Glasfryn Project

Click on the green page numbers to link to required page. Page 1 Editorial Fran Lock: With my Protecting Angels I Navigate Hell Pierre Joris: This Afternoon Dante Steph Goodger: Inferno Ellen Dillon: Seeking Dantist Allen Fisher: Proceeds in the Garden; after Dante Eléna Rivera: Speak Robert Hampson: Piazza dei Signori Philip Terry: Purgatorio Canto XI Beth Greenhalgh: Lethe Peter Hughes and David Rees: Let's Dantz   Page 2 David Annwn: Dantesserae Lee Duggan: from 'Navigation' David Rees Davies: for Dante montenegrofisher: Dragonflies Rebecca Chesney: To the Uncommitted Ian Brinton: Canto V of Inferno, plus Dante and Beckett Stephen Emmerson: circles Susan Adams: The Ha Ha Man Tom Jenks: Spiral Texts Penny Hallas: Elevator Robert...

The joint exhibition of works by Penny Hallas and Allen Fisher, described here, took place in September 2021 at tactileBOSCH in Cardiff. Two of the following reports also allude to an evening of poetry, music, projection and performance featuring the artists.   Lyndon Davies The exhibition is spread over two rooms. Entering the first, which houses Allen Fisher's contribution, you are struck firstly by a sense of space–almost of spareness–and order, then immediately after by the divergence between a wall of intensely coloured jewel-like images and two walls of very dark ink and water-colour paintings. The first wall of multi-media works on paper, arranged in a tight grid, is from a series called 'proceeds in the garden'. Bright, energetic, lustrous, it grabs the eye. Fisher...

      The copy measured for the piece, signed in 1909 by “Luigi Enrico Søgaard”, used to belong to Louis Henry Søgaard who was born in Copenhagen in 1890 and lived at the Vatican from 1908-1913 where he became a Catholic priest. Unhappily in love with Olga, the liaison with whom was not legit since she was his cousin, he had chosen a life in celibacy, studying theology, philosophy, Italian and Latin, but throughout the years in the eternal city, he would not be able to forget Olga.     How did he feel when envisaging life as a catholic priest, struggling to overcome his love for his cousin? In his preserved notes, he addresses God, il Padre, asking no longer to “be seduced by the mundane appearances and the deceptive blandishments of...

Silent Inferno   Through a bird mask what runs sweet over the bridge comes to taste metallic tell me grafter, would you lick that dragonzello you gave someone else, bulging yellow or hectic red a guy like you can walk through any speech backwards— it’s just a molestation in the pit before the real junket when/done/load/before/each/cell to test if it rages the swabs will make a catch * * * * * But why play the geometer and rummage to nail a demon making tears in squinted eyes this scheme could be a skit, bobbing slowly on silver whose fault can be pinned in flashes magnate to beggar with babble from each gaping throat are you nobody, hiding with the contracts out ledger on ledge, coin in casino boat, proctor by spangles darn me I can’t...

Dante does not always allocate souls a place in the afterlife strictly according to their deserts, as many have pointed out. Not only does he vengefully visit torments on his personal enemies, but he will locate souls to suit his symbolic and narrative requirements rather than those of divine justice. So, Manfred, a hardened libertine who repents with his last breath, makes it to Purgatory, while the inoffensive Francesca di Rimini, who slipped just once, and seems the kind of woman who said her prayers every day of her life, is damned forever. As a result, the Commedia is riddled with contradictions, although they never quite destroy it; indeed, it's arguable that these contradictions, and the genuine doubts Dante allows for, such as the justice of condemning virtuous pagans, actually strengthen...