The Sculptor Sinks, Thinks, Sings: 3 September, Bergen, Norway

The Sculptor Sinks, Thinks, Sings by Daniela Cascella and Dominique Hurth The LYD Writing Research Residencies, 2015/2016, produced by Lydgalleriet The Explorer Lounge and Panorama Bar, MS Nordnorge Hurtigruteterminal, Nøstegate 30, 5010 Bergen, Norway 3 September 2016, 17.30-19.00
 Writer Daniela Cascella

The Sculptor Sinks, Thinks, Sings: 3 September, Bergen, Norway

The Sculptor Sinks, Thinks, Sings by Daniela Cascella and Dominique Hurth The LYD Writing Research Residencies, 2015/2016, produced by Lydgalleriet The Explorer Lounge and Panorama Bar, MS Nordnorge Hurtigruteterminal, Nøstegate 30, 5010 Bergen, Norway 3 September 2016, 17.30-19.00
 Writer Daniela Cascella

Lispector, G.H., dissolving boundaries

The sections in italics are taken from a text I wrote earlier this year on Clarice Lispector’s Água Viva and The Passion According to G.H., published in The Scofield. In an interview published on the Italian newspaper La Repubblica on 3

Lispector, G.H., dissolving boundaries

The sections in italics are taken from a text I wrote earlier this year on Clarice Lispector’s Água Viva and The Passion According to G.H., published in The Scofield. In an interview published on the Italian newspaper La Repubblica on 3

There is something to be told

Riding’s unapologetic voice seems to capture the essence of the endless conversation, at times all-absorbing, compelling, draining, present, at times longed for, silent, subdued, reluctant, between Lenù and Lila: [1] There is something to be told about us for the

There is something to be told

Riding’s unapologetic voice seems to capture the essence of the endless conversation, at times all-absorbing, compelling, draining, present, at times longed for, silent, subdued, reluctant, between Lenù and Lila: [1] There is something to be told about us for the

It’s all a fraud

The tension between reality as substance, and the cut of edit as fiction, appears in a remark of Lila to Lenù: ‘You always use true and truthfully, when you speak and when you write. Or you say: unexpectedly. But when

It’s all a fraud

The tension between reality as substance, and the cut of edit as fiction, appears in a remark of Lila to Lenù: ‘You always use true and truthfully, when you speak and when you write. Or you say: unexpectedly. But when

The song escapes me / The Sculptor Sinks, Thinks, Sings

And these words, they never finish leaving me, the song escapes me as I believe I can hear it. Its beginning is always absent. I wasn’t there. The muted perturbation of the song is the interval between the words I

The song escapes me / The Sculptor Sinks, Thinks, Sings

And these words, they never finish leaving me, the song escapes me as I believe I can hear it. Its beginning is always absent. I wasn’t there. The muted perturbation of the song is the interval between the words I

Cut and erase

In Frantumaglia, Ferrante makes a remark about an Italian expression, ‘tagliare i panni addosso’: to cut out the clothes, shaped on the body. Ferrante writes of seamstresses (her mother was a seamstress), women who cut ‘on the body’ garments that

Cut and erase

In Frantumaglia, Ferrante makes a remark about an Italian expression, ‘tagliare i panni addosso’: to cut out the clothes, shaped on the body. Ferrante writes of seamstresses (her mother was a seamstress), women who cut ‘on the body’ garments that

Interferences / The Sculptor Sinks, Thinks, Sings

I want to sing a cover version of a song I barely remember. I want to sing a cover of a silent record, a muted song that would transmit all the time spent attending to it, can time be sung?

Interferences / The Sculptor Sinks, Thinks, Sings

I want to sing a cover version of a song I barely remember. I want to sing a cover of a silent record, a muted song that would transmit all the time spent attending to it, can time be sung?

So why? / The Sculptor Sinks, Thinks, Sings

… Q: ‘So why do you keep on writing?’ Clarice Lispector: ‘What do I know? … because at the end of the day we’re not trying to change things. We’re trying to open up somehow.’ … The Sculptor Sinks, Thinks, Sings, by Daniela

So why? / The Sculptor Sinks, Thinks, Sings

… Q: ‘So why do you keep on writing?’ Clarice Lispector: ‘What do I know? … because at the end of the day we’re not trying to change things. We’re trying to open up somehow.’ … The Sculptor Sinks, Thinks, Sings, by Daniela