Omslag af Lise Harlev.
After Hand udgiver d. 24. november Martin Glaz Serups digt Marken.
Bogen starter sådan her.:
Dette er et naturdigt der også handler om andet end naturen, der findes altså andet, tre kolde drivhuse, deres fugtige industri, gule i tågen på marken. Kan man have det sådan, som marken, hvordan kan man identificere sig med den, med sådan et sted, med en pløjet mark, et underligt åbent rum, en krop uden organer.
Senere på året udkommer Marken på det amerikanske Les Figues Press under titlen The Field i oversættelse ved Christopher Sand-Iversen.
Martin Glaz Serup befinder sig netop i USA disse dage, hvor The Field blev udstillet i forbindelse med Les Figues Benefit Auction. Læs mere om det på Serups Kornkammer og se billeder her.
Writer’s Statement:
In the FIELD, I take something very well known (in Denmark, but, I would think, worldwide, more or less), and let it become estranged. A place where you can project the text—so to speak—or your reading of it. A place without a fixed age, a fixed sex, a fixed social situation or context. And then again…one of the effects of the FIELD, I think, is that it sort of vibrates in the reading: in the beginning it’s strange, then, because of the repetition and predictability, the FIELD disappears, and in glimpses it breaks back into the reading and destabilizes it just a bit. The FIELD simply becomes a name, but the name of everybody, everybody’s autobiography. I see THE FIELD as a big contemporary novel. Also I think ‘the field’ is a significant space of, and is associated with, the shift from an industrial to an information society in the West. Until recently agriculture was by far the biggest industry in Denmark and nothing is so Danish as the green or yellow fields in the wind etc. The FIELD is an installation and a book. In the original book (and partly in the translation), there are many references to traditional Danish songs too (lullabies, harvest songs, etc.); I also think the field is a mental landscape, a general (and visual) metaphor for THE PEOPLE.
