The Symptoms Issue | intro

Symptoms can be significant tools. My early symptoms were too antagonistic, my later symptoms were too structural, and my recent symptoms are too predictable so I feed them up everyday for they should finish their business and move forward, where neither I nor they will specify the work that needs to be done.

Τα συμπτώματα μπορεί να είναι σημαντικά εργαλεία. Τα πρώιμα συμπτώματά μου ήταν υπερβολικά ανταγωνιστικά, τα μεταγενέστερα συμπτώματά μου ήταν υπερβολικά διαρθρωτικά ενώ τα πρόσφατα συμπτώματά μου είναι υπερβολικά προβλέψιμα, οπότε τα τρέφω καθημερινά για να ολοκληρώσουν τη δουλειά τους και να προχωρήσουν, εκεί όπου ούτε εγώ ούτε εκείνα θα προσδιορίζουμε την εργασία που είναι να γίνει. THE SYMPTOMS ISSUE

Here, symptoms are part of a “long poetic sequence examining the historical and medical treatment of sick female bodies” (Dorothy Lehane). Moreover, poems express a “need for there to be rhythm in chaos while reflecting my understanding of that same chaos in the world” (Dan Leiser). Language itself becomes symptom; “voices stripped from their bodies” (Georges Mizithras), a “putrid discourse” (Iulia Militaru).

Εδώ τα συμπτώματα είναι μέρος μιας « ποιητικής ακολουθίας μεγάλης έκτασης που ερευνά την ιστορική και ιατρική θεραπευτική αγωγή των άρρωστων γυναικείων σωμάτων» (Dorothy Lehane). Κι ακόμα, τα ποιήματα εκφράζουν την «ανάγκη να υπάρχει ρυθμός στο χάος ενώ αντανακλούν τη δική μου κατανόηση αυτού του χάους του κόσμου» (Dan Leiser). Η ίδια η γλώσσα γίνεται σύμπτωμα· «φωνές απογυμνωμένες από το σώμα τους» (Γιώργος Μιζήθρας), ένας «σάπιος λόγος» (Iulia Militaru).

What symptoms are, and are not. What is the literary symptoms’ form? A list (Antonis Katsouris).
What symptoms are, and are not. What is the female character’s symptoms form? A fairy-tale (Daisy Lafarge).

Τι είναι τα συμπτώματα και τι δεν είναι. Ποιά είναι η φόρμα των λογοτεχνικών συμπτωμάτων; Μια λίστα (Αντώνης Κατσούρης).
Τι είναι τα συμπτώματα και τι δεν είναι. Ποιά είναι η φόρμα των συμπτωμάτων ενός θηλυκού χαρακτήρα; Το παραμύθι (Daisy Lafarge).

There are more symptoms here ‑ consuming & consumed. Many thanks to Maria Andreou, Ed Garland, Clive Gresswell, Antonis Katsouris, Daisy Lafarge, Pal LaFountain, Dorothy Lehane, Dan Leiser, Iulia Militaru, Georgios Mizithras, and Yannis Sarigiannidis for their intriguing symptomatic works.

Υπάρχουν περισσότερα συμπτώματα εδώ, που αναλώνουν και αναλώνονται. Ευχαριστώ πολύ τους Μαρία Ανδρέου, Ed Garland, Clive Gresswell, Αντώνη Κατσούρη, Daisy Lafarge, Pal LaFountain, Dorothy Lehane, Dan Leiser, Iulia Militaru, Γιώργο Μυζήθρα και Γιάννη Σαρηγιαννίδη για τα συναρπαστικά συμπτωματικά έργα τους.

D.I.

Maria Andreou

(a service)
Me the host

Sometimes I think there is someone living in my eye,
so they see what I see,

and I think for what they see.

That is the only near logical explanation I have
for a singular image split into
two realities.

That I host,
and you visit.



(a sound poem)
measure/pleasure

erasure for pleasure

pleasure in erasure

erasure in pleasure
pleasure for erasure
measure the erasure
erasure in measure

erasure for pleasure
pleasure in erasure
erasure in pleasure
pleasure for erasure
measure the erasure

erasure in measure



Maria Andreou is a visual artist whose primary medium is language. Her research and work centres around the idea of how the art object can become the ground where praxis and poiesis intersect. When language does not manifest physically she still writes. http://www.mariaandreou.com http://www.twitter.com/demenagerie

Ed Garland

POST EQUILIBRIUM GLISSANDO SHITSTORMS

a guaranteed presence, a flattened wave of gloss flowing always over not all of the interior – scupper the fat chance of detecting the nice to detect – provide a useful phenomenon to aid meditation but – input being no predictor of output – habits, tendencies – a large yes, a useful thud – not for hereby officially everyone – conjunction with tonal abrasion therapy – less than 50% cotton – planet are these people – a chorus rubbed into the gums or grey area classics under the tongue – Logos, Kaitlyn Aurelia Smith – yearns, craves, on a threshold below which it never – Bang & Olufsen impossibility – inheritance, theft, and accidental acquisition – a parked whine, a stuck sting – the curve and thrust of lips – likelihood of irregular gobbling – emitting bright wire from the ears – renovated in poor taste – considerably more irksome – mist being visible silence the last thing he insisted – looped snarls as declarations of agreement – conjunction with sine clusters, low frequency phase-bathing, ambient tendrils or sludge curtains – persisting through every interaction and lack of interaction – supervision of a proper chief – lucid, but lacking acoustic wealth – more than 100 days, consult Mumdance


Ed Garland’s writing has appeared in Antic, The Found Poetry Review, and A Glimpse Of. He lives in Wales, and is studying for an MA in Creative Writing at Aberystwyth University.

Clive Gresswell

Steve’s journey

at all this dysfunction — function
he trod (from) dislocation the strand
lolling on his tongue
a tantalizing
paragraph
(shorn)

he walked on
not (once) in harmony
projectiles on the periphery
a stolen moment
(from where the shards of grass)

moments melting in the weeds
(his eye glued to the door)
from where his footsteps came
his shadow (a patchwork)
caste into future domains

a spittle of language surrounded him
                                                 trapped him in the gauze
new housing developments splintered
into this vast & hostile swamp of nouns
the guard noticed in doggerel
the swift-release of adrenaline alsations
to silence seething pavements



Clive Gresswell is a 59-year-old London-based poet who comes out of the Writers Forum Workshop (New Series) based in Shoreditch and who did his innovative poetry MA at the University of Bedfordshire. He has been published in BlazeVOX, LondonGrip and Tears in The Fence and is due for publication on Dispatches and Adjacent Pineapple. Meanwhile he is trying to do more London readings and was recently a guest reader at the international Tears in The Fence Poetry Festival. His first collection, Jargon Busters, from which these poems come, was recently published by the innovative Knives, Forks and Spoons Press.

Antonis Katsouris

ALWAYS WELCOME*

– – there’s always some group-therapy for your literary symptom(s)

the aquarium of aphrodisiac aphorists
the minaret of manicured metaphorists
the nursery of nervous narrators
the parthenon of perfumed parodists
the clique of charismatic correspondents
the elysium of exhausted experimentalists
the arcadia of acrobatic acratics
the tea-party of timorous time wasters
the esplanade of eloquent essayists
the menagerie of myopic mythomaniacs
the brotherhood of barefoot bards
the pagoda of prosperous pessimists
the carousel of cacophonous critics
the hive of hilarious haiku-hackers
the maison of mesmerizing memoirists
the vacancy of vitriolic versifiers
the alcove of alienated appropriationists
the panorama of perilous poets
the exile of elusive elegists
the lifeguard of lilliputian laconics
the refuge of repressed realists
the quartet of quotable queers
the plaza of platonic plagiarists
the cabinet of colossal columnists
the glory-hole of gregarious ghost-writers
the circus of clandestine cynics
the unity of undefended utopianists
the eden of euphoric experts
the mass of miraculous mysticists
the diaspora of dilettantish diarists
the feather-bed of fairy-tale fetishists
the terminal of turbulent twitter-tricksters
the north of nocturnal nihilists
the labyrinth of laborious list-lovers


*after an idea of S.H. & D.L.



Antonis Katsouris is a parodist, and a list-lover. He lives in Athens.