Gesualdo to an Gesualdo d rests his life faithful, his, in pieces, introduction are discontinuous and harm the use, who did not lack intensity. c and highly individual the murder which was married between instances of workmanship and reduction. Their dramatic exclamations push the basic scale a time of the more true. b whose fame rests on her lover and between. The first vocal in the first four in the last two are discontinuous and harmonic to an introduction.Gesualdo, Gesualdo extraordinary and because he gatheredgathered thought (as these things were bound) one doubt sand hopes and after four years murdered. Ges- ualdo had time around even in these days ap- peared. Voice and word had taken the one and their equivalents were the spoken word in retro- spect. Gesualdo and died there a modernist us- ing purposes that went like Melchizedilc, 'with- out father and mother,' of no progeny born and died there. That some of the growing about the turn (not without provocation) for purposes a little to him he murdered and died there a modernist. Learning from him being acknow- ledged at Ferrara the most brilliant ended and returned. He founded, he seems to, he develop- ed, he is important. Into turns he issued and returned b and composer he caused his faithful year. Some time the remainder a master of ex- pression which has given history complexity in advance. Yet in this lies the true. Gesualdo is famous and a lover. In that year remarkable he had proved himself in musical style of anything achieved. It was hard to resist the harsh thrill- ing pleasure, the greedy harmonies and disso- nance, filling the ordinary, throughout his pres- tige erring on the grounds. Erring is faithful, though the proper matter of his song. Gesualdo reflects. His moods change during his life. For that matter, it ever has been and ever will be, repeated, one hopes.an unrelenting Gesualdo sits lonely and isolated in the foothills,schedule in not unpleasant and impressive. This is no acci-fascinating dent. And so entwined. Seven children playeddetail in the courtyard, sufficient signs of fecundity, in the chronicles, the subject of endless poems, of the tales contained therein, of writers are filled with it.the element of With a personal sense of guilt and an unspeak-dialogue able desperation, the erotic is transformed. Theinherent ardor alternates, love into mourning and ecstasy into flight. The early first place is of a greater reason partially to reside. It can no longer be thought of as a colorful interlude, but a new aesthetic of such dimension as ours appearing hard, attempted to this time, with gratitude, and generously, fearful of abandonment. In the opening of two voices between inner parts, pro- vides, provides, only a difference of outer voices. We hope to set the lengthy self complete, long- er, alert, savouring through extension.
Copyright © 1978 by Lyn Hejinian
All rights reserved.
Reproduced by Poetry Daily with permission.
Lyn Hejinian teaches at the University of California, Berkeley. She is the author of of over twenty volumes of poetry and critical prose, including several poetry collections previously published by Omnidawn: The Unfollowing, The Book of a Thousand Eyes, Saga | Circus, and The Fatalist. She is the co-director (with Travis Ortiz) of Atelos, a literary project commissioning and publishing cross-genre work by poets, and the co-editor (with Jane Gregory and Claire Marie Stancek) of Nion Editions, a chapbook press.
Hejinian's fourth book, Gesualdo, was published in May, 1978 as the 15th issue from her own Tuumba Press. Letter-pressed with four colors of ink, the interior of the paper covers is blue. Edition of 450.
Tuumba Press issued fifty pamphlets and a poster between 1976–1984. In addition, the press issued numerous small broadsides, cards, and other ephemera.