And get started. I don't like standing on the stage because I feel like I'm giving a concert and I'm not very good at it so This second day you guys enjoying Barcelona enjoying open stack So I am between you guys and all the happy hours and the drinks, right? So I know It's been a long day. So we'll try to make this interesting Just just a few rules. I think a lot of people that come to this conference are very very Smart a lot of you guys are a lot smarter than I am so I'm going to usually these slides are guidelines And we just run through some of these things what is very interesting for us is question answers Common suggestions because it is a great opportunity for us to get a pulse as to what we are doing and where the world is going So feel free to stop me at any time raise your hand I can repeat the question if you think we're on the right path Let us know if you think we are definitely going the wrong way then then please speak up because it's all about the community here, right? So with that Little bit of introductions. My name is Adnan. I am responsible for the STN Strategy and the product management at Dell EMC Exciting times as you might have heard the news. We just closed a small merger. So so became twice the size so Essentially what my team does and what my responsibility is to make sure that we go and do networking in a different way And I actually make sure networking does not stand in the way of innovation And I I don't know how many of you believe but but Networking has been boring for the last decade at least that's what I believe and then the interesting times are ahead So we'll talk about some of the things that that we are doing and and how it ties to open stack I think it's fairly straightforward. So what we are doing is not very complicated And and hopefully should make intuitive sense. So so with that, let's just get into this And I do tend to skip the marketing slides although I have to run everything through marketing before I present So but I really don't want to bore you guys with with some of the marketing content This being one of it So I think we all understand why we want to go take a look at technologies like open stack And I have a better slide about this and I'll actually use this So what we what we have seen Is that doing open stack at an enterprise level is is is hard? I mean what at Dell EMC what we are trying to do is to make it easy for people to actually deploy open stack solutions And then the reason for doing that is the following it is Because of what has happened on the public cloud side of the world people on the enterprise side have to approach infrastructure in a different way and We just cannot keep building infrastructure and keep doing it the way we used to do do it a couple of years ago And then the reason is because at the end of the day the expectations that your business has from you is that you got to go faster I mean the whole the whole agility aspect of how to deploy applications to get infrastructure up and running to reuse Infrastructure for different applications and make it application agnostic That's that's all a reality and that's an expectation from a hybrid cloud or a private cloud deployment that you guys might be doing Or might be looking at so one of the reasons why one of the business reasons that we look at is okay How can we help you go faster right the second thing is? Instead of doing it in a silo where you have you know compute team server team Networking team storage team we we see teams actually coming closer together and and working to deliver the business objectives So so the idea is how do you basically build technology that actually enables these teams that have had they understand? Technology that understand in the infrastructure, but get more closely working together with each other So if you if you take a look at it the idea here is for people to actually spend time on doing productive things Rather than you know sitting on CLI and writing configurations. I mean that's that's the bottom line here and I Think everybody here understands that security is is the number one issue that a lot of us Depending on which space you're in are facing so the bottom at the end of the day What you got to do is you got to go faster and you got to be economical because you are again We are getting a lot of pressure from the public cloud side of things Now from a cap my belief and this is my opinion. I have to state It's not delt's official opinion, but my opinion I think at the end of the day on the capex side of the world you can never you know be as Efficient as the big cloud guys just because of the volume of purchase they have right but capex is one side of cost If you start building an infrastructure the way These guys are building it and on the same design principles on the operational sides You can be as efficient and that is why we are here and that is why you have technologies like open stack because instead of building an Orchestration platform by yourself because I doubt many of you have a 500 people software engineering team You you have to rely on technologies like that so that can automate and deploy and manage your infrastructure, right? So that's with that premise. Let's let's get into What we are doing so Now before the session is focused on what Dell EMC is doing from a networking perspective, right? so I Find this a very interesting slide and I usually make it interactive because it's it's almost four o'clock on a on a On a Wednesday in Barcelona, and I don't know what time you guys were out though But I was out till four in the morning. Actually, this is getting recorded. No, I was sleeping so Let's let's have some some fun with this so And and the reason why we do it is not to quiz anybody but but to actually talk about, you know, what happened I mean, whatever this is showing on the slide this phenomena happened on the compute side of the world, right? So how many people here remember mainframes or Sun, you know architectures like Sun was what happened? So today you're deploying x86, right? Okay, what happened with how did that? How did the x86 phenomena happen? Okay, cheaper and faster is one thing But that's part of the answer. I'm looking for again.  Honestly It's not not a quiz. I mean you don't get a prize or anything like that. Although there is a raffle So so you on the before I end I'm actually going to announce the winner of the raffle So so that's the only thing it's so but it's just to make it interactive and fun It's not to quiz anybody cheaper and faster is one thing, but if I make something today that is zero cost To you it's still you're not going to deploy it, right? So let's go beyond cheaper and faster Let's go what technology phenomena it enabled. So who wants to take a stab at it? I can grab you a free coffee downstairs after we're done. So again, it's just to have fun Come on. What did x86 do? Why did x86 happen? Sorry It commoditized the hardware. Let's go above the stack a little bit, right? Agreed that it is cheaper Faster is questionable Commodization absolutely agreed What runs on a server an operating system? It was if you if you think about what happened again just to accelerate because it's Europe and its people are a little shy here So so it's it's easier in America. It's harder in Asia in Japan. By the way if you do this The application ecosystem you see at up your operating system was not tied To your hardware anymore, right and your applications were developed on the operating system and That the ecosystem thrived and today because of applications Right, I mean if if if I give you a piece of hardware for free and your application doesn't work on it You're not going to deploy it So it is the application ecosystem that basically drove the commoditization and and all the other answers We got on the compute side of the world, right? If you go back 15 years even before the compute revolution the same thing happened with with with desktops and notebooks by the way It's it's interesting whenever you have a vertically integrated phenomena. Eventually the model breaks apart and The industry follows the same phenomena So the question that we started asking ourselves at Dell at the time or Dell EMC now is why is networking so different? And if you think about it networking has been locked for a very very long time I mean the speeds have gotten faster I mean I would one could argue that per gig prop price in the port went down as well But you get this pretty box from one of the big vendors downstairs It has nice lights and ports in the back and CLI and API access, but you cannot touch the OS on the box and and That is the epiphany that came to us about two years ago And that is what we decided to go change now if you go if you look at this slide the first movement happened And I I mean I think almost every major vendor has followed that movement, which is merchant silicon, right? So that's done the second thing is now most of the hardware is being designed and there are movements in OCP and other places where that is happening as well But more or less hardware I would say networking stand when it's fairly it's getting standardized Although there isn't a standard that exists, but the software is where I believe that Dell actually drove the differentiation Compared to any under other major OEM vendor in the world And I'm extremely proud to be part of Dell throughout this movement And what we did was we basically went after the initially the any networking OS option and That's what we saw for so what did we do? This is this is our opinion about the networking industry and this is where we are today Believe me it was a two-year journey and it's a not an easy transition to make when you actually have your own operating system that you develop on So let's let's let's let's work through this slide on the right most side We basically have some of the choices of the operating systems that we offer on our all of our data center portfolio so today you can actually go and and and and Call Dell or whatever your purchase mechanism is you can buy a Dell switch And you can choose either cumulus you can so choose big stretch You can choose IP infusion or player bus these are the four operating system choices that are non Dell own intellectual property that we offer on all our data center portfolio now I mean just you I mean I I don't I'm you guys can go read up on the operating system choices And I mean I only have like 40 minutes here So I don't want to get into why each one of those but we picked each one of these because they solve a different use case and and the challenge here is that we believe that IT organizations don't go home on a Friday night Saying that Monday morning. We will be SDN ready Right. It's a transition. It's a skill set transition, right? It doesn't happen overnight But as you go through that journey, we want to give you the choices which is right for your use case and right for Where your organization is today? Let me ask you a different question if you actually how many people are actually have Dell compute deployed in their infrastructure servers, okay My three most favorite people in the room But if you want to change your OS on the on your server, do you have to ship the server back? No, right similarly on networking Dell what we have done is you can actually Start with any operating system that you like and change it and you don't have to rip and replace your hardware So essentially we are giving you the protection of having infrastructure in place as you go down the software defined journey And the first word in SDN is yes So let's go figure that out rather than trying to shove a vertically integrated moral everybody's down everybody's throat So again a lot of time spent on this because I do believe that this is the Fundamental mindset difference that exists between what the way we are looking at the industry and the way everybody else is looking at the industry and I would challenge you that as People that actually flew all the way to Barcelona because you believe in open architectures. You're at open stack You want this to be successful No matter what your render of choice might be Push those guys to move in this direction. Otherwise You're saying one thing and you're doing enough And and and that's that's the fundamental thing I challenge my customers my partners and my peers that I'm a technology guy So I make technology statements and I apologize for being very firm about it But unless you guys if you guys believe in the open movement You have to push the industry in that direction and we listen and that's what we are doing and it's a very big Mindset change. So on one side you have these options. So now let's talk about the middle the leftmost At Dell EMC we have developed a new operating system called OS stand Don't ask me how we came up with that name. It just it's got nothing to do with iOS 10 and It's a full It's a it's a Linux based operating system Which is which is not something that hasn't been solved but a few differentiations in it number one It's an unmodified Linux kernel. So we'll support multiple Linux distributions in it So that's that's that's one thing the second thing is we have built a messaging infrastructure in it So and and that is going to make sense in a minute and what we have done is how many people are familiar with OCP here? Okay, so are you familiar with the sonic project that got announced at the OCP summit in February? Okay, so sonic is a project that was announced by Microsoft Which is the for it's an open-source Switch OS project that got launched under the OCP umbrella and we have contributed our operating system base into into the open-source community and And and we are the first major OEM vendors to actually embrace open-source in in that part of the The community and now what we are doing so that we did together with Microsoft made its contributions We made our contributions and today you can go to github and you can download it and you can run it yourself install Koga BGP on DAB and off you go to the races and that is the exact software that if you Actually want to get support from Dell and you want to get the full Dell stack you can you still have the option to do So so what we are doing here is that for customers or partners that have the ability to deploy and run their Infrastructures themselves and want to code it up the geek town or the geek squad is the way I call it You have the choice to go through github if you want support and you say you know what? I do want somebody to call you can pick up the you can buy support from Dell and you can go do that again on one side We are perfectly fine That if you go down the open source road and we're perfectly fine If you want to give us a little bit of money and we'll take it but the whole movement is That if you take a look at it the hardware is getting standardized Okay, you have software choices available and on the left most spectrum Or we call it the the most that most DevOps and tricks spectrum We are giving you the ability to run open source on our switch and the other reason is because we believe that a lot of innovation As we move forward in the networking world is going to come from applications and in order for you to Enable networking application Ecosystem on the switch the first thing you got to do is you got to open source the software Because otherwise everything is tied to the Dell infrastructure So from our perspective we are the first major OEM and I think after EMC acquisition and now that we are Dell EMC We are a fairly serious infrastructure player. We are the first major player to have This kind of an approach and such an open mindset for the data center part of the industry And that is how we are very different than than anybody else So I wanted to sort of highlight this because what we are doing is we are basically giving you the building blocks to enable some of these things so Make sense and again, I think the picture in the bottom is fairly self-evident I mean most of us know what a class architecture is and then and how to run L3 fabrics So so I and I hope that a lot of you are moving to L3 and not building long with a different debate Big L2 stretch to me. So Does it does it make sense? I mean have I have I done a decent job at explaining how we are looking at the industry from a software standpoint Okay, how many people here think that this is interesting? Just give me give me a gut check because I need to know if you're on the right path or not. I know it's five, okay How many people here would actually bother googling the github and download the code? Okay, well you work for Dell Okay, so so again guys I that's one of the things I wanted to drive home I mean again, hopefully this is this is interesting and you'll see a lot of innovation come from our side I mean we are looking at things like bringing bringing an L3 application as a container on top of the stack Right again, these are innovations. We are working through but first you got to go enable the platform and the base stuff again Think compute right when you were driving the Commodization and the faster and the cheaper in compute you had to basically go enable the basic building blocks, right? And then that's what we are working towards So how does this all tie into open stack? Well first of all the first word in open stack is open so so with that What we have done is for Remember the comment I made that your investments in in in del are are actually protected, right? So You can You can go with Dell infrastructure today and you can move down the operating systems at any point, right? But in order for you to run your applications today your mission critical applications What do you need to do to work with now? Right, that's the question because I don't think anybody is going to run their most critical open applications on open source software on day One, right? So it's a journey that you will take it will happen It is just a matter of time. I mean you and I can debate on the time frame For and I think it depends on your business needs It depends on your organizational needs and it depends on the how much time you have to operationalize this but I do believe that maybe two to three years at the same conference Hopefully at the same location, you know if I ask how many people are running open source in their infrastructure a lot more hands would go up, right? So we basically support let's say we took two examples You have reference architectures with red hat and Marantis which have the whole one of the one of the things that we are trying to Do is to make it easy for you to run open stack end to end so please don't look at Dell EMC as a networking all I mean as a Networking solution or a compute solution. We basically develop these solutions in our enterprise labs We test them we certified and I give you a reference architecture while giving you the ability to choose components at every level as you see fit and you can change them so That's if you we have two two two two engineered solutions that we have basically Reference art you can reach out to us. We can happy to give you the details We have the certification the testing and all those things done one is on red hat one is on Marantis I am not going to go into the hardware spec detail because I you know It's not about giving you the model numbers But on the software side from a networking perspective you you have two choices you can you're more than two choices But you can start with cumulus or you can start with big switch as the underlay and Depending on what overlay you want to pick you can pick new Archer You can pick medecura as an overly option and the reason is it basically takes away the pain that you have when you run Open stack by yourself from a networking perspective and again both these OSes are interchangeable So so that's and they plug into neutron because that's what you got to get into so We basically At the end of the day the the reason for doing reference architectures and again I'm just going to touch on this slide or engineered solution from our perspective is because if you Want to if you like everything we are doing you can actually go get a turnkey solution and it will work tomorrow morning We have a professional services offering around it We have people that know how to come and get it up and running in your site and then get your applications going so all of the Building blocks that we are building they eventually go into this engineered solution And we give people the ability to basically get the whole solution from Dell which is certified And then you can choose what you want to do with it so we have as I mentioned it's one with red hat It's one one with What answers so let me I want to leave some time for questions So let me get to the to the to the to the operating system or the software defined part This is the networking site on the how many people here have heard the name cumulus Okay, so for the people that haven't if you are a Linux savvy shop, this is a good choice for you It essentially gives you the ability to manage your infrastructure from a networking perspective the same way you manage So you have a question The manager compute infrastructure, okay, it actually gives you a batch from it's a And off you go to the races so that is one of the operating system choices that we present we again have created the reference architecture for our open stack solution using cumulus as well and It just gives you the ability to automate a lot more But you have to have Linux expertise and and and if you if you are looking at this as a networking operating system choice on one of our platforms The the way to deploy this at the end of the day, it's pretty straightforward You basically do an L3 class fabric. How many people here are networking engineers? Just for fun. Okay so Okay for the rest of you guys This is fairly standard. It's not rocket science And this is the architecture that is running some of the largest infrastructures on planet earth Because it gives you a lot of things for free and it has a very high Resiliency if you the the interesting thing about this architecture is if you think old-school, okay, let's for fun any box can fail at any point and you lose very little of traffic in the infrastructure because the resiliency is not built in Expensive boxes it is built in the architecture So it's a distributed architecture and any any any any and basically you're doing routing from from the host out So that is the standard architecture that we support It actually gives you the ability to to to our run and automate your infrastructure like I said the same way you manage your compute nodes if you're a Linux shop and it's easy the second solution that we recommend again, this has been tested is And and we have white papers and the complete reference architecture is a big switch How many people here are familiar with big switch? Okay, too. So on one side We have an option which gives you the ability to run Linux, right? Because your Linux savvy for people that don't have the operational teams that have the capability to do that What do you do? We have to give you a solution for that and the way you do that is Okay, how many people flew into Barcelona? Just raise your hands. Okay Would you want to fly into Barcelona if the air traffic control wasn't working? No Okay, just because the traffic in the data center has grown to the point that now instead of Two people making their own decisions You have a controller that is sitting and looking at all the infrastructure and makes all the decisions But it has the global view so it actually takes all the intelligence and it runs on a redundant way on a server and switches become just basically port forwarders and Every time you need to make a change you just go make a change on the controller You don't have to touch the switches so on the op look from an operational standpoint. It's a very Efficient way to run your infrastructure Compared to you know going on CLI and changing everything and it has API as it ties into neutron and you're very good So and the other thing it does is is it cheaper to actually develop control plane logic on Custom hardware or is it cheaper to run it on a server? Cheaper to run it on a server So very different way is actually a big switch So those are the two two things again because there aren't a lot of networking people So I want to point out that the reason for you do one of the things that this solution offers that nobody offers in the industry It actually takes most of the complexity and the challenges that traditionally come with open stack networking and and because it has It has agent that runs on a server and it replaces the routing functionality there So so you should be good, but again not because we only have two networking people here We can have offline conversation on how that's done. I don't want to get too geeky about it So and how many people heard about the corona deployment that Verizon talked about at open stack in Austin? So this is what they're using and it's fairly public. So I'm not giving any secrets and so I Think we are running out of time So I wanted to stop for a second and I mean that's the last fun slide I have after this It's it's it's again marketing stuff. So did I did did I at least give you guys an overview as to how Dell EMC is looking at? software-defined networking Is it complicated? It's okay. Any opinion is a good opinion simple enough How many here think that we are absolutely sorry good? Sorry, you can I mean come closer The question is can you run it on a server to test? Yeah, so we basically have some Some VMs away.  So We can we give when we can definitely figure it out, but but yes, I mean you can go to If you saw drop me an email you can go to the website and download a VM that you can run on your on your on Your laptop actually and then play around with the CLI, but it's not gonna route Right, so what's right? Yeah, absolutely. You can definitely go to that. So I know we have How are we doing on time? Yeah, so we should we have a couple of minutes left any other questions before I announced the raffle winner Is the person not in yet? So Same basically the you are all do you like is it okay to ask like what kind of third party what third party plug-in? Yeah, so essentially you're you're solving that problem through an assax, so which by the way is perfectly fine given that we're all Technologies now Okay, so before I do the raffle Pretty simple The only thing I want to you guys to take away from the session is the way Dell EMC is looking at networking is Essentially, we're the only vendor that is truly opening the whole networking space up and when and if you if you want to take a look at Dell you don't have to worry about the fact that we basically test and certify all these solutions and You can buy a complete end-to-end One rack to 50 racks to 100 to thousands of racks which actually have been tested and certified through our engineered systems And you can change at any point of delineation within your infrastructure You can you can pick pick red hat or Marantis you can pick Any of the operating systems on the switches and you can basically get a complete engineered solution So with that hopefully this was fun. Let me just pick the raffle thing because I think the thing is pretty cool Two to three who has two to three it is to do Okay going once going twice I'll pick another one then one nine nine ah Congratulations actually this is pretty cool. There you go. Thank you make it It is actually as Bluetooth speaker, right? So something that you would actually use when you go out later tonight, so thank you everybody enjoy the rest of OpenStack Get home safe or how if Barcelona is home you live in a great city. So thanks. Take care


This study proposes a novel collagen deep learning, collagen DL, classifier for predicting disease-free survival, DFS, and overall survival, OS, in stage 2 to 3 colon cancer, CC, patients. The collagen DL classifier was found to be significantly associated with both DFS and OS. Additionally, it was shown to improve the prediction performance when combined with other clinical factors. Furthermore, high-risk stage 2 and 3 CC patients with high collagen DL classifier had better responses to adjuvant chemotherapy. This suggests that the collagen DL classifier may be useful for identifying patients who are likely to benefit from adjuvant chemotherapy. This article was offered by Wei Jiang, Huai Ming Wang, Wei Xing Chen, and others.


Hi, everyone. We're going to get started. Thanks so much for coming. I'm Lucina Schell. This is approaching wholeness in another language, translating poetic fragments. And I'm really excited to see you all here. We don't have one yet. Oh, there's no mic. They should come. Yeah, it would be great. I don't think we can project our voices all the way back to whether the back of you guys are. It feels so fragmentary. Please come down to the front. We don't have a mic. There are handouts in the back. So please grab them. Everyone has a hand out. Beautiful. So we're trafficking in fragments. And I think everyone's fragments that they're presenting on are certainly going to be poetic, but they're not all strictly poetry. So that's exciting. And I'll just have the panelists introduce themselves briefly. So let's go this way. I start. Hi, everyone. My name is Ghada Murad. I'm a PhD candidate in comparative literature at UC Irvine. I am also a fellow in literary translation. I translate from Arabic and French into English. I work on Arabic and Francophone literature of the Middle East and North Africa. So when I translate from French, I mainly translate North African writers and poets. Hi, I'm Susan Bernofsky. I translate from German. I specialize in modernist literature and also contemporary. So mostly 20th century. I teach in the creative writing program at Columbia University. And my name is Yvette Siegert. I translate from the Spanish, lately mostly Latin American Spanish, but also peninsula literature, also more 20th century poetry and fiction. And I'm not affiliated with the university, but that's all. Hi, I'm Cain Cheshire. I teach Greek and Latin at Davidson College in Davidson, North Carolina. I translated primarily from ancient Greek. I have a recent work. It's a translation of Sophocles, if you look under S in the book fair. It's Sophocles' Woman of Trachas. And it's retitled Murder a Jagged Rock. So you might not think it's Sophocles at first. I speak first, so I'm going to go ahead and stand up. What I'd like to do today is just this work started sort of as an end of discussion to the whole topic, I think. I just talk about just an opera story of a satanic song. And sort of take this little fuzzy back all the way from its original context forward through its kind of different ways of receiving fragments or acquiring fragments, but a group of higher fragments from Egypt. And then moving into the whole concept of the addition. And then finally the various ways that those edited fragments might then be translated by a variety of translators. I'm going to turn to something that could be an hour lecture. It is something much shorter, but I think it will, I don't know how long it's going to take. This is a sort of potentially idealized representation, ultimately necessarily idealized representation of satan. It was coming from the end of the fifth century. It happens in a different state or nation, if you will, from Lesbos, which happens actually. And coming 200 years later after the revolution. So you see a representative here looking at a text, which is potentially problematic. We don't know Sappho was literate, even. It's not necessary. It's such a world culture, it's such a world phenomenon, an olden phenomenon, an antiquity, that one need necessarily to be literate, to be a composer or a poet. A slave's friend can read to you, for example. But by this time, there's the idea that Sappho should certainly be literate. And many works have been written down. And writing to some extent is even a process perhaps of composition by this point. You see tragedians in antiquity represented similarly on face paintings in a scene with a scroll in front of them. But this is the point out that how far removed Sappho and the experience of poetry is from our own, or song, I even call this the sapphic song, because almost all of her poems are very likely than poems. All of her poems would have been performed, not read, never read cycle. Alphabetical letters were invented by not spacing between words, not punctuation. It was always performative, whether you do it yourself, and discover what's on the page by hearing it, or how there's performance, which is more common. When performed, they're very often occulted contexts. Formalized occasions, or say, for example, in writing. So moving on to fragments. This is one page of fragments from Oxerikus in Hysian, Egypt, which has a tremendous trash dump, garbage dump, that was used for a thousand years, west of the Nile River, higher ground, so the virus didn't decay for the most part. And I'm going to zoom in on one of these for a sapphic fragment. And you can see the Greek letter in here. You can see how truly fragmentary this is. This is labeled P-Oxy from the fire of Oxerikus, 1787. Also named 2166 B-1. First published in 1944, so this is part of the process. This is found and it's published by someone needle to publish. Then you get later editions coming out that try to compile all the known fragments of Sappho, and usually Sappho's characters will see us also from the island of Lesbos, the male point of the island of Lesbos. You can check wherever you're in first. I've highlighted a kind of a peak, what I think is really significant. First of all, the dates. As we move forward, we discover more and more Sappho, and I'll see you so we get newer editions. But also, and also on the underside, we get different fragment numbers. So by the Hellenistic con, we've got Sappho divided up, not necessarily through the original occasion, under poetry that was orally composed before, but rather orally performed before, but rather according to nine books, nine books for each of the nine pieces, Sappho was known to tend to use. And then we're metricly divided. So the meter of poetry is defined in one, which book, one through nine, poetry percentage, or what the ten, poetry percentage. So moving forward from that to the text, we get here an example of pyrus being converted in a very scoutful fashion to an edited text. I'm going to zoom in on this edited text so we don't let go of the real thing. Or one representation of the real thing. For this representation of the representation of the real thing. So you can see certain devices are used to your brackets, show where the fragments, where nothing else occurs to the right or left. There are dots to show that their letters were there. If we're not sure about what those letters were, dots are placed under the letters. So you see these subscripted dots there to show that we're not really sure about those letters. You can see there's a lot of uncertainty in this tiny, tiny fragment of Sappho's. Below we have Testimonia. I've published scholarship on the, on this particular fragment. Places where phrases from the fragment occur in the Iliad or the Odyssey. The big cap of letters, such as Gamma refers to the Iliad. Lowercase letters such as Campo refer to Book 11 of the Odyssey. Then critical, the apparatus critical is scholars that propose different readings for these supposed correct readings of the original fragment of the virus fragment. So then we move to new poems. This is coming from 1982. Anyone who's moved to the Little Class of the Library? David Campbell has published a translation of those in 1982. And you can see this. This isn't a qualitative sort of evaluation of the translation. What I want to do is show you differences in the way this is a scholar trying to offer a very literal translation of the original. We get question marks afterwards that he's not sure about. We get an ellipsis everywhere that's something missing. He's just bearing, well that's an epithet of Zeus. So maybe Zeus. I don't have a question mark. Keteria, maybe Keteria, but we're missing the cap of the Ups along. We can't be too sure on a footnote. This could be after how he was associated with Keteria and so on. Below here is this by Ann Karsten. On the right. Not. 2002. And I've offered you the Greek on the left. I don't know why. But Campbell's an offer. You can sort of see where they've departed. So the style, I don't think it's worth it. Karsten has chosen to have open brackets only to the left. So there's something aesthetic and visual going on here. But don't be misled. Everything to the right is also missing. One may not necessarily know without being carefully at the introduction. And Karsten, of course, the scholar would have to be aware of this. We've got quiet with the aegis, Keteria and Keteria holding the heart. Some of the language has changed. Holding the heart rather than something more like having in heart, which Campbell takes as with his tiny spirit of being characterised in someone like an emotion. And forsaking. Stronger than leaving. Harsh. Stronger than difficult. Those words have those full semantic ranges. Neither is incorrect. But it's a different way of representing a bragg. And then more recently, Willis Barstow in 2006. I had a panel on Thursday, actually, which talked about, but I'm not I couldn't make it because I was on another panel at the same time. We were speaking about translation without knowledge of the original source language. But Barstow collaborates closely with the classes as well. What's really interesting here is we've moved away from brackets entirely by this point. We've got anyone coming to this without understanding the fragment would think we have a full moment for it. We can get it entirely. Barstow is bothering days of harshness. And further interpretation can come to my severities. Severities couldn't be an accusative plural direct object in the original fragment of which one of the pirates is an impossibility. But we get another level, or another movement away from the fragment into form. And a different kind of perception. Finally, I just wanted to confer really quickly to just the new context. I already mentioned the different fragment numberings. Each of these Campbell, Carson and Barstow all have arranged their fragments in different words. So that the fragments, these are fragments. And when fragments follow fragments, fragments are received differently relative to one another by being necessarily. So these are just examples of three different fragments that fall about all periods of time. I think I'll just finish assuming I'm on a water snap. She loves South Hope. I've been leaving her hometown. With the graffiti, I don't want to talk about graffiti at all. I'll leave there time. But I can take a look deeply into that text. Thank you so much, Cain, for that classical introductions of fragment. I am really excited to have Cain give us that context for the way fragments have originated historically speaking. And as we move on to the rest of the panelists, we're going to be talking about contemporary fragmentation, which is of course more intentional. So by way of introduction to that, I just wanted to offer some ideas about reasons that writers would choose to write intentionally in fragments. And these are borrowed from an essay by Delo Revelle called Better Instead on Poetic Fragments' Throw Essay. It's an amazing essay and it's really brief and concise and wonderful. So do look for it. It's widely available. So as Cain was kind of getting us into fragments are of course robbed of context, even in a historical sense. Sappho's poetry or lyrics are obviously complete narratives and now they exist as fragments and my context is one. When writers choose to write in fragments today, we're also missing a sense of context. And I think as translators, we can try to kind of imagine what it is or approximate it. But it's missing. Fragments have no beginning or end. We can think of them as kind of pieces of middles or anything about them. And so Revelle, I'm just going to gloss over a few of the talks about reasons for writing fragments mainly as being the impossibility of encompassing the subject in form. This subject is too beautiful, incredible vast and it cannot be encompassed by the poetic endeavor. Fragments are an attempt that is always false short and should. He says it is as if the interruption instigated by the poet's eye actually emphasizes the ceaselessness of what is seen compulsively following what allows no leisure for interpretation or for shape. He talks about awe as being a reason for writing fragments established by awe. And then Piety, fragments Revelle considers as always being pious, which I think is very related to the translator Rean Dever in many ways. He says, the good fragment renouncing even the modest posterity of a completed utterance and choosing to exist not even once of the poem is innocent of presumption. It is transparent because it cannot be read in the usual manner of meaning received even once. It's illegibility is an inexhaustible necessity which I think is wonderful when we're thinking about translation. I quoted that in the panel description in front of them. It's illegibility is an inexhaustible necessity and I think many of the panelists are working with original texts that are more illegible to begin with which obviously challenges and opportunities. And then finally I want to linger on this extremes of human experience Revelle says is a primary motivator for fragmentation. So he says at extremes of human experience the habitual reflective syntax of language breaks just as reflective consciousness breaks opening to the catastrophe of a present that recalls no precedent and anticipates no aftermath. Poetic form is acquitted of intention when destroyed by extremes of passion or grief that compel poetry towards the speech of speechlessness which struggling to survive at those extremes must encode the unnameable truth of catastrophe known not even to itself. A fragment can be the testimony of what did not escape to tell but chose instead to remain the sight of the unspeakable entity there. And I think that applies to all of the fragments that we're going to be considering today by contemporary fragmented. And then Revelle doesn't get into this so much but along those lines there are political linguistic motivations for fragmentation intentionally breaking language. You see this in Paul Fillon for example and I'm saying that some of the panelists will be covering as well and then representation of history or historical trauma as a reason for fragmenting. And then finally some of the panelists are going to be talking about fragmentary sensations using fragments in a way of engaging with other texts in intertextual ways. So now I'm going to put on my panelist test and I'm going to talk a little bit about my translations of Revelle. I wanted to give you a sense of what these fragments look like and then I'm going to be discussing today. So Revelle Haldusso is an Argentine poet with a writing in the 60s published five books of poetry in his lifetime. Born in 1932 was disappeared in 1976 at the beginning of the military dictatorship in 1921. And these are from his third book Garmentos Fantásticos which is titled for the series of fragments. In his third and fourth books he has long numbered series of kind of amperistic fragments. In Garmentos Fantásticos he has seven numbered fragments and then in the fourth book I believe there are 127 and these make up sections of the books. The other poems he has kind of crone poems he has traditionally laminated poems so they're playing with these forms. I'll just give you a sense of what's pretty short but they also tend toward narrative at times. These little paragraphs seem to be a total map of the person and now it moves over to the dark side of the disease and I'm like unthinkable. Alright, so I want to focus on these as kind of piece studies in what I was working with here. And these fragments of Gusto's in Garmentos Fantásticos experience situation at the time he had gone through a nervous breakdown he had attempted suicide and then he was interned in a psychiatric hospital for a period of time and that's the context that this book comes out of. He's really wrestling with with serious pain and depression and also very philosophical questions. And so just to get right into it one of the challenges of this was like I said balancing this tension of these aphoristic fragments with these more narrative fragments. So this one of fragment 34 you can see that's the whole fragments from here to the end of this asterisk and then 62 is really the same thing. Another part was an interesting kind of thing to translate. So in fragment 34 he has the book of miracles of the country of another part two lions roar in the middle where the roars collide as tiger is formed. And they're very kind of fun and playful. But he's also working with lions scimbalized for him. He has lucid madness but related to the sun tigers symbolize suicide. So you know there's a lot of pain and there's a lot of it's fraught. But there's this mirroring that's going on. There's a collision between the roars that's forming new animals. And I wanted to play play out or maintain the sense of mirroring that happens in these little aphoristic fragments. And it's kind of key-outness of the mirroring version that happens where the statement is negated which is very kind of fragmentary. It's like the struggle to even be and as it's said it's negated by the end of the clause. And then this one has a little paragraph of narration in the middle. It ends with a flower reflects another in another part. That was an interesting translation question. I workshopped this with the Chicago Land Translators Group that I meet with and I was not really happy with another part because another part is really existing as a place here. It's trying to evoke an actual place. And I felt like another part doesn't really sound like a place. And somebody suggested elsewhere which I thought was a wonderful suggestion. I went and I replaced these are the only places where another part appears. So I replaced them all with elsewhere. But then as I thought about whether that was really right and I kind of translated back into Spanish. So there is not a word equivalent of elsewhere in Spanish. At least not a single word. You could say another part would be the third option. So another site another place and another part is obviously the least specific way to kind of say that. And I realized that I think Gustav's choice of a part is very intentional. I'm going to mine for the reader that these are parts of a whole. And that over the birthday is really kind of like a parallel universe where other things happen in the text. And it's signaling to the reader to look for that. So Psygnus 62 which is fun. On television St. George told the duel with the driver that his proclaimed victory was along. At the same time in another part Dragon related his triumph. Dragons are terrifying. Better to say yes, yes, yes. So there is a sentence that in this parallel universe of another part different things happen that predates those other things. I'm then moving on another challenge in terms of trying to maintain that kind of consistency with Lord Olvillo which I don't have. So I've highlighted here these are all places where in the original Lord Olvillo it can be translated as forgetting generally would be like the typical translational translation but it can also be translated more philosophically and it can kind of culminate as oblivion. And so I'm going to contradict myself in all the places where it appears here but there's a reason I did that and so in Fragment 7 when my father died his oblivion was born again it has this sense of paradox internally which complicates the little optimistic fragment. I really wanted that oblivion was born which you know how kind of oblivion would be born. The ghost of the dead as lovers is exactly the opposite of what you would think you know if you're trying to forget someone who died would you not seek out a living person to help you forget as opposed to the ghost of the dead. And then 54 is fairly long I'm not going to do the whole thing but forgetting is the memory of time obviously it has to be forgetting the opposite of memory. Like 56 69 and 78 I felt like it had to be oblivion because they had to be consistent they're the same kind of variations on the same statement but dust and oblivion which appeared again and again boards and oblivion and dust there's a physical object being referred to as oblivion is the absence of an object. And then finally the last place that this appeared is oblivion 80 my clay is there in horizon my father lost an oblivion I wanted that to come full circle and to echo oblivion when my father died because oblivion was born from that first fragment and I realized when I pulled all these out so there's 87 fragments the father and oblivion forgetting the area of begins and fragments in 580 which is kind of a fun mathematical pattern and I'm wondering if I'll find more of those as I keep doing them so anyway I decided that and then we find out to Gada he was he lived a big part of his life in France and then back in he died in Malogre and he's considered along with Kateriassin all the pioneers of the Francophone Malogre literature and the way he introduced many techniques in this literature whether it's a stream of consciousness splitter persona fragmentation discontinuity and multiple perspectives so he was a novelist and a poet but his works are characterized by transgressive subversive character and a poet of violence with a lot of violent imagery in his poetry against the established orders from his father the king and god these were his three enemies in his writing and he transgressed a lot about the established traditions literary traditions, linguistic traditions and religious orders, morality and society and his writings what she calls guerrilla and mystique because he wrote in French they were directed towards the traditional literary punctuation rules, models chronology and literature theology every literary tradition in French he attacked it and linguistic tradition he attacked it in his writing for him writing is a space for experimentation investigation that held the primacy of the image over the name so meaning was not another importance for the importance so fragmentation in his poetry of many things he used fragmentation to express his exile not only a geographic exile because most of what he wrote was what we learned in France but linguistic exile because he was writing in French which was not his native language it's also a deterioration of French because he wants to foreignize French while also writing in French so he used a lot of genealogies he broke the sentences broke meaning it's also an iconoclastic gesture toward literary tradition and respect of theology as I just mentioned it's also a figure of freedom on freedom by his writing fragmentation if we look also at because he comes from the islamic tradition so if we look into the Arab islamic tradition by writing with the first person it's also considered a kind of fitna which is fitna means splitting fragmented thing so you are considered to be splitting the unitary fabric of national or islamic society so when you write a lot in the first person it's also considered that you are fragmented in this fabric it's also while it's also asserting his own singularity and difference his eye is also so multiplied and fragmented the person we never know who the eye exactly is every time we encounter an eye so that's why his eye at the same time it is fragmented between the fabric this eye is fragmented by itself because it's very multiplied so it's not that sovereign eye is very much unsolvable so I'll talk about this and how I worked with this eye and what happened with this eye so with that in mind if I was looking at how can we translate this kind of writing and I went back to my Bible of translation which is and he also thinks that when we translate a text into another text these two texts as fragments who fit into each other like two parts of a castle so here again we have two fragments complementing each other's intentions and if we go back also to the pluralization of fragmentation I want to read again about fragmentation and fragments to see what it could also be in order to conceptualize many eligible facts by parity we are chose by noise, blanchion, or action but fragments make us read without looking for wholeness they're not I think it was something that it's not a becoming they're not supposed to lead to a wholeness and then they don't have previous wholeness behind them and they become fragmented now they exist as fragments and we have to accept them as fragments and as such we shouldn't look for anything beyond or before and from this perspective they are just opposed in a text and not composed so Khayretin was not composing in order to achieve a wholeness he was just just just opposing these fragments and the relation with each other is also sometimes it's complementary in some context which I will go through now and sometimes there are intentions so in this arrangement there are also expressing a condition of exhalal because they are exhalal from each other but the relation to each other is a relation of an outsider to another outsider so by keeping all these discussions about fragments in mind I'll go through the first four mutinies and in the handouts we have also on the left the French original so if you look at the French when you see the jus which is the eye it's never we start sometimes with a jus it's not capitalized so I don't capitalize that I took the eyes all in small letters but I submitted it for publication at Benpo and the editor did not agree they didn't like a small eye they wanted a bigger eye and so this is for discussion of the unsalvied eye that during the discussion of all this they didn't like it so they put it as a capital letter publication of the Benpo I didn't fight as I was supposed to fight I gave my letter capitalized for the eye so if we go to the French you will notice the letters F the starting Fondue Fondue which means split refers to the the woman which is pretty much the signal which means also splitting fragmenting causing tension in society Fondue then no fraget passed away going down in the French so all these starting with the F associated with negative meaning F was fragmentation which is by coincidence started with an F again after that the firm last ciflant griffure down there and he repeats the first stanza down there with Fondue Fondue translating I couldn't keep this F throughout the poem so this translation was lost in the translation but I could come to say it was something else which is with the letter S and it's also because so I will go to the translated text C split vices skin screaming number star split so the split is introducing all these S so I hope by doing this that I would come and say it was the last of the F which is the first Fondue which is splitting and split and the continuation of the S to convey this in the sense of fragmentation also he introduces a lot of Latinate words instead of using the German terms for that use the Latin like it's mostly in the second one let me just mention toward the end in the original we have the set of the C that was a happy because I could sell it at the end of midnight I could keep both which were so I was able to I was thinking although we had this but there was something to refer to through the sound and then forever on keeping them at the same time keeping what's foreign to by using Latin Latin word which is the name of the mountain and I did some we have these I don't know which I get these letters whatever used as which mostly are made of parasites and insects that's the Latin medical terms for them I kept them in the English and I also worked on keeping the sound I was able to keep most of the S sound here but let's look at the last one so this was in the original put you in extravagant there to talk so you hear the sound of the cut some I was able to keep it here for some time another happy going for the rest I would like also to point out this that was a very challenging moment here in the original it's the way he writes it G at the end but one interrogation is a question mark with one take so it's our if I put it interrogation first it would lead also to the prison the interrogation the torture or the physical violence but if I put it in questioning first and my questioning first maybe it leads to his own questioning constant questioning of any order he is encountering and resisting in life so that was a difficult choice between because he is also against political orders and torture order so I asked some questions I don't know what do you think about this I think that's probably thank you thank you so much for organizing this I'm happy to talk about the process oh so the one with the book paper there are actually several colors in here oh right it's our presentation I'm Susan I was going to be talking to you about two different projects that I worked on that both used fragments in a sort of constitutive way and how I went about translating and thinking about them as fragments in the test some of those anyone who was at the punctuation panel yesterday you got a setup of this with Lisa Bradford's presentation which involved punctuation a fragmentary punctuation problem there's a lot of this and what I'm going to share with you so the two projects the first of them is a book by Ludwig Haareich who is a journal H-A-R-I-G I was on the handout he's a he's still alive I hope I think in the 60s was writing experimental fiction and I translated a book of his for Rosemary Waldra of Burning Dead called Die Reisenau Bordeaux which is an experimental novel in 29 chapters each of which is written in a different style he is a translator into German of Hamon Canot which explains a lot of things he's a translator author himself he translated Canot's exercises in style into German and so Bordeaux, Home of Haudenly and Home of Montaigne four of his chapters out of these 29 are Montaigne chapters and I Xeroxed one page out of my translation the preliminaries of Monsieur de Montaigne and I discovered well actually let me just read a little bit of this and then I'll tell you what the deal is my chapter headings were not released into the world by the indeterminacy of the word hawk in the theory of transubstantiation these anecdotes and the many quotes contained in them are not always plain examples and do not always exhaust their subject matter much as in the case of a man who meeting fire visits his neighbor to obtain some I sometimes lose my thread if not the lab robe I prefer the sort of gate familiar in poetry with unexpected leaves whether it be on horseback at table or in bed either since I myself am one person one day another on another front and back facing left and right and in all my natural attitudes but especially on horseback where I engage in my most protracted conversations if you're having a little difficulty following this it's because what you are reading is a bunch of Montaigne quotes and it took me a little while I think this book was written in German to figure out if this chapter consisted 100% of Montaigne quotes the only problem was that Harvard did not quote full sentences any time but quoted third of sentences half of sentences bits of sentences but there's basically no words in this that did not come out of a Montaigne essay and so once I figured that out I thought okay let me just translate this as if it were just written as one thing and the really interesting thing I discovered in doing this is that it was almost impossible for me to translate this collage of fragments without normalizing it and creating meaning I found it incredibly difficult for me to translate this collage of fragments without normalizing it and creating meaning but it was incredibly difficult to not create meaning which completely destroyed the effect and then I thought what am I going to do because this is not interesting it doesn't fulfill the constraints also the things were blurring into one another because when you recast the complicated sentence sometimes things wind up in a different order in English so the fragments were blurring together it was a mess and so I wound up doing the following I had these I had all these quotes I was able to separate out where one began and one ended and then I took this was before I did this in the early 90s the internet was not what it was today so I was working in Berlin in the Staatsbibliothe a big great library with a wonderful big well-stocked reference group and using this reference room I found an enormous concordance in French of the complete works of Montaigne I mean most of you everybody people in the room were my age and probably know what concordance is but I think with the internet concordances are losing in favor so the younger people in the room may never have seen a concordance but before the internet and before searchable texts and some of these large books along with the works of Shakespeare you look up the word problem and someone's made a list of every time the word problem appears in Shakespeare's work so it was a scholarly tool so I used this concordance of Montaigne's works to find where each one of these fragments came from so I looked at the German I tried to find key words and figure out what that key word in German would have been in French and then looked it up in an old I used the color translation of Montaigne because I liked it's slight old fashioned tone looked up the fragments in the English and then cut and pasted in collage this is a collage of the color translation of Montaigne because I was unable to create the fragment feel by just translating it straight up so I used this translation technique which took a little more hours than you can possibly imagine okay that's the hardest part of this publication so the most recent book of hers that she's a really really great German writer in her late 40s now and I'm going to be talking about her book The End of Days which is a book that's I have to give away a little bit of plot but it doesn't make sense if you don't have basics of this book so it's a book that keeps retaking history and so the main character of the book dies as an infant on the first page and the book keeps telling me history and then taking it back with the what if the baby dies and then read about all the horrible things that happened to the families and so the death of this child which includes deaths and immigrations and all the incredible consequences that one deed can have or what event can have the book then says but what if instead of when the baby started crying like this and then it occurred to the mother to thrust open the window, grab a handful of snow and put it under the baby's shirt then the baby's heart would start beating, blah blah you get this what if that turns into the narrative you're reading over and over again and so we have these many many lives which however you forget about where you're reading so each time it happens even if you're expecting it it's a little bit of a shock so our main character who died on the first page winds up the middle aged woman who has fled Nazi Germany because she's a Marxist she also has Jewish roots so she's doubly endangered and she's living in Moscow where a lot of people from Germany and Austria have fled having political conviction only to find themselves shortly thereafter victims of Stalin's show trials so she's in this horrible position her husband has been taken away and she's writing the course of this chapter on account of her life she has to account for herself and this account of her life must be submitted to the authorities she's written several accounts of her lives and each one of them was sort of politically expedient and she's thinking about if I write this what's it going to do, what's it going to do and she serves to have a lot of memories of her political experiences which get broken down into fragments and fragments are really important in Jenny Ebenbeck's life because I think that this is the fourth book of hers I've translated so I feel like I know her pretty well now I think that she believes it seems to be the case from her work that she believes that if you break down everybody's lives into sorts of incidents and events that happen all lives become like one another in there with minus the trappings but in the sorts of things that happen and like here's a quote from her work now it's like this and this is from the end of of a random chapter now it's like this the one hand knows that a man's member doesn't hurt when you squeeze it even applying a fair bit of pressure it's just a muscle another hand has known for a long time that caution is required when pouring water over the cacha in a pot because the water can splash up and possibly scald you one hand grasps the handle of a drill in a factory 800 times a day one hand washes the other another gets slipped through a person's hair another drops a quarter into a gas meter one hand pulls a sheet taut another wipes crumbs from the table a third flips a light switch and in this little montage of hands she's retold given a resume of lives of like five different characters in the book that we've had and she sort of distilled their lives into the thing that the gestures a hand performs and then for the point I made about lives being hauled some strange way the same life here's a short quote about that gestures a shared experience she thought at times that deprivation made people more alike made their movements down to the gestures of their hands and fingers ever more predictable when she encountered other people in the woods who are also looking for wood because you're freezing in wartime outside of Vienna other people looking for wood she saw their bending over their breaking twigs they're stripping off the dry leaves exactly resembling her own bending breaking and stripping and so how do you survive a war in the woods and you bend, break and strip so these are the gestures and so there's a thematic link in this book between these isolated gestures and the story of political history, human history 20th century history in the German-speaking countries that she's telling the history of the world is a series of moments and each of these moments leaves physical marks behind our bodies and muscle memory these things so she's mapping this pattern of marks so I've given you a couple of pages which you can actually ignore or you can look at if you want to from the Moscow chapter I gave it to you in German in case some of you know German if you want to check my translation you can talk about that excruciating later or we can skip that that's as great as you will but I wanted you to see that there are a bunch of fragments and even if you don't know any German look at page 164 and 165 all of these things on the left hand side of the page on 164 are fragments and at the top of 165 you see that they're getting shorter that's the only thing that I want you to note at this point so lots and lots of fragments getting progressively shorter it turns out because I asked Jenny what's going on this on this page all of these fragments are quoted from an actual book that existed in German called Dezäuberung, Moscow 1936. Dezäuberung is the cleansing Moscow in 1936 so it's talking about the show tries it's the transcript the protocol of a closed party meeting in which all the Marxist German language writers in Moscow are having a meeting in which they're basically jockeying for position and figuring out how to one cleanse their ranks to keep them as a body safer so there were sacrificial victims in this and on the other hand strategize how to present ourselves to the authorities a very fraught situation and people who are present go and look at the book like I did the people who were present were people like Georg Lukacs, Johannes Erbecher who is like became one of the most celebrated poets in East Germany Friedrich Wohl so known figures and they are arguing about their political position and who is politically clean and who is not and what that means and so she's taken from these protocols fragments out of context in such a way that sometimes they answer each other and sometimes they don't it becomes about the gesture of survival and so keeping the fragments she's distilling you don't even see what they're talking about you just get the rhetorical gestures in a sense and so like her gestures of gathering were the gestures of ensuring one's survival in this very dangerous environment the same bit is in English on the pages Mark 138 and 140 which are on separate pages because technologically you know not quite as sharp as it could be I guess I can read a couple of these so at the top of 138 this was a weekend in early spring perhaps around Easter a leg outside the land utterly disgraceful one should put a stop to it such a narrative well we wanted to pat across an archaic serves him right I remember that the weather was not on our side that day turned out to lack all talent and by the end of page 138 you know tried to incite me to his solid almost stocky figure to say that the book is garbage we're down to shorter and shorter phrases to them you may notice that some some of these have sprouted ellipses in English that were not there in the German why did Susan translate the ellipses I'm with you sometimes I don't want to pick too many fights with my editors the editor of this book was distressed by all the fragments and said people will not be able to follow this and somehow I was able to convince him that people not being able to follow entirely was part of the point and that the reader would probably be able to go with the flow and we compromise rather than turning all rather than putting too much sense making I sometimes you have to give your editor things that the editor was because I was fighting other battles too and if you if you fight every battle to the death you wind up damaging your relationship with your editor to such a point that it's not really good and so sometimes you compromise a little I hope I decided that this compromise was not the sort of compromise that would make me have you know hang my head in shame for the rest of my life you may disagree we could discuss that but I agree to some ellipses and the ellipses are a physical signal to the reader hey these are fragments which I think the reader probably knew anyway and the German reader may have some of them so it goes on the top of page 140 um here we'll just read that there's the top of that page with the roller to the side of the typewriter so we're back to back to her writing the report that may determine her life or death right with the roller to the side of her typewriter she scrolls back up the last eight lines then strikes the X key over and over until the paragraph she's just written becomes illegible then she goes on writing active in while fighting journey to at work on he he and she and so the words of her report are also turned into these gestures just like the transcript of the of the party fighting um and those my editor did not find me on which I was very happy about because I think the reader gets it that it was very important to keep these fragments you know feeling fragmentary because that's what and that's all I have to say thank you for organizing that discussion can everyone can I speak at this volume next I'm going to follow along with Susan's technology if you follow along on the handouts there should be putting more in the back if you would like to grab one but the text that I'll be talking about today is by another that I've been trying to edit for a long time I'll find out if you saw me who lived in Argentina between 1936 and 1972 and this text is called blood countess the Condesa Sambienta which is very different from the rest of her work it's a hybrid text it's unclassified but it's one of the most iconic texts in the Latin American corpus of the 20th century and it's very difficult to say that it's poetry as in the case of the other texts but it's a collage similarly to what Susan experienced with Montaigne it is a collection of 36 prose poems it is a gory account of this biographical speaker who was notorious just in time for Halloween as a female Dracula who for many years lived with impunity even though she was responsible they say for the death of over 650 young women and the text from a translator's point of view presents a number of challenges because it is a palimpsest of other citations that Pizarna is engaging with as a poet so thinking about the poetic fragment in blood countess is a way of being forced to think about questions of tribute of intertextuality of citation, of ambiguity and even of plagiarism because the strange thing about blood countess is that it began originally as a book review someone said review La Contessa en Glance by Valentin Penrose which came out when Pizarna was living in Paris so imagine you're a young poet and you're trying to make money as a book reviewer you take this text, you start reading it you start quoting taking notes of passages that you want to talk about in your review underlying phrases and let's say it so happens that this is a book that moves you so completely that you almost don't know what to do with it you might write a text like Blood Countess so if you look at the passages that I give you you can see a progression in the tone starting with the first fragment which is the opening passage of the text that has this kind of critical tone so what I saw as I was re-translating this text a text that I avoided for so long because it is very difficult and gory to hear and read about so much torture, violence, rape murder of these women was that the prose is very different from Pizarna and I resisted it I actually hated this book for the longest time and I postponed it as much as I could but I knew that it was important and so I kept coming back to it trying to like it and failing so I thought maybe if I read Penrose's text I'll have a better insight into what gripped Pizarna so much so I read Penrose very slowly and fresh I read the translation by Alice under Trokey and then I went back to Pizarna and I saw these skeletal residual fragments that helped me figure out what she was doing and then I was stunned by the text because you can see narratively how the fragments that she chooses to hypothesize from Penrose's book try to create something entirely different transforming the text into something else almost empirically and if you look at the first section it opens with a quote by Jean-Pierre and Pizarna writes Valentine Penrose has collected various sources and accounts concerning the Countess Bathory a real but larger-than-life figure who murdered over 650 young women fine she's writing a book review and it sounds critical the language of that section is very formal fourth paragraph she's third paragraph Countess Bathory's madness and sexual perversity are so self-evident that Valentine Penrose has set these issues aside and focuses entirely on the convulsive view of the subject to show us this kind of beauty is no easy task but Valentine Penrose has managed to do it really with the more aesthetic qualities of this dark history Asheba Bathory's subterranean realm is inscribed here in the torture chamber of a medieval castle and if you don't know the background of this text you think why is subterranean realm italicized in the Spanish or in the English translation and the impulse is to emphasize it the subterranean realm is in a wide section that's a quote that she's building her book review on after reading this text many times you go back and you see that in the paragraph above however where she says the convulsive beauty of the subject convulsive is also taken from Penrose but it's not cited there's no acknowledgement that this is Penrose's language so that already should make the re-reader begin to wonder as the text progresses you develop this very prismatic narrative of the countess's life and further you get into the story the more Penrose's language starts to take over the text because if you look at the second section that I offered you on the lethal cage something shifts here it says this is talking about a tortured method that the countess uses I won't read it out loud at this point but the middle of the paragraph reads in italics the lady of these ruins appears et cetera and here again she's quoting Penrose with a purpose of elucidating the poetical beauty of this very grim biography and I find it a haunting phrase on a third read it's an even more haunting phrase because I have figured out much like Susan figured out that almost that entire piece the lethal cage comes from Penrose that Kizarnik has sort of stepped back from and rewritten or retold throughout the passage she uses Penrose's structure her narrative structure phrasing but repurposes it in some way and it feels like plagiarism sometimes but it also feels like a beautiful homage and it can also sound very different knowing that Kizarnik is engaging with this French text translating it into Spanish creating her own Spanish prose out of it and then physically changing translations for her own purpose so when I submitted this to my editor when I started to write the note that accompanied the translation I said to make things simple and to give a regular sense of the thick intertextuality I have tried scriptlessly to adhere to the excellent English translations in this book and I feel very proud of myself because it was hours of research and hours of intense engagement with this very gory story it felt like watching episode after episode of SNAP where you see the text of some newspaper article and several key words are highlighted to show how crazy the subject is but by the time I sent the email I knew that I couldn't no longer be sustained as an effective strategy for translation particularly because Kizarnik goes on and changes so much so how much time do we have I feel guilty because I think we're on the edge of the no you're fine it's like another five minutes so to turn to the third section to black magic this is a place where using this method a very faithful citation from the existing English translation wasn't effective because Kizarnik is herself transiting a text and she says I'll read the magic herbs I'm reading at the bottom of the first page the magic herbs the spells, the amulets even the bloodbaths all of it held a medicinal function for the characters to arrest her communities that they couldn't remain forever when we read the pier and this was a pitfall because I knew that when we read the pier it wasn't in Penrose it's very clearly called there that she's quoting here the whole text is so full of quotes the Butler citation the importance of Penrose has the text to quote him the way she quotes Penrose suddenly made my theory more hard that somehow this mixture of readings had to be addressed so knowing that helped me when we started questioning my approach to this she goes on so she worked close to her heart beneath her luxurious gowns and sometimes in the middle of a party she would reach for it surreptitiously here's my translation of the prayer and now Kisarnik translates what really modifies the passage that she initially used as a citation so another layer of problematic citation occurs and it's never really credited to Penrose and throughout the past that of the beauty is maintained you don't know who is speaking in the final section on the bottom of the page who never denied Thurzo's accusations she says the countess declared that quote all of that was within her right as a noble woman of high rank I condemn you to life in prison within your own castle and in this case the phrase all of that was within her right as a noble woman of high rank is a direct citation from the Penrose text but the second I condemn you etc that's just Kisarnik italicizing herself making a dialogue to perform this incredibly critical moment in her story so it's almost as if she's saying I am taking Penrose's text appropriating it and then I'm giving you my text encoding myself you do something different than this and it's very moving to engage in this brutal text like that what I sense is this incredible tension in the text and what I find one of the questions in the description of this panel was to consider the reverberations of poetic writing and to me the italics seem to perform a very special function they're like residues or skeletal remains that in a sense tell you this or somehow mark this moment of convulsive creation and literary texts or rather it shows the complex relationship between reading and writing and translating here is this moment where a book really grips you and you start to write something and then it transforms into something else entirely I've never seen a text that does exactly that so I find it beautiful to think of these italics that used to bug me so much as these highlighted passages and say this is pointing to an act a process a performance of reading and writing that has to be acknowledged that is part of all our work I find myself I find my voice trembling saying this because I think it is something very personal but to see how a text can go from being so inscrutable and something that you resist as a translator to something that is so instructive for this work has made a hundred hours and took to translate this 66 pages really worthwhile so that's all I want to thank all of the panelists so much for presenting these gorgeous fragments and insights to all of us and we are actually at time there's a beverage break now I think there's lunchtime so we can continue to take questions if you'd like I have a question I'd love to know if you've got a little bit sort of a composition we have translators that are forced to do all of our it's called generative translation generated I know I do St. Teresa said that it's a beautiful poem just wonder if you've thought about I'm sure you've thought about but what do you want to say about how the original readers took those they didn't even realize the generative translation I don't mark them noticeably you have footnotes for our use I'm not using footnotes at this stage what I've decided to do is write an introductory essay explaining what is happening but I think Pizarnik who would use footnotes in different contexts resists doing so in the original publications of these texts and I kind of honor that because it seems that she's saying that you write is full of all these things that you read and it's nice to know that that's Baudelaire but you don't really have to know it's a short answer well she was a translator in French I mean she spent a lot of her time in Paris translating Michel and Arthur and Baudelaire doing this work at UNICEF UNESCO sorry and I think part of it was that she was trying to make money from some commission but also I think she was translating poetry to learn her chops as a writer she was incredibly erudite and she would copy all these texts that she loved into a notebook her Palais de Vocabulaire she collected it and then she would take phrases and fragments and create these very tight prose poems we'll just follow up with we just said that practice is a medieval practice that you take passages, copy passages in some sense memorize them and then they became part of your language and maybe all of you going back to Sappho and further that this idea of a fragment, a citation what the boundary is that the way any creative work maybe is part of a fragment of a larger tradition even maybe a set kind of literary vocabulary that this intentional writing in terms of fragmentation is just a simplification or a revelation of the way literature has always really been written and performed and enacted in some sense just a different more obvious form I know that sounds like a dedication but not something that's a process that's always happened it's far back it's far back as Homer the term Rhapsod for those poets who recite and improvise on Homeric poetry out of the Homeric cycle and tradition I mean they're called stitchers the image behind it being that they're putting the column together swaths of narrative but also down at the verbal level just phrases that might be two epithets and nouns or or a single hexameter lines and integrating and then call it together in exciting new ways that was allowed and preferred in antiquity we want a text today we want the Homer the other in the Odyssey and we have these textual editions to try to get back to what was exactly right but in antiquity it was the oral performance and you wanted something fresh and you know tragedians innovate on myth and so even at the mythological level there's a cobbling that's going on outside just the purely verbal production so yes I mean you remind me of something I read in Rosalind Morris she's a professor of anthropology at Columbia she wrote a book called In the Place of Origins and there's this beautiful section talking about how in Thai Poetics part of the coming of age of a poet is to create a palette of a vocabulary gleaning words from different regional languages that are then given the of being part of that poet's vocabulary and I think Pizarnik would probably say something like writing poetry is a practice and a process of knowledge and every poem is a kind of collection of knowledge in some way so here I was wondering it's to what point at what point I think I heard this at what point is a fragment a part of a whole and at what point is a fragment indicative that there is no hope to what extent are you seeing translation always as a fragment of the source of the source culture so I guess we're sort of does it have to be a dichotomy does it have to be one or the other because I think fragments usually work in both directions at once yeah I mean I can speak to that a little bit in terms of what I worked on I wanted to allow them to work in both directions so I really focused on making sure that each individual fragment stood on its own as it not as a whole but as a piece that reverberates and that is suggestive something larger than itself outside of itself but then also that those reverberations that pick up other fragments throughout the text and suggest that they're approaching a wholeness but that wholeness is never going to be realized but to allow the reader to kind of imagine it as a potential I don't think there's a lot of literary works out there that really celebrate wholeness maybe in a Walt Whitman most of literature about breakdown and fragmentation anyway I'm going to fragment the panel I'm really sorry I have to go to a committee meeting but carry on without me the translation of the sapphic the stuff that fascinates me for that very reason whether we want to insist on its fragmentary nature or we move forward and sort of try to construct something that's appalled in its own right where the translator comes the fragment I use as an example it doesn't appear in a lot of translated editions of Sappho at all Marxlin gives a whole page but Josephine Ballmer doesn't have it and her edition is called the complete works of Sappho which is already sort of an oxymoron right? I don't know how to answer your question but it's a beautiful and important one I think in the Pizarnik she's leaving vestigial traces of process that says nothing that I write is ever going to be what I want it to be and yet I think she's more interested in saying look at this new different thing I can make this transformation of one thing is into another and that's I think very life affirming in the work I can say one thing about translation as a fragment after I started translating and that sometimes I have to make choices whenever I read a translated text I feel this fragmentation it's like I need to read the source to see what was the original term what was the original intention is it actually a choice of the translation a translator made or was it there's always this in the back of my mind and this gives me the feel of fragmentation in any translation thank you all so much


Hi everyone, Joe for jasmiescasebreaks.com with 2023-24 Panini Origins Basketball, 3 box Ram Team Break number 2.  The next 3 box break is loaded up. Big thanks to this group for making it happen. Let's double up the list. All 30 teams are in. Let's roll it. Let's randomize names in teams 3-6-9 times each. 1, 2, 3. Jeremy down to Jeremy after 9. Speaking of who, we've got the WNBA draft on the background. Lakers have 2 of the next 3 picks. Nice. Stanford's Cameron Brink coming to LA. Just a short trip down South. 3-6-9 times for the names and now 9 times for the teams. 1, 2, 3, 4, 5, 6, 7, 8 and 9th and final. Celtics down to the Bucks. Jeremy with the Celtics, Ryan with the Grizzlies, Joe with the Bulls, Jeremy with the Warriors, Joe with the Hawks, Stephen K with the Thunder, Joe with the Spurs and Timberwolves, Jeremy with the Pistons, Eric with the Raptors, Stephen K with the Jazz and My Lakers, Jeremy with the Pelicans, Nick with the Kings, Jeremy with the Mavs, Joe with the Hornets, Stephen with the Magic, Joe with the Clippers, Eric with the Heat, Jeremy with the Trailblazers, Stephen with the Wizards and Sixers, Nick with the Knicks, Stephen with the Nets, Jeremy with the Cavs, Ryan with the Pacers, Jeremy with the Suns and Rockets, Stephen K with the Nuggets and Jeremy with the Milwaukee Bucks. Alright, let's alphabetize by a team and before we print, we're going to pause for a little bit. We're going to open up the trade window when we come back. We'll see if there's any trades and then we'll have a break. So stick around. Be right back. Alright, welcome back. No deals were done so the list right here remains the same. Thanks everyone for getting in. Exciting week, ladies and gentlemen. Exciting what the next month or so, right? NBA playoffs. We got the play-in games happening. I think a set of them start tomorrow. The other set the next day and then a couple more after that and then round one of the playoffs. Alright, we'll go one, two, three, four, five, six on the dice roll and it's three. One, two, three, four. We'll save these for the next three box break. Yeah, the first set of games start tomorrow. Lakers, my Lakers at Pelicans. Winner gets seventh, the seventh seed officially I think. Loser gets another chance. And then the Warriors, Kings, our winner go home. Alright, we've got a redemption hiding down here. I think the bottom three cards are Colby Jones, got Zion. We're going to see him tomorrow. Brandon Pizenski will also see him tomorrow out of 49. And we've got a Scoot Henderson, Originals rookie card. Nice. Jeremy with the Portland Trailblazers. And Cardo's going to go second, huh? The hits. Good luck. Behind Trey Young we have, oh, Orelik, two autographs or memorabilia cards. Not and or. So I guess we can find two memorabilias or two autographs or one and one. Anyway, there's De'Aaron Fox out of 10. We'll see him in the playoffs tomorrow night against the Warriors. Kings going to Nick T. And the redemption, Trey Young's going to help us out. Good luck, everybody. We've got a Elevation Signatures, B-R-A-N, Brandon, Brandon Pizenski, the Warrior. We've got a nice rookie campaign this year. This is going to go to Golden State. That'll be for Jeremy last spot, Mojo. That's Trey Young. Next box. Alright, we've got a nice Asura Thompson, Jeremy with the Pistons. Jeremy also has the Rockets, so he might have a chance to get his twin brother. And Rupert Marcus-Sassard that, I like that pattern right there. I forget what that's called, but it looks sharp. That'll go to Jeremy. And here's Pizemski again, three out of 10 for Jeremy and the Warriors. Beyond Carl and the Towns, we've got our Origins memorabilia, Zach Levine, piece of the jersey going to Joe and the Bulls. It's sort of an up and down season for them, but we'll see how they retool for the following season. I think they had a chance to slip into the playoffs. I think, no, they are. They are going to be in a play-in game. Nice, they're the ninth seed. I forgot about that. So we'll see. We'll see the Bulls in action. Alright, behind Carl and the Towns is a Cason Wallace, rookie Otto for the Thunder, number one overall seed in the West. What a rebuild for them. Stephen Kay with the Oklahoma City Thunder. Alright, third and final box. Good luck, everybody. Another three boxes in the store, so check it out, jaskyskatesprates.com. Really easy to get into. Just one spot, gets you two teams. You don't have to think about what teams you pick, at what price, blah, blah, blah, blah.  Alright, Rikia Jackson from Tennessee going to LA. Water going down the wrong pipe. Excuse me. Anthony Black and Bilal Kulabali at 75. Alright, and your final two hits. Good luck, everybody. We've got Julius Randall, nine out of 49. Nick T with the Knicks, they are the second overall seed in the East. Although there are 14 games behind the Celtics. If the Knicks were in the West, they would probably be like the fifth seed. Fifth or sixth seed. Crazy. Alright, the autograph behind Cays and Wallace is Derek Lively the second. Rookie autographs, right on the card. Very nice Dallas. That's going to go to Jeremy and the Mavs. They finished fifth overall in the West. It's been a nice addition to that team. I feel like the Mavs are really starting to click, too. Alright, there you go again. Fun little break. Quick little three-boxer. Warn the store on jaspyscaserates.com. So check it out, jaspyscaserates.com. I'm Joe. I'll see you next time for the next basketball break. Bye-bye.


news update. Good afternoon folks. Steve Rhodes coming to you live from the shores of Sunny Delray Beach, Florida. This is your 1 p.m. update and currently we've got a little bit of a mixed bag out here. You've got the all the indices trading lower with the exception of the Dow transports. They're up about three points. So they're flat. The Dow is off 21. S and P 10, two tenths of a cent. NASDAQ's off 103, seven tenths of a cent.  The semi-soft nearly one full percentage point. 29 points. You've got gold up 11 bucks. Silver's up a penny. Lights we crude is off 87 cents. Let's go. Take a look at our nine panel market update chart. We'll begin by looking at the EES many as we do that in the upper left hand corner. What you should notice is that there's a new profile that is attempting to form. It is bullish in structure. It says as we know charts, I'm not sure. Boy, the I've got my charts up on the screen. Production room. We'll just have to get that up there. Mr. Bill. Sorry about that. Not sure what's going on, but let me explain to you what's happening. And that is that the ES many has a brand new daily profile that's attempting to form. It is bullish in structure. So on any move lower, you would be looking for support between 4407 and 4421. Now, although you don't see it, I'm telling you that they are sharing with you certainly that the profile is there. And I'm using Stevie's advanced Doppler tool, so we won't have a confirmation of this profile till this evening, but it has been in place pretty much in Sunday. So I'm thinking this one is going to stay the spotball toe next. What it did earlier in the day was a test and rejected the 50 day expense moving average. The 50 days at 1749 spot ball here right now trade net 1655. The NQ has consolidated with inside its daily profile. That's all the way up to a high of 15136. That's the top of the profile and the low is 14 919 the actual low today 14 917. So you've just got a good old fashioned consolidation inside of the NQ. The US dollar index as we pointed out on Friday, even though it was moving lower quite a bit, it found support at the bottom of its daily profile and that levels 92 41. That's a key area to watch and observe a price close below that. You're looking at a move down to about 92. The question about gold, it's got a valid bottom. No, I see a valid bottom and made a buy the D point. However, there's a profile that formed last weekend was above price and prices tested and rejected that so far. And that's at 1786. We're trading right now at 1786 40. Folks, stay tuned for the Trader's Ed show. We'll make sure we get these charts up here on the screen for you. If you're off to start your Monday have a magnificent one. We look forward to seeing you soon. The reality is that navigating financial markets can be