All One Horse
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- ¥2,400
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- ¥2,400
発行者による作品情報
All One Horse is a marvel-filled journey through Breyten Breytenbach’s kaleidoscopic imagination. The electrifying colors and penetrating images of his paintings converse with his lyrical and satirical dream-fables. These visions and parables emerge from a mélange of cultures and traditions: African and Eastern thought, the spirit world, and the spheres of visual art, philosophy, history and politics. Breytenbach’s watercolors communicate in hieroglyphs, where private conversation embraces myth and dream. These reflections and images – clear and complex at once – are cries for human dignity and justice, are truth disguised as play. With octopus-like grace, Breytenbach pulls together worlds and watches them dance and struggle together; echoes of Afrikaans haunt his English, the fantastic melds into the quotidian, love glimmers beneath rage, the immediate rises to the universal.
PUBLISHERS WEEKLY
South African poet Breytenbach (True Confessions of an Albino Terrorist) offers a dreamy take on the artistic impulse in these 27 short prose fictions. Many are slyly couched as fables; each has a facing page watercolor in Breytenbach's own hand. The poet's role as the book's consistent speaker notes in "This Unmemorable Memory Exists!" is like that of a tree: to create a space, to consecrate absence, to be "a place where oblivion could be predicated and practiced endlessly." In "Between the Legs," the narrator finds "God is Word or Flesh or some such"; repeatedly uses the Holocaust codeword Sonderbehandl ng (it's not translated, but it means "special handling"); and ends by noting "God 'is a Brazilian'." Near book's end, in "Bathed in Tears," the speaker confronts an imposter brother who may be a symbol of artistic fraudulence with a knife and tries to skin his hands. Surreal and opaque, Breytenbach's self-described "minor" squibs on where art comes from (written in the mid-1980s and seeing their first U.S. publication) are equal parts violence and whimsy.
