From the archives: Writer’s blues, Anno 1987.

Seated in a quiet corner in his favorite restaurant,

the barren-minded writer waits patiently

for a seizure of etymological inspiration.

It’s been days since he has eaten and

perhaps longer since he has really slept,

for the agony of non-expression is a

leech upon his every desire.

Unmoved by the sophistication of the truckers,

or the beauty of the waitresses and prostitutes;

and so untouched by the artistic vibrance

of the orange and red interior,

the turquoise diner seats, and the

Choking Victim posters adorning the walls,

the writer assimilates in undisturbed silence —

night after night —

until even he no longer hears the

occasional regular who leans close

to another, then points and says:

“You see that guy over there in the corner?

… He’s a WRITER!”

(from “Collected Poems and Stories”, Cyberwit Publishing, 2005.)

Great video on VEVO!

SHORT AUTHOR BIO:

ADAM DONALDSON POWELL (Norway) is a multilingual author, literary critic, and art photography critic; and a professional visual artist. He has published several literary books (including collections of poetry, short stories, and novellas, two science fiction novels, a biography, and a collection of essays) in the USA, Norway and India; as well as numerous works in international literary publications on several continents. He writes in English, Spanish, French and Norwegian. He has previously authored theatrical works performed onstage, and he has read his poetry at venues in New York City (USA), Oslo (Norway), Buenos Aires (Argentina), and Kathmandu (Nepal). His book “Gaytude” (co-authored with Albert Russo) won the 2009 National Indie Excellence Award in the category gay/lesbian non-fiction. Powell was also the winner of the Azsacra International Poetry Award in 2008, and the recipient of a Norwegian Foreign Ministry travel stipend for authors in 2005. Powell also took initiative to planning and organizing the “Words – one path to peace and understanding” international literary festival in Oslo, Norway in 2008. He has been an author under the Cyberwit label since 2005, and he has published 13 literary books since 1987.

BIBLIOGRAPHY:

Under the Shirttails of Albert Russo: an alternative biography, l’Aleph — Sweden, ISBN 978-91-7637-401-6, © Wisehouse 2017, Sweden.

Entre Nous et Eux: contes de fées pour adultes, Cyberwit.net, ISBN 978-93-85945-77-9, © 2017, India.

Jisei: death poems and daily reflections by a person with AIDS”, Cyberwit.net, ISBN 978-81-8253-403-2, © 2013, India.

The tunnel at the end of time” (co-written with Rick Davis and Azsacra Zarathustra), Cyberwit.net, ISBN 978-81-8253-160-4, © 2010, India.

Malerier og fotokunst, a short 38-page retrospective overview of some of Adam Donaldson Powell’s best known oil paintings and photographic art works”. Published by Cyberwit.net as a special limited and numbered full-color, soft cover edition (55 copies only), ISBN 978- 81-8253-154-3, India, © 2009.

GAYTUDE: a poetic journey around the world, co-authored together with Albert Russo 1[1], bilingual (French and English), gay poetry, 334 pages, Xlibris, ISBN 978-1-4363-6395-2, 2009, USA 6 [2].

2014: the life and adventures of an incarnated angel, 135 pages, Cyberwit.net, ISBN 978-81-8253-118-5, 2008, India.

Critical Essays, literary and photobook criticism by Adam Donaldson Powell and Dr. Santosh Kumar 2[3], 108 pages, Cyberwit.net, ISBN 978-81-8253-110-9, 2008, India.

Le Paradis (Paradise), 80 pages, Cyberwit.net, ISBN 978-81-8253-103-1, 2008, India. Inkluderer bilag med symboler fra Universelle Lysspråket, som opplevd av Laila Holand.

Rapture: endings of space and time (86 pages), Cyberwit,net, ISBN 978-81-8253-083-6, 2007, India.

Three-legged Waltz, (80 pages), Cyberwit.net, ISBN 81-8253-058-X, 2006, India.

Collected Poems and Stories, (175 pages), Cyberwit.net, ISBN 81-8253-028-8, 2005, India.

Arcana and other archetypes, (special limited edition – hardback collection of poetry), AIM Chapbooks ANS, 2001, Norway (now out-of-print).

Notes of a Madman, (hardback collection of poetry), Winston-Derek Publishers, Inc., 1987, ISBN 1-55523-054-7, USA (now out-of-print).

And here is a quick recap/overview of my published books. For more information, please see the next pages of this blog.

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MY AMAZON.COM AUTHOR PAGE: HERE!

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MY CYBERWIT.NET AUTHOR PAGE: HERE!

Dr. Santosh Kumar’s book on the poetry of Adam Donaldson Powell.

Read some excerpts from the book HERE!

ADAM DONALDSON POWELL – WIKIPEDIA NORGE

T. Wignesan interviews Adam Donaldson Powell.

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T. Wignesan (Parisian author) has interviewed me on behalf of my publisher Cyberwit.net:

INTERVIEW QUESTIONS AND ANSWERS —
T. WIGNESAN – ADAM DONALDSON POWELL.

T. WIGNESAN: I – WHY WRITE?

ADAM DONALDSON POWELL: In all honesty, I did not choose to write; the writing chose me. It is both a passion and a necessity for my survival and expression; in addition to my personal contribution to the development and advancement of art, society and humanity. I do not worry about becoming famous. Being famous with the goal of ego gratification is a “useless occupation”.

I am but one small cog in a very big wheel — the Wheel of Existence; on the same level of significance as any other entity in our Universes … forever expanding and contracting in consciousness, expressing a myriad of ideas, emotions and behaviour patterns, and forever breathing the Eternal (the Breath and Essence of God). Surely, I have my own take on Existentialist and Nihilistic philosophies but my only “Truths” are my thoughts, words and actions — in each moment. And for me, each moment is the sum of the Whole of Existence, in any one instance in space and time, and from my individual perspective — which is co-created (together) with my environment. Thus to me, writing is breathing Creation. And the Spirit and act of creation are the seeds of renewal/renaissance, and the dissolution of concepts of past, present and future as well as the idea that anything is separate from anything/anyone else. By being creative I assert my role in the ever self-defining Divine project called Existence.

As regards celebrity, I actually know a bit about that having had many years where I was recognised from TV, newspapers etc. as an activist and artist/author. Sometimes it was pleasant, and there have also been incidents where I felt threatened when recognised as “that person”. Public personalities are clothing/roles that are taken on, but they are not the individual’s personality. Therefore, for me, fame is not a goal — but it can be a condition and lifestyle to which one must adjust and which bears great responsibility.

T. WIGNESAN: II – “Why write” does touch on both the personal motivations for indulging in words and having them bound in book form metaphorically by one’s own hand, just as much as they apply to the broader objective perspective in the light of the great masters and teachers (who never wrote – some likely were analphabète like Akbar – down their most influential teachings) who have for – better or worse – given us our ever evolving world: Zarathustra, the Hindu Rishis, Moses, Buddha, Mahavira, Christ, Lao Tse, Confucious, Bodhidharma, Mahomet (I’m not sure about the Hebrew prophets). The Tao Te Ching and the Confucian Analects cannot be legitimately attributed to the authors’ own hands.

ADAM DONALDSON POWELL: My writing is “published” in many formats: in books, in my paintings, on the internet, performed onstage etc. Books once represented a form of “permanence” for authors but now many libraries are digitalising their collections, bookstores have limited space and are selective with regards to which authors, titles and subject matters they give space to as well as impose limitations on how long a book can take up shelf space. In the fast-paced technological life of today authors must also adapt to both changing markets and publication arenas, as well as how to meet a public that is “on the run” and multi-tasking. I do not personally own many books anymore, as I have given away hundreds to libraries, organisations and private persons. Knowledge and joy should be spread around — not hoarded, and left to gather dust.

T. WIGNESAN:
Does one need to have something to say in order to want to write?

ADAM DONALDSON POWELL: No, not all writing is meant to be read by others, and by the same token not all writing has to have a serious message. I have written poems and made paintings that are essentially about nothing important, and also minimalistic works about “Nothingness”. However, longer works such as short stories, essays, novellas and novels would generally require a purpose that is larger than that of eg. a “haiku moment” — in order to hold the attention of a reading public.

That being said, I love to test out variations on minimalism in my novels; deciding myself how much descriptive verbiage I offer the reader, when and where. This in order to seduce the reader into an active role as co-creator of “the story”; and, yes, on “my terms”. In that way I can interact with the Reader who accepts what is written and how it is presented, and then suddenly meets upon a provocation that was embedded within the presentation all the while. That is Art imitating Life, n’est-ce pas?

This minimalistic style is closely related to my own philosophy of extreme art and literature. “Extreme literature” can be philosophical, political, religious, sexually-oriented, profane, or just downright “dangerous” because it rocks others’ boat(s) personally. Not all literature is “pretty”, and even humour can be considered provocative. Many authors have works they (and others) consider to be “extreme”. All throughout the history of art and literature, artists and writers have pressed against and played with society’s tolerances – in both “liberal” epochs, “conservative” epochs and (as now) in states of “moral confusion”, where Western concepts of freedom of speech sometimes butt against national and local cultural mores and social politics; and where danger lurks and thrives on non-specific and situational social codes and fears.

The concept of “EXTREME ART AND LITERATURE” changes all the time. What is actually “extreme” today – in a mixture of globalised, regionalised, nationalised and localised perspectives? My own opinion is that “extreme art and literature” today takes its starting point in the accepted banalities of everyday life, experiences and consciousness on the respective and combined levels (social, philosophical, political, economical, sexual and spiritual). Contemporary “extreme art / literature” no longer attempts to shock in an obvious way, but rather entices the public to feel that he / she is a “member” of the experiential understanding and consciousness, only to interject a “triggering” aspect that creates a sense of uncomfortableness caused by the realisation that one has been busted by a banality. These “trigger mechanisms” are (in fact) integral parts of the art itself – often passing by in fleeting moments, sometimes blended in with an obsessive and “flat” (journalistic or photojournalistic) expression or a long tirade of banalities that do not even pretend to be surrealistic. These small “electrical shock” triggers will hopefully ignite an inner experience within the public so that the viewer / reader begins to investigate his / her own personal reality, his / her actual contributions to a collective reality and hopefully to re-evaluate his / her own concept of what one prefers to create as an individual and collective reality. The illusion of spiritual and emotional separation (the illusion that we are all separate, individual and self-sustaining entities that can determine our roles on Terra or in the Interlife totally without contact or influence with / from others) is a vital element here, and that common illusion is therefore “fertile ground” for artists. Here we artists and authors can play, provoke, prevaricate, entice, seduce and fool the audience to believe in us as a part of “themselves”, and then trigger the reader / viewer to consider the possibility that there might be (in fact) a miscommunication or misconception running loose … a sense of everyday reality that is inconsistent or which has consequences that one was never aware of.

Perhaps the most meaningful and interactive way to help another person to “wake up” from their perceptual drowsiness is to enter into their everyday dreams and illusions (their banalities) and suddenly say “BOO!!!” Artists and authors who attempt to shock through their art with the blatantly obvious, often thus fail to explore and exploit the deeper, symbolic depths of the subconscious and the more mystical elements that make up our everyday and banal thoughts, activities, attitudes etc., and therefore are denied “personal access” by some viewers / readers who may consider the art to be too intellectual, too elitist, too directly confrontational, or too foreign.

Sex and religion are often used today in art and literature as “shock elements”. It is not necessarily sex or religion which are provocative or interesting in themselves, but rather the unspoken and quietly accepted perceptions that we chain ourselves to unquestionably, and which can totally be set in chaos just by the artist and author changing or adding one simple element or context that we do not feel belongs in our reality-defining “picture”.

“Extreme art and literature” is thus not blatantly provocative in itself; it rather shows the audience the possible ramifications of acceptance, non-involvement, personal meanings and behaviour by confronting us with triggered or mixed in “extreme” moments, and then lets the audience choose to begin its own personal creative life process of evaluation and re-creation (if desired) … without commentary or guidance.

When I presented myself to Marina Abramovic as a “retired activist” she responded by asking me if an activist can ever be finished with activism. Of course, she is right. The process of rebellion is nothing more than one intermittent set of activities and actions in a constant redefining and assertion of the Self, both individually and collectively. Art is the ultimate expression of the process of rebellion. If an artist loses that quality, he/she “dies” in a certain way. My art and literature are not just extensions of me … they are my created persona: a sweet mixture of heaven and hell, with a pinch of banalities for flavouring.

T. WIGNESAN: (b) Does the old dictum: “Poetry is made with words, not ideas” still apply?

ADAM DONALDSON POWELL: What is a poem? It is definitely not a daydream. A poem is a carefully constructed literary bonsai, cultivated with loving discipline and good planning. The air of spontaneity and dreaminess is only an illusion, and it is the result of great craftsmanship. Yes, poetry is comprised of several tools; and words are perhaps the most important device. But words, silences, punctuation, structure, rhythm, colour, sounds, visual associations etc. all play together in order to make a successful piece of writing. Poems are essentially just one facet of the diamond; of a story; of a possible reality. Do poems represent ideas, and are they made with words? Yes, of course. But a successful poem is an instance of Déjà vu— often recognisable beyond the words alone.

T. WIGNESAN: III – You have now given us your “cosmovision”, as Carlos Bousoño would describe it, a philosophical standpoint that is rich with implications for art and literature – “extreme art and literature” as you put it – which impinges on the average individual’s (average reader or viewer’s) reality with its consequential attributes of jolting consciousness through the shock of subversive “trigger mechanisms” (to be read also as “rebellion” against the norm or status quo?) — all of which makes of you a veritable activist. Now, how do you transcribe this engagé attitude to the specifics of writing, on the one hand, your own considerable output and, on the other, appreciating the works of others?
In my view, judging by your critique of my books, you have willy-nilly chosen the psychological approach to aesthetics and hence the overwhelming impressionistic taint in your pronouncements. Not that they are not valid – far from it – but it would serve to clarify your ultimate critical stance(s) if you could elaborate on your acceptance or rejection of the critical concepts of “affective fallacy” as opposed to “intentional fallacy”.

ADAM DONALDSON POWELL: Hmm … Wimsatt and Beardsley on intentional and affective fallacy. First let me respond to your premise that I have “willy-nilly” chosen a psychological approach to aesthetics in my criticism of your novels. Since you have taken my criticism of your novels as an example, I will answer you in the same fashion.

In my opinion many of your novels (that I have read) have an exciting underpinning of the existential and psychological, if you will — a degree of playing with the minds of the reader(s) … perhaps sometimes seeking to test or out-smart him/her. There is nothing wrong with that; it is fairly common in literature. I would classify that as an “intention”, supported by various situations, emotions and feelings illustrated in certain ways and with certain styles of writing. Obviously, when I become aware that the twists and turns that you often create in your stories are finely tailored then I instinctively begin to evaluate both the literary mechanisms that you are using and their degree of success for me as Reader. To me, art is not entirely (or even primarily) accidental — but rather is based upon ideas, intentions and plans for execution. In addition, I personally believe that all art created is in part biographical — i.e. possess some thoughts, experiences, personality traits, memories etc. known, imagined or dreamed about by the artist/author. Art is by nature both subjective and objective. That means that art is not just public, but also personal — to the author, and to his/her audience who must process the effects of the information, visuals etc. in relation to one’s own personal framework of ideas, attitudes and experiences. For me, assessing the success of a work of art is by nature based upon whether or not the perceived intention of the representation “works for me”. Why? Because I am both subjective and objective in my attempts to find meaning and personal relevance in a work of art that I am inviting into my consciousness. But it is not enough to merely say that “I do not like it because it does not work for me.” I should hopefully be able to relate what does not appeal to me/function for me — and why. I do not particularly like much modern rhyming poetry, and I can explain why in both subjective and objective (technical) terms. So yes, I do offer authors and publishers bits of objective and textual criticism … i.e. criticism based upon the relative success of technical aspects of the writing, style, form, etc. However, my job as a literary critic is not to serve as a professor of creative writing and to go into great detail about what exactly does not work (for me) technically. That is not popular with the writers, nor with the publishers — who want a positive review that will help to sell books, rather than a critical one (which potential book buyers may want). Often I write those comments in a separate note to the publisher and author. Usually authors are thankful — both for my insights, and that it is done in that way.

I list quite specifically what I look for objectively in my answer to the final question.

T. WIGNESAN: IV – Correct me if I’m wrong, I would have thought what gives your critical responses to any creative work depth and infinite modulations is your own trained ear for music. You are an accomplished pianist, and in your own words have avowed having earned – by more than half – your income in New York by playing at restaurants, bars, weddings, etc. Do you agree?

ADAM DONALDSON POWELL: While I studied piano under some well-known concert pianists for several years in New York City, and before that played the violoncello in a youth orchestra, I would be the first to take issue with being called “an accomplished pianist” or an accomplished anything else. Back then — in New York City — everyone I met was an artist, a writer, an actor, a musician etc., and thus the “litmus test” was earning at least part of one’s income in that profession. Being a musician, artist, actor, writer etc. is a job — in fact a 24-hour job which includes many hours of practicing, rehearsing, thinking, and planning before a final work or performance is executed. It is a work that is never finished, because the possibilities are endless and the Mind of an artist never seems to stop chattering. In my own mind, each poem, story, novel, painting is part of one larger ongoing work of art — that of me reacting to Life and my environment(s).

For me, the transition from classical music to poetry and then to painting was fairly natural and logical. In all of those art forms ideas are converted to pictures and sounds which evoke a myriad of reactions and recognitions in the viewer/audience. Each artistic discipline requires a balanced combination of technical skills, some understanding of the history of artistic traditions throughout modern history, and the ability to translate abstractions into suggestions of something seemingly “tangible” to our senses, recollections and feelings. So, in that sense, yes I can agree that much of my sensibility as regards visual art and literature (especially my poetry) has its nascence in music — sounds, rhythms, colour, speed, action, movement … all interpreted within (and sometimes beyond) an ever-evolving framework of techniques and styles pressing toward new forms of expression. To me, art (performance or visual) is not about being or becoming “accomplished”. One never fully arrives as an artist, as there is always some new peak to climb — stumbling, crawling, and running towards an infinity that can never be reached, by definition.

T. WIGNESAN: V – What may your thoughts be on these heroic couplets? (This is not a required “test”. You are welcome to ignore it.)

One science only will one genius fit;
So vast is art, so narrow human wit:
Not only bounded to peculiar arts,
But oft in those confined to single parts.

ADAM DONALDSON POWELL: Ahhh — excellent! — an excerpt from Alexander Pope’s “Essay on Criticism”. Well, T. Wignesan, as you well know these lines must certainly be judged in the larger context of the poetic work — namely the importance of self-knowledge (rather than mere literary theory) to criticism, as well as understanding that individual tastes and preferences of both Critic and Artist have both their limitations and their “genius”. However, in my opinion, because all art forms have history (of style and technical development, culture and politics), being an artist can also be considered to be an expression of a “studied and skilled science” that is heightened by intuitive and philosophical genius.

I personally believe — and have stated many times as a literary critic — that it is important to periodically specify what I personally look for in literary works that I am asked to comment on. I believe that it is important for the Reader both in relation to understanding the nature and framework of my criticism, and also as a possible “guide” for aspiring writers who wish to look beyond so-called “standard rules of writing” in their understanding and assessment of possibilities in their own artistic development.

I have written the following (several times) regarding what I aspire towards in my own writing, and what I also look for in the work of other writers whose work I have been asked to comment on: “I look for many qualities, including evenness in quality, diversity in content and form, artistic intent, planning, execution and polish (the degree of polish being both intentional and commensurate with the desired expression), and an overall concept of the book as a complete work of art – beyond an arbitrary “stew” of individual poems. In addition, I pay attention to the author’s sense of originality, political and social awareness, mastery of storytelling, and visual, musical and philosophical expressions indicative of the author’s experiential personal history. I further look for: balance of intellectual rationalism and emotional presence, a solid command of the full palette of language(s) used, descriptive colour, clarity, intentional usage of abstractions, entertainment and theatrical/performance value, humour and occasional irony, and an overall sense of when to use poetic economy versus poetic rapture. And finally I am concerned that the author has an understanding of how to arouse within the reader a sense of personal identification, emotion and engagement – enabling the reader’s ‘inner artist’ to enter into a creative cognitive dialogue with the author, and hopefully even to inspire the reader to embark upon his/her own creative process. I believe that art is both an intentional and an intuitive process, with many pitfalls: eg. overwriting, non-attention to levels of language used ($5 words can sometimes be more appropriate than $5000 words), stylistic and punctuation liberties that sometimes work and sometimes not, mimicking famous (and usually deceased) writers without sufficiently developing one’s own signature style, and getting all too caught up in – or ignoring – traditions of literature without having thought through why one has consciously chosen this or that style, or a divergence … just to name a few. At the same time, I believe that artists must always keep experimenting in order to grow and to develop further. That means taking risks … and sometimes even falling flat on one’s face. That is okay. We eventually learn from both our own … and others’ mistakes.”

As to whether literary criticism is, in fact, a “science” or a literary art form in itself, well, I think it can (and perhaps should) be both.

T. Wignesan (for Cyberwit.net) – https://www.cyberwit.net/authors/twignesan
August 31, 2017 – Paris, France

«Flying», (“Pouting Pope”) in homage to Ban’ya Natsuishi’s haiku book “Flying Pope”.

«Flying», oil on canvas, 50 x 50 cm., 2021. Thirteen years after I wrote my preface to Haiku master Ban’ya Natsuishi‘s iconic work «Flying Pope», I have decided to revisit and pay homage to the work in the form of an oil painting.

 

“Flying”, oil on canvas, 50 x 50 cm., 2021.

Commentary:

This raw, figurative painting is a significant update (if not a re-interpretation) of the original surrealistic exercise in “Flying Pope” by Ban’ya Natsuishi. The painting pictures myself in a self-portrait, looking up toward a skeptical and pouting Pope Francis who is flying high overhead — in the heavy fog-ladened and snowy Winter sky — while gazing nervously down at The Plague/COVID-19 Reaper, who is partially-concealed in shadows … lurking, and ready. The painting exhibits social distancing, as all three protagonists are deep within their own thoughts and concerns, but well aware of one another. One can wonder why the Pope has no one in his hot air balloon. But his job is perhaps not to save lives or souls, but rather to communicate the Love and Blessings of God Almighty to us … regardless of our individual fates. The ice-crystallized and sometimes violent brushstrokes of the white Expressionistic background voice a hurried sense of panic and trauma, but yet with a sense of being trapped in a padded cell, or in a vacuum — with a sense of helplessness not unlike that of experiencing a train wreck in slow motion. The effect is a disassociation between the figures, and from the Viewer to the protagonists. The figures capture the eye, but the only one who looks back at the Viewer is The Plague Reaper, whose blackened eye sockets are a real danger for the careless, and for the overly curious. The blank expanses in between the figures make the painting feel at once both unfinished and yet complete; it is an unfinished symphony — that can never be final. While the heavy abstract fog may perhaps impair our visibility immediately, we do not need to use our eyes to know that The Last Word is but an oxymoron; or thought expressed all too quickly. And that the apprehensive silence of the white expanse tells us much more Truth than the protagonists ever will. One thing is certain, the freezing cold ice crystals thickening the air and the three protagonists huddling within their own individual consciousness give little immediate sense of hope or solace.

 

“Haiku”, 65 x 90 cm., oil on canvas, is a textured abstract work that explores the haiku moment of fallen cherry tree blossoms scattered by the wind:
cherry tree blossoms
scatter beyond all fences.
kissed by a mild breeze.

Spring snow (Oil on canvas).
Spring snow — homage to Yukio Mishima (oil on canvas).

The novice struggles to make pretty feet dance in the wind, while the haiku of the master yawn and stretch toward infinity … like a century-old bonsai.

– Adam Donaldson Powell

Paintings and photo by Adam Donaldson Powell

Adam Donaldson Powell’s preface to the haiku collection “Flying Pope”, by Ban’ya Natsuishi:

A MODERN MASTER OF HAIKU PAINTS THE COLLECTIVE CONSCIENCE.

A gong sounds somewhere in the distance, and in the silence that ensues the reverberations of the collective conscience precipitate a collage of impressions that are at once familiar, and yet far beyond the accepted structures of perception. In this impressive collection of contemporary haiku, Ban’ya Natsuishi expertly challenges and coaxes the reader to join him in a flight of fancy – in and out of reality and illusion – not so unlike the great surrealist Salvador Dali. Both the reader and the flying pope take to the air, suspended above the Earth like an out-of-body experience … observing from afar, and yet experiencing the dream-like state as if it were totally real – as a sort of déjà vu recollection of the fringes between zazen and newspaper headlines … or perhaps the CNN rolling news texts, floating across the bottom of the television screen. While it may be tempting to point out Natsuishi as l’Enfant terrible of contemporary haiku writing, his impudence is not intended to shock. It is, in fact, this sense of detachment in the author that binds together the childlike, the serious, the sarcastic, the humorous and the reflective – resulting in a splattering of surrealistic images that pose far more questions to the reader than give blatant commentary. Because of the masterly free flying construction, the reader is just as easily won over to the haiku of Ban’ya Natsuishi as he/she might be to adventuresome comic books and animated films.

True enough, there is much observation embedded in these pearls of writing: sparkling semi-precious jewels singing, dancing, and jabbering now and then about such themes as politics, haiku writing without seasonal references, the loneliness of papal responsibility, and the burden of conscience. However, the real artistry of this work is perhaps the succession of painterly haiku frescoes, all variations on the same theme: the illusion of consciousness.

Do read this book several times – forward and backwards, and even starting in the middle and proceeding in any direction … sometimes dancing back and forth. There are many hidden levels within the poems, the silent connections in between the poems and in the work as a whole.

– Adam Donaldson Powell, 2008 (based upon the English version of “Flying Pope”). “Flying Pope” is published by Cyberwit.net.

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集合的無意識を描く現代俳句の巨匠

夏石番矢『空飛ぶ法王』への序文

遠くのどこかで、そして沈黙のなかで、ゴングがなる。見慣れていながら、知覚が受け取った構造をはるかに超えた、さまざまな印象のコラージュを凝結させる集合的無意識の反響ののちの沈黙のなかで。現代俳句のこの印象的な句集において、夏石番矢は、幻想の飛行を彼とともにするよう、読者を挑発し、誘惑する。その幻想は、現実とまぼろしを出入りし、偉大な超現実主義者サルバドール・ダリと、それほどは似てはいない。読者と空飛ぶ法王の両者は、空中へおもむき、地球上空に体外体験のように宙吊りにされ、はるかかなたより観察し、そして夢のような状態を、まったく現実のように、座禅と新聞の見出しのあいだの縞模様のデジャヴュの回想として、あるいは、たぶんテレビ画面の下で漂いながら、展開してゆくCNNニュースの情報のように、経験する。夏石番矢を、現代俳句の「恐るべき子供」と指摘したくなる誘惑にかられながらも、彼の大胆さは、衝撃を与えるためではない。それは、実際は、子供じみた、真剣な、毒舌の、ユーモラスな、そして省察的なものを束ねあげる、著者の超然性の感覚なのである。これは、見え透いた説明を与えるよりも、ずっと多くの疑問を読者に投げかける超現実主義的イメージのざわめきとなっている。名人技の自由飛行の構成のため、読者はまさに、夏石番矢の俳句に、彼もしくは彼女として、冒険的な漫画本やアニメ映画によるように、簡単に納得する。

十分に真実だ。ここには、次のような創作の真珠に埋め込まれた、多大な観察がある。政治、無季俳句創作、責任ある法王の孤独、そして良心の重荷といったテーマについての、歌い、踊り、ときどき早口で語る準宝石の輝き。しかしながら、夏石番矢のこの作品のほんとうの芸術手腕はおそらく、画家はだしのフレスコ画俳句の連続であろうし、「まぼろしである意識」という同じテーマの、すべてのバリエーションであろう。

この本を何度も読みたまえ、前から後ろから、真ん中からさえ始めたまえ、そして、どの方向へも進みたまえ、ときには後ろへ前へと踊りながら。これらの詩のなかに、隠された多数のレベルがあり、詩のあいだのなかに、さらに全体としての作品のなかに、沈黙の関連がある。

アダム・ドナルドソン・パウエル 2008年 (英語版『空飛ぶ法王』に準拠)

Painting: Oil on Canvas. « Shadow » – 影, 65 x 90 cm., oil on canvas, is a black-grey-white over-sized portrait-study aiming at depicting deep thinking. The semi-realistic style aims for simplicity and shadow play, with a minimum of detail and light. The focal point of the exaggerated eye serves as a portal into the Inner Self. The darkness provides a sense of intimacy, privacy, secrecy and protection. There is solace in the shadow.

Painting by Adam Donaldson Powell.