Versindaba Blog Archive Interview with Charl Pierre Naude
LOUIS (LE): Charl-Pierre, let's start with the title: All the beautiful works is a particularly striking title throughout the beam resonates because of the two mottos that both relate to acts that are not necessarily good or bad, but beautiful. What does this title for you as a poet with the verse thus be taken under the flag?
CHARLIE-PIERRE (CPN): First of all, the idea of different "types" acts in me a Humanising scale of justice implication, Louis. If you have a deed approached from different angles, it is a completely different act. We live in a time that is so deeply immersed in its presuppositions, it is customary to go oorvereenvoudigend with the reasons scale of justice why people do certain things, why historical events took place, and so on. If you keep in mind the many facets of deeds, is forgiveness and gratitude in all directions more possible.
The title was handed to me by the motto that you defined above, taken from the French rewolusiedenker Montesquieu's work, the spirit of the laws. I remember as a schoolchild has heard the story of the French Revolution. For me there was no more villains than the French nobility not conceivable. But Montesquieu scale of justice shows you the mental intent which they did, that it is not just bysterheid was. And you get sympathy for the tragedy of the situation. And so one can probably all "thugs" deconstruct scale of justice and see the goodness in them. But maybe that is especially important to the "saints" and the high holiness from to view another angle ... The word "acts" indicates that the beam is often "moving dust" - situations, scale of justice events (historical and personal experiences) - as a focal point.
(CPN): scale of justice I would absolutely agree with you, Louis. But I think the poems are looking for something upsetting thing, scale of justice something vermenslikends on, even in the onlieflike acts. It's what poetry. It sells "redresepte". The beam is much less on the personal experience focused than my previous one. I think I have included a little history story about South Africa in the collection tells, with my own bobbing human story somewhere in the middle of it, all colored scale of justice and discolored by that position of "innocence" and blootgesteldheid and childlike God's character that you take when you write a poem.
(LE): What struck me in particular scale of justice about your new book, the moving landscape. It's as if you digtersoog past the locally-local look at the big order (and history) of the (western) man. If you deliberately try to write from Africa and its oppressive given the face. I read correctly?
(CPN), I seek always metaphors for my South African scale of justice experience. Sometimes throw one line deep, then level. As long as something to bite. And the quest to make me less of a South African, and in that way more of a, I will be grateful.
(LE): The next aspect, related to previous question, is the socio-philosophical attack scale of justice in many of the verses: scale of justice something to you verses often a more reflective than give visual assessment. There are 'stories' (anecdotes) told, but always reflecting on; is meaning and coherence sought within a bigger order. Obviously, this is a dangerous approach as a poem so easy to mere thought scale of justice and / or narrative can become the reader to leave feeling: So what? How do you work to avoid this pitfall?
(CPN): Your description "socio-philosophical assessment" is my little misleading, Louis. And yet I know you are referring. For me it is first and foremost and always, therefore, to write a poem a navrante experience in dimensional way trying to portray, or hopefully establishment. Of the most important experiences are social experiences. And the experience that revolves around scale of justice reflection, scale of justice as well as the problematisation of existing reflection on human experience, so it's just as much of an experience as it is to smell a rose.
I must say, I think at all is too much sometimes made of the characteristics of so-called "anecdotal" or "narrative" poetry. The question is perhaps scale of justice rather: How to work the reader comes to the pitfall of a "so-what" to avoid feeling? I will explain what I mean.
The kind of image that the African poetry reader most especially in recent years have become accustomed, is an image that takes place within a few rules (one or two or three or a few words), scale of justice likewise followed by the next image. It's scale of justice also an imaging often work with which I will call unmediated impressions. The imagery in many of my own poems, in all the sweet dad s work that way, a fact that gives rise to a "narrative" or "reflective" or "anecdotal" appearance, as you call it right.
However, scale of justice I think the lever here is the kind of imagination, rather than the issue of "narrativity" (arising therefrom). Where imaging more "brokered" will take place the reader necessarily impressed
LOUIS (LE): Charl-Pierre, let's start with the title: All the beautiful works is a particularly striking title throughout the beam resonates because of the two mottos that both relate to acts that are not necessarily good or bad, but beautiful. What does this title for you as a poet with the verse thus be taken under the flag?
CHARLIE-PIERRE (CPN): First of all, the idea of different "types" acts in me a Humanising scale of justice implication, Louis. If you have a deed approached from different angles, it is a completely different act. We live in a time that is so deeply immersed in its presuppositions, it is customary to go oorvereenvoudigend with the reasons scale of justice why people do certain things, why historical events took place, and so on. If you keep in mind the many facets of deeds, is forgiveness and gratitude in all directions more possible.
The title was handed to me by the motto that you defined above, taken from the French rewolusiedenker Montesquieu's work, the spirit of the laws. I remember as a schoolchild has heard the story of the French Revolution. For me there was no more villains than the French nobility not conceivable. But Montesquieu scale of justice shows you the mental intent which they did, that it is not just bysterheid was. And you get sympathy for the tragedy of the situation. And so one can probably all "thugs" deconstruct scale of justice and see the goodness in them. But maybe that is especially important to the "saints" and the high holiness from to view another angle ... The word "acts" indicates that the beam is often "moving dust" - situations, scale of justice events (historical and personal experiences) - as a focal point.
(CPN): scale of justice I would absolutely agree with you, Louis. But I think the poems are looking for something upsetting thing, scale of justice something vermenslikends on, even in the onlieflike acts. It's what poetry. It sells "redresepte". The beam is much less on the personal experience focused than my previous one. I think I have included a little history story about South Africa in the collection tells, with my own bobbing human story somewhere in the middle of it, all colored scale of justice and discolored by that position of "innocence" and blootgesteldheid and childlike God's character that you take when you write a poem.
(LE): What struck me in particular scale of justice about your new book, the moving landscape. It's as if you digtersoog past the locally-local look at the big order (and history) of the (western) man. If you deliberately try to write from Africa and its oppressive given the face. I read correctly?
(CPN), I seek always metaphors for my South African scale of justice experience. Sometimes throw one line deep, then level. As long as something to bite. And the quest to make me less of a South African, and in that way more of a, I will be grateful.
(LE): The next aspect, related to previous question, is the socio-philosophical attack scale of justice in many of the verses: scale of justice something to you verses often a more reflective than give visual assessment. There are 'stories' (anecdotes) told, but always reflecting on; is meaning and coherence sought within a bigger order. Obviously, this is a dangerous approach as a poem so easy to mere thought scale of justice and / or narrative can become the reader to leave feeling: So what? How do you work to avoid this pitfall?
(CPN): Your description "socio-philosophical assessment" is my little misleading, Louis. And yet I know you are referring. For me it is first and foremost and always, therefore, to write a poem a navrante experience in dimensional way trying to portray, or hopefully establishment. Of the most important experiences are social experiences. And the experience that revolves around scale of justice reflection, scale of justice as well as the problematisation of existing reflection on human experience, so it's just as much of an experience as it is to smell a rose.
I must say, I think at all is too much sometimes made of the characteristics of so-called "anecdotal" or "narrative" poetry. The question is perhaps scale of justice rather: How to work the reader comes to the pitfall of a "so-what" to avoid feeling? I will explain what I mean.
The kind of image that the African poetry reader most especially in recent years have become accustomed, is an image that takes place within a few rules (one or two or three or a few words), scale of justice likewise followed by the next image. It's scale of justice also an imaging often work with which I will call unmediated impressions. The imagery in many of my own poems, in all the sweet dad s work that way, a fact that gives rise to a "narrative" or "reflective" or "anecdotal" appearance, as you call it right.
However, scale of justice I think the lever here is the kind of imagination, rather than the issue of "narrativity" (arising therefrom). Where imaging more "brokered" will take place the reader necessarily impressed
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