Objects have neither truth, nor selves. Language can do better than solve a problem it has invented. In poetry, it creates new meaning : a sensory, mental experience of its own. When you turn to the world of objects, the best it can do, as far as I know, is to freshen up your eye and ear.
Alféri, Pierre and Aryanil Mukherjee (Interviewer). "The Language of Contemporary French Poetry A dialogue with Pierre Alféri (2007)." in: Kaurab Online: a Bengali Poety Webzine. Fall, 2007.
If there is noise to be heard I think it lies in the interferences of phrases from different "language level" (colloquial, precious, etc.) and, mostly, different syntax : some jumbling of them might be welcome but, in the French, the whole construction of the poem sentence is always - discretely but obsessively - strictly logical.
Alféri, Pierre and Aryanil Mukherjee (Interviewer). "The Language of Contemporary French Poetry A dialogue with Pierre Alféri (2007)." in: Kaurab Online: a Bengali Poety Webzine. Fall, 2007.
Ah it's so very ah how absorbent these tampon words made to be unfurled so quick one more one last one quick.
Alféri, Pierre Suzanne Doppelt, and Cole Swensen (Translator). OXO. Volume 7 of Serie d'Ecriture, 2004. French.
. . . all I can tell you is that life which paces you in the distance as Paris once did me will but too late be completely fulfilling.
Alféri, Pierre Suzanne Doppelt, and Cole Swensen (Translator). OXO. Volume 7 of Serie d'Ecriture, 2004. French.
Its real subject is the divine narration of pressure ... but is essentially the pressure of the narrative itself, the movement that wonderful and terrible the writing exercises on the truth, torment, torture, violence that ultimately lead to death when everything seems to be where all though falls into doubt and the void of darkness.
Alféri, Pierre. "Un accent de vérité: James et Blanchot." in: Le Matricule Des Anges (The Matricule Angels: The Magazine of Contemporary Literature) No. 051, March, 2004. French.
It would be almost nothing, if we agree on the idea that nothing is in the precision progressive blurring something like the birth of a new feeling.
Alféri, Pierre. "Un accent de vérité: James et Blanchot." in: Le Matricule Des Anges (The Matricule Angels: The Magazine of Contemporary Literature) No. 051, March, 2004. French.
The interesting thing in both cases, and especially as it enrages, then, is the stereotype of a certain male psyche that wants to conjoin the virgin, the whore and the martyr in his eternal feminine.... Today, they cry like women, singles despair: what? they nor we can escape from this cage of stereotype? Fortunately, this is more complicated. Heroin biface transcends its role as victim. It proves smarter, braver, more scrupulous, brighter than her fiancé proud to arm frozen in his pose manly, and ultimately less alienated. Irony of cliche: mutilated by him, pressed into the die, the woman has lost a lot more real than the boy who dreams.
Alféri, Pierre. "Women Lost." in: Vacarme. Summer 2000, Row 12.
Baby androgynous baby whose face does not overlooking the body, whose body is moon-face. Baby protean baby mannerist painters which imposes a distorted perspective of horrible deformities.
Alféri, Pierre. "Un accent de vérité: James et Blanchot." in: Revue des Sciences Humaines. No. 253, 1999. French.
For if there is failure, it also shows a virtual separation between intelligence and writing. Intelligence is a form of life, even though there may be disagreements between part and whole.
Alféri, Pierre. "The Face of Laughton." in: Vacarme. Row 12, Spring, 2000.
It is, as the poems tell a blur out, that is to say a vague feeling that things will intensify, a fleeting presence in itself that makes one is there, a sort of vacuum of consciousness where everything appears very distinctly calmer loss to oneself at its landmarks, its officers, a gradual decentralization that would give greater consistency, which would like a sensual and intimate things themselves, as the strangeness of intimacy in a sense.
Alféri, Pierre. "Par Avion." in: Revue des Sciences Humaines. No. 253, 1999. French.
Unidentified word objects are literature's first prize: They fascinate, they lull to sleep. It is easy, tempting to overestimate them, to inflate them like floats.
Alféri, Pierre. "Unidentified Word Objects/Blank Spots/Deskeshen Betwen/What Use Poetry?" in: Boundary 2.Vol. 26, No. 1, Spring 1999.
When nothing entices nothing stirs beyond inertia becomes agitation impulse aiming at nothing but a nothing in the way and the slightest contact reverses the directional flow... An ordinary movement filmed in video a gesture replayed.
Alféri, Pierre and Chet Wiener (Translator) and Stacy Doris, Phillip Foss, Emmanuel Hocquard (Editors). "Les Allures Naturelles." in: Duration Press. September 10, 1991.
Source: European Graduate School (EGS)
