Alan Tasseau, the formular of the verb … and the soft silence (1/2)

“Music is above all else,” the French writer and poet Paul Verlaine called it in his book The Art of Poetry. Let it be. “Moments Sostenuto” is a musical historiography that tends to promote passionate advocates of music, this “burning of the sensual in open footsteps”, in which the Lebanese-French poet Alain Tasseau sings superbly, and is himself, today, in the spotlight in our pages. Like a piano pedal supporting the tone of a scale, “Moments Sostenuto” seeks to perpetuate the composer’s work, the musician’s work, or even the passion of the rare music lover in the dark. In these current days.

“What will be the rain of ink in the poet’s hand?” The mentality of the poet Alan Tasso anchors the aesthetics of action in a meditative realm above the indescribable, in search of the essence of the Absolute. Sensual, Olympian, but charming lyricism exudes from his poetry, and enriches, with its enduring sap, all his works proposing to return the “horoscopes to eternity”. An anachronism poet, “The Silence of Words” nullifies the coherent perfection of language, laying down as a complete epic dogma of verbal silence where everyday speech remains chaotic. This poetic hesychia is adorned with a mystical color and calls for a rich but rigorous search for a “new dawn” in which humanity will follow the path of a new emergence of postmodernism. Alan Tasso’s poems paint an uncompromising portrait of her creator who refuses to please in order to please him, in a world more dehumanized than ever, at the mercy of the ephemeral image of the object, which seeks identity in irony. While learners delight, as best they can, in the reactions, this self-made thinker turns to his letters to “return the words to the critical sources of action.” An innovator on the one hand, a splinter of lost values ​​on the other, he distills, in his art, a reflection of an aniseenian contrasted with the “pure of everyday unknown life”. They have a privileged position in the finest libraries, such as the Austrian National Library (in the heart of Vienna’s Hofburg Palace), the Royal Library of Belgium and the National Library of France, where their works are carefully preserved, particularly in the rare manuscript sections and prized reserves.

Antiques dealer, journalist, painter, poet, critic, music lover, beauty, you are versatile, but above all self-taught, like Andre Malraux, Rabindranath Tagore, Thomas Edison, or even Karl Marx. In a world plagued by compliance, was it easy to get your way?

Nothing is easy, as you can imagine, especially when it comes to working wholeheartedly to create clean images. Over time, my range of interests requires more maturity and caution in a kind of work that focuses on the essentials. The path I drew for myself was in no way a motor or, on the other hand, a path of blackberries. The most important thing is to know how to reconcile, in order to intensify the work as much as possible, to offer the best and the new, by liberation from the beginnings where the work seeks and strives for itself. It’s a journey where it comes to climbing stairs, one by one, with precision. It offers a freedom, an independent choice in order to create my own plurality of meanings, my personal concrete, all dedicated to openness looking to the horizon.

Liborello signed with Alan Tasso. © Alan Tasso

Your writing and interventions can be considered of primary value. In fact, since 2011 I have predicted the emergence of “new diseases that are crushing the whole planet”, “new wars”, and “many problems that arise in a country that will soon lead to tragic consequences”, among others at a university conference Posted in the article “These photos are still few after all.” From sibling wars to rising inequality, the world is in turmoil. What do you think of this as a thinker today?

By stepping back from everyday life and looking at the world, we can discover many phenomena. It’s about knowing how to read events without warning, think about them and approximate them, a little, a lot, or not. From there we come to discover the path of what was reserved for man, occupied with what was created for him, through advanced technology which, moreover, is useful and interesting, there is no doubt about it. It is a matter of not enslaving oneself to it as is the case. However, modern man is completely stuck with what is being imposed upon him, and is unable or unwilling to think. In the West, for example, we are currently turning, against the current, at the expense of secular and fundamental values, I mean the peculiarities of each country, its vernacular culture which must be curtailed completely. The world is going badly, and it seems to be heading towards a generalized and inevitable explosion.

Promoting new cultures is undoubtedly enriching because it is interesting to open up to others, at a time of multiple exchanges. However, this cannot and should not replace the specific culture of a particular country. European cultures, customs and traditions have been ingrained over time. They are also part of everyday life. We can in no way bring it face to face with the new host cultures from elsewhere, by placing them on the same level of importance, or even on an equal footing, to justify one position or the other… . Of course, at the expense of its own values, at the expense of everything that a country has built over many centuries.

Ink and poem by Alan Tasso. © Alan Tasso

You dare the fruitful solitude of “the pure silence that is silence”, as you describe it in your collection Assuming another season (2005), hence your interest in contradictions. In a world of communication, full of images, sounds and chaos, what are you trying to hear and communicate, when almost nothing is heard, to use the words of sensitive historian Alan Corbyn?

Silence is a very precious thing, today more than ever. It is never silent and makes it possible to digitize feelings, to make the delicate fabric of the world sing, at least what is left of it, when you want to touch and hear it. Yes, we can look, touch and hear silence. As for my vocal inconsistencies, it is born in silence, in verbal silence, because in silence there is a world of incantations and revolutionary discoveries. They are especially dedicated to revealing the silence of those who greet them. Nowadays, images of direct consumption flood the space, no more extraordinary privacy, and the special moments one can travel far away. Once you come across an image, you hardly have time to wink at it as other fleeting images await you on your designated path, and that’s how it goes.

What do I seek to hear again, to see and then communicate honestly, in silence? Quite simply the rustle of snow which is the water of life, the croaking of a frog, the oratory of a river in the midst of the fir trees erected toward transcendence. I thirst to see (since we no longer see, we constantly see again…), to communicate constantly with the attacking nature without which there would be nothing. Snow, for example, is one of my favorite themes in my poetry. Looking at the mountain that speaks to the lined sky, to learn how to climb the terraces full of roses and intimate beautiful things, it is for me an indescribable joy, a real emotion, non-stop! Doesn’t that conflict with our worn-out, vulgar everyday life? Not dissatisfaction with what I just showed you, but a deep look that describes the reality we are trying not to see.

Untitled Ink by Alan Tasso. © Alan Tasso

In a collection devoted to you in the editions of the Revue Phénicienne, the great critic Joseph Trapp, and in a long and very fine introduction concerning your copies, says of your work, taking for example your collection Brisants comme Dictame d “A Dead World”: “He runs, in Ten short poems, to keep the essence of his themes, every word, here, conjures up in the mind of the reader familiar to his poetry a whole range of images, thoughts, emotions….” What are you trying to convey in your transcripts, especially since you are one of the few writers in the world who working on this page?

As you know, the copy page, mainly at the end of the book, informs mainly of its technical side, the printer, the year of printing, and sometimes the type of letters used or the number of copies. This page ends the book. It turns out that few writers pay any other attention to it. However, in this type of poetic writing, the carving of colophon seems basic. It gives a fertile continuity to the group. He leaves it wide open, refuses to close, and publishes it like a volume that never stops revealing itself, unfolding endlessly.

There is fun in this job. The interest is knowing how to play in new creative paths. In my transcriptome, short scripts are very essential and dense. They are born from long moments of contemplation. They impose other readings in order to feast, to touch the absolute. They open up new avenues, and make it possible to expand them at will. The fall often consists of a few words of thoughts, cast along the ocean, in the language that speaks to me at the time, such as ” nacht und träume“,” visibilium invisibilium “or” Public Speaking After Human Death“…which I offer to read deeply, as if in the hands of a whole book.

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