ll call you later.

*

– They look weird.

*

– So, what do you think of it?
– I don’t know.
– My ears are humming.
– I’ve never seen anything like it before.
– Unplug the speakers.
– It’s very “underground”, isn’t it?
– Kind of…
– You look surprised.
– I am.
– “All definitions of cinema have been erased. All doors are now open”, Menas Jokas.
– Jonas Mekas.
– Of course.
– But you must feel something with your body.
– It’s intoxicating.
– Really? I prefer real drugs.
– Good! It’s time for some.
– No.
– Oh, pot!
– Good!
– No!
– Don’t push me.
– Two for me.
– Two. No credit.
– Don’t be stingy!
– For you, Piro?
– One.

*

– How much marijuana have you smoked?
– I’ve smoked a lot. I smoke heavily.
– How do you feel when you smoke it?
– I feel like I’m floating up from the chair. That’s how I feel. Like a chair on a rock. Do you know that feeling? A chair on a rock. It’s not too hard to touch. I’m floating up from my bed… That kind of feeling. I want that feeling again. I want more of it.
– Have you ever smoked marijuana?
– No.

*

– Have you ever done drugs?
– I do them all the time.
– What kind of drugs?
– Minahai and Norumo. When I’m out of that I take Maruso and Donton.
– How do you feel?
– Well, my senses become paralysed. I become psychologically idle, that’s all.
– Well, I find myself in a state of mind where I can’t see myself.
– Something like a state of ecstasy?
– Not like ecstasy, or anything. When I take it too much I don’t even remember that I’ve taken it. I don’t feel like I exist, but still I hear later on that I was moving around, and did many things. It’s an interesting experience.
– What are you looking for from that experience?
– I’m not looking for anything. It’s meaningless.
– How did you get yourself caught up in this habit?
– Well, it’s like alcohol, but it’s easier to take than alcohol.

*

– Stop it! You’re tickling me!
– You’re next!
– Try your best!
– The top or the bottom?
– You’re a glamorous type!
– Guevara, go for it!
– See, I told you I could!
– Take off your shirt!
– Get off me! I’ll do it!
– What a dirty vest!
– Eddie’s next.
– Me? No.
– Try harder, Eddie.
– Strip!
– Not yet. Take these off first.
– “The first chapter has ended. I’ll leave you and go on my next trip.”

*

Roses. Oh, the empire of roses!

*

– Good morning!
– Hello!
– Let’s go to the beauty parlour.
– Just give me a minute.
– OK.
– I’ll put my make-up on.
– These look delicious. Can I have one?
– Of course you can.
– It looks nice.
– Oh, no, you’re imagining things.
– You are.
– We both have bad imaginations. Have you sinned?
– It was a laugh. I ate at the Kamehachi last night. A boy who sat beside me asked for a date. He invited me to a hotel. I had a few drinks and then I went to the hotel with him. He was a masochist. He asked me to tie him up and step on him. He cried like a fur seal! He believed all the time that I was a girl. But I feel sorry for boys like him.

*

– You’re being naughty!

*

– Goodnight.
– Eddie, wait.
– You know what I want to speak to you about? Do you think that I can’t see what you’re up to?

Badger!
Skunk!
Thief!
Stupid!
Fairy!
Whore!
Impotent!
Shit!
C**t!
– How dare you? Get out!
– Damn you!

*

“Behind the masks, faces suffer loneliness. People try to escape.”

– Is that you, Eddie?
– Eddie! Come on!

*

– I warned you, didn’t I? Don’t cry. This is the last bit.
– Will I’ll be all right for my birthday?
– Of course. They’re just scratches.
– Will you celebrate my birthday with me?
– Let’s go to the Imperial Hotel and have a big party.
– No, let’s have it in my apartment, just the two of us. I’ll decorate my room with flowers. Roses, of course. I’ll light candles as well. It will be wonderful.

*

– I’m scared. Everything’ s hazy.
– The outlines are always changing.
– I reach for something, but the next moment I see nothing.
– You’re not the only one.
– Can’t I see it as it really is? Or is it gone?
– Suppose it never was there.
– From the beginning?
– Yes, just like a mirage.
– What should I believe?
– I don’t know.
– It’s strange.
– What is?
– It’s like I’ve seen it before. But that’s impossible, right? It’s strange. Something is wrong with me. Can that happen?
– Watch out. Don’t run!

*

Father’s Return.2

*

Let the day perish wherein I was born...3

*

“…it may have an adverse effect on young people. Police headquarters today started an investigation into drug smuggling. As a counter plan, some commentators think it’s too little too late. That’s the end of the news.”

*

– That was Leda.
– No.
– It was.
– Don’t look back.
– Was she following us?
– Nonsense!

*

– Scum!

*

– I feel funny today.
– You’re just tired.
– I feel like “life” left me behind a long, long time ago.
– “A man spend most of his lifetime walking. But he isn’t always a walker. It’s possible that a man who walks little and hates to walk and is never good at walking is a walker beyond doubt.” Le Clezio, a writer, said that.

*

– You’re being naughty!
– No!
– Don’t! Don’t! Don’t! Don’t! Don’t! Don’t!

*

– Eddie! Eddie!

The road to sanctity is narrow.4

*

– Cut!
– What do you think about the hero?
– He and I have something in common. His father leaves him as a child. His way of living resembles mine. His character, too.
– His character? Do you sympathise with him?
– In the way that he lives, yes. But not in terms of incest, or things like that. But I do understand him.
– How did the role attract you?
– This is my first movie, and I’m very interested in it. My circumstances are similar to his. That’s one reason. And gay life is portrayed beautifully.
– And the love scenes?
– I just follow what the director says.

*

We demand the complete and unconditional withdrawal of all US forces from their bases in Japan!

*

– Do you know her?
– Only by sight.
– She doesn’t know me.
– That’s good.
– What do you want me to do?
– Be sure that you get her face.

*

– Who’s there? What’s wrong?
– The police are after me.
– You’re bleeding. Come here.
– I’m really grateful.
– You should go to a hospital.
– Did it hurt?
– No, I didn’t feel it.
– You’re lucky, your injury isn’t serious.
– Thank you.
– Why take part in a riot?
– To bring down the government.
– That still doesn’t justify violence.
– “What matters is not the admission of violence but the progressiveness of the violence. Αnd whether the violence will stop or whether it will last forever. In deciding, don’t judge crimes by morality. People use morality purely by mistake. Place crimes in terms of logic and dynamics and in history, where they belong.”
– I’m late. I must be going.
– I’m sorry to have troubled you.
– That’s all right.

*

-You’ re late.
– I’m sorry.
– Glad you could make it. She’s got a nerve.
– Hello. Sorry to have kept you waiting. Thanks. It’s all finished. Thanks to you, I have a good appetite.

*

– What are you looking at?
– What are you looking at?
– You’re looking for trouble, you fags!
– What did you call us?
– She called us fags!
– You are fags, aren’t you?
– You’re just common girls!
– Common girls!
– Men don’t like common girls.
– You dare to call us common? There’s nothing common about our gang tattoos! You see? Now, get them!

*

– Welcome home. How are they?
– Terrible!
– Are they hurt? Eddie, as well? I don’t want to lose her.
– No kidding! Stop acting! What did you ask Osumi to do for you? She confessed. Did you think that your lousy trick would work?
– Please listen to me.
– Shut up! I see. You mean you love me that much? Or you mean that you love running Bar Genet, not me?
– You’re cruel.
– Don’t cry. No tears for me. No, thank you. “Mirror, mirror, on the wall, who is the fairest of them all?” What a joke! You’re getting old. Your time is over.
– Just like that?
– You can’t blackmail me. There’s no evidence. Take your time and look for it.

*

The sun, a decapitated head.5

*

– Are you alone?
– No.
– Welcome. Come in.
– Do you like Akihiro Maruyama?
– I like Carousel Maki.
– I like Maruyama.
– Why?
– Because Maki is a transsexual. I’m sorry.
– How is your movie going?
– There are only a few more scenes to do.
– It’s tough on your first movie.
– Is it interesting?
– I’m not sure. It’s very unique though.

Awaiting your esteemed acclamation!

*

– Have you seen Leda?
– That’s strange. Juju sent for her.
– She’s late.
– Can we meet again?
– I don’t know. Vietnam is at war.
– Eddie, Juju is on the phone.
– Hello, it’s me. What?

*

– Roses were her favorite flowers.
– They had to be artificial, too.
– Thank you.
– Thank you, all. Come this way.
– The ground here is sinking.
– It’s true! Look at that.
– The graves are sinking!
– I wish the whole country would sink under water.

The end of the world is nigh.

*

– Guevara. What are you thinking?
– About the exit.
– What exit?
– “Now, from the open ceiling roses are falling, one after another. Spring! O unhappy spring!”

*

– Leave it there.
Eddie… I mean Madame. That sounds funny.
– Why?
– What about this one?
– Let me see. Put it in the corner. Sir, throw this away.
– Goodbye.
– Good luck.
– Make sure to drop by again.
– Madame… Can I leave it here?
– Yes.

*

– What is your biggest dream? What do you want to do in the future?
– Well, I want to have some savings. I think I’d like to run a shop.
– A gay bar?
– Possibly.
– Will you live as a queen all your life?
– Yes.
– Don’t you think about marriage?
– I do, but I won’t get married. I can’t. I can’t be a “man”.

*

– What do you want to do in the future?
– Nothing in particular. Nothing.
– Nothing at all? No dreams?
– I am what I am.
– Are you happy living as a queen?
– I’m content.
– What are you going to do?
– Nothing.
– You have no ideas?
– …
– Are you happy now?
– Not very.
– No? Well, why don’t you stop being a queen?
– There’s no reason to.

*

Father’s Return

– Why don’t you take a bath?
– What is it?

“Frightening, isn’t it? The cursed destiny of man. What a mix of cruelty and laughter it is! Let’s look forward to the next programme. Goodbye, goodbye, goodbye.”

*

The spirit of an individual reaches its own absolute through incessant negation.6

 


NOTES

1.     Τhis is a quotation from the poem “L’héautontimorouménos” (The Man Who Tortures Himself) from The Flowers of Evil by Charles Baudelaire. ― “Je suis la plaie et le couteau!/Je suis le soufflet et la joue!/Je suis les membres et la roue,/Et la victime et le bourreau!”, Les Fleurs du Mal.

2.     A book by Kan Kikuchi (1888-1948). Kikuchi established the publishing company Bungei Shungu and the famous Akutagawa prize for emerging writers.

3.     Τhis is a quotation from The Book of Job.

4.     Jean Genet.

5.     Lines of the poem Les Fiançailles by Guillaume Apollinaire. ― «Il vit decapité, sa tête est le soleil / Et la lune son cou tranché.», (Le dossier d’ “Alcools”, 1913).

6.     Τhis is a quotation from René Daumal (1908-1944).

The Funeral Parade of Roses has been released on DVD by Eureka!/Masters of Cinema (http://www.eurekavideo.co.uk/moc/)


AT THE TEMPLE OF SAD STORIES

by Dimitra Ioannou

I am an old boudoir full of withered roses.¹

– You won’t desert me, will you?
– Never.
– Would you please pretend that you don’t lie?
– Don’t talk nonsense!
– Who do you like better, me or Eddie?
– You, of course.
– Would you set on tears if I start to cry?
– You’re exaggerating.
– Never desert me.

At the mercy of black passion.

– Do you like to sing?
– A lot. When I hold the microphone all the world is mine.
– What do you feel when you are singing?
– I am happy. It’s like being transfered to another dimension; like living a Cosmic moment.
– Would you sing something for us?
– Of course.

Would you take me to your arms once again? / We have enough time. / I’ll close my eyes for a while. / Please hold my hand. / Do you hear? The rain makes such strange sounds here. / Would you take me to your arms till I fall asleep? / Yes, together for ever. / Please hold my hand.

Are idylls the opposite of decadence?


*

“the beauty was never completed in any single detail of the temple: for each detail adumbrated the beauty of the succeeding detail. The beauty of the individual detail itself was always filled with uneasiness. It dreamed of perfection, but it knew no completion and was invariably lured on to the next beauty, the unknown beauty. The adumbration of beauty contained in one detail was linked with the subsequent adumbration of beauty, and so it was that the various adumbrations of a beauty which did not exist had become the underlying motif of the Golden Temple. Such adumbrations were signs of nothingness, nothingness was the very structure of this beauty.”²

*

At Linda’s apartment. She brings her birthday cake. She puts it on the coffee table and tidies up the room. She wears a wig with white roses.

The energy that exists inside a dream until it is destroyed.

– Welcome home.
– I know what you did.
– I don’t want to loose you.
– Don’t cry. No tears for me. No, thank you. “Mirror, mirror, on the wall, who is the fairest of them all?” What a joke! You’re getting old.
– You’re cruel.
– Your time is over.
– Just like that?

Can you go on without geting some kind of response?

You’re like sweet poison in me. / You’re in my mind and the time is the past. / The reason for my passion is you. / It’s too late for me now. / This hypnotic song takes me away. / Only your voice has the power to wake me up. / Where are you? / Will you let me go away?

No, you can’t.

*

– Do you like your role?
– A lot. But I’d prefer that Lida doesn’t commit suicide.
– What do you feel when you’re acting?
– I am never so much myself than when I am not myself.

*

Eddie walks amongst the graves holding a big white rose. Lida’s funeral. The wreath has white roses and a black ribbon.

When, O dusky beauty, you shall rest.³

– Look Eddie! The graves are sinking!
– I wish the whole country would sink.
– The ones that haven’t been washed away by the waters soak. They are all artificial, artificial flowers from the graves!
– I wish the whole country would sink.

THE END

NOTES

1. Charles Baudelaire, “Spleen”, The Flowers of Evil

2. Yukio Mishima, “The temple of the Golden Pavillon”, 1956. Translated by Ivan Morris. Published by Alfred A. Knopf.

3. Charles Baudelaire, “Posthumous Remorse”, The Flowers of Evil.