Today on The Melbourne Flâneur, I take a flânerie around Bendigo, pausing only in my perambulations to breathe some poetic airs upon your ears in beautiful Rosalind Park.
The good burghers of Bendigo named their green space after the heroine of As You Like It, but as you can see in the video, there is something otherworldly about this ‘emerald isle’ in the midst of the city, such that it reminds one of the enchanted island of The Tempest.
It’s the perfect locale for a little poetry-declaiming, and with the rather Parisian skyline of Bendigo’s Pall Mall mansard-bristling at my back, I read you my translation of Charles Baudelaire’s sonnet “L’Idéal”, from my book Flowers Red and Black: Love Lyrics & Other Verses by Baudelaire.
There’s always an erotic edge to my writing, and like a pendulum, I oscillate between the sublimely romantic and the frankly pornographic, so it should come as little surprise that I am such an admirer of Baudelaire, or that I have translated so many of his love poems.
Though I had some slight acquaintance with M. Baudelaire beforehand, it was as a flâneur in Paris—the city of flânerie, the city of Baudelaire—that I really got to know the divine, diabolical M’sieu.
As I perfected the art of wandering the streets of Paris, the Latinate rap of Baudelaire’s high-flown rendering of low-brow subjects was a constant cicerone in my ear, directing me towards the tawdry tableaux which Paris flashes like her undergarments at the voyaging connoisseur of voyeurship.
‘Parisian life is abundant in poetic and marvellous subjects,’ Baudelaire observed. ‘The marvellous envelopes us and suckles us like air, but we cannot see it.’
Certainly I feel the same way when I set up my camera to capture those little vignettes of Bendigo, shots of rien de tout, which bracket the video above. Statues, street art, architectural details, empty vistas:—Bendigo (which bores the Bendigoans) is fecund in that surreal quality of the marvellous, the poetry which hovers behind the banality of things much-seen.
Baudelaire’s ambition was to make the Parisian see this invisible air in which he ambulated, to turn the exquisite flâneur experience of the ephemeral into a flâneur poem. In the same way, if there is any ‘poetry’ in the shots of nothing I insist on boring you with in my videos, it is the poetry of the ‘boring’ urban life which Baudelaire, lover of novelty and ennui, both wanted to escape from and escape more fully to.
Flânerie is an ‘altered state’ which reveals the invisible poetry of the visible city. Baudelaire, as the père of flâneur philosophy, was an inveterate chasseur after artificially-induced altered states which liberated the surreal poetry that is the resident spirit of the banal.
He praised the state of drunkenness as the essence of the poetic experience, and wrote a scholarly treatise on the poetic effects produced by hashish. And of course, Baudelaire was an amateur of that other intoxicating, protean substance which produces a poetic effect on men: la femme.
As a flâneur, he was a Daygamer avant la lettre, as may be witnessed by his ode to an anonymous passer-by. It’s one of Baudelaire’s most delicate and evanescent love poems, ineffably romantic and yet unmarred by any effeminate sentimentality whatsoever.
In a handful of lines, Baudelaire perfectly conveys that ephemeral experience which all men of the city know:—the lightning-flash moment when you see a woman you desperately want to approach surge forward from out of the crowd; the single second in which you clearly see a whole parallel existence with her; and the second afterwards when, jostled on by the crowd, you decline to embrace the destiny with her which you so clearly previsioned:
A bright light… then the night! Fugitive beauty
In whose glance I have been suddenly reborn,
Will I never see you again in all eternity?
Elsewhere, very far from here! too late! perhaps even never!
For I know not where you fly, and you know not where I go,
O you who I might have loved, O you who knew it!
Translating Baudelaire is not easy. As Alan Ginsberg remarked, if you can’t read him in the original, you have to take the aggregate of all the translations in English to get a sense of what he is saying.
It’s not that Baudelaire’s French is particularly difficult, although he does some vexing things with tense that English is not supple enough to elegantly convey. It’s rather that the images he manages to paint by combining a lofty, distant tone with the startling incorporation of things deemed ‘unpoetic’ produces a remarkably lucid effect with remarkable compression.
As with Shakespeare, there’s quite an unusual ‘range’ in Baudelaire’s language. He’s equally at ease with the most recherché classical allusions as he is with the slangy argot of the Parisian gutter, and he demands not only a requisite range from his English translator but a sense of how to convey in modern English the quality of ‘shock’—and even of ‘offence’—produced by this admixture of tone.
Few translators who have ‘tried their hand’ at Baudelaire have a good sense of him, methinks, for with the grotesquerie of his subject matter, it is too easy to make a schlocky parody of Baudelaire in English.
One requires an exquisite sensibility for the sublime horror (or horrific sublimity) of everyday life to approach Baudelaire on his own terms of unquiet desperation with normal, bourgeois existence. In fine, one requires an ample dose of that quality which he himself defined (finding no better word for it in French) as good old-fashioned English ‘spleen’.
In Flowers Red and Black, the poem which most conveys this choking, stifling sense of sublime horror (or horrific sublimity) is “The Jewels”, my translation of “Les Bijoux”.
It’s the most sensual, erotic poem in the collection, and the one I am always asked to read at poetry gatherings because it’s almost like a short story: in the space of a few minutes, people feel as though they have been completely transported into the small, stuffy chamber, lit only by firelight, in which Baudelaire and his Creole mistress, Jeanne Duval, are engaged in foreplay.
The heady incense of the smoke, the play of weird lights rising from the fire, the music of Jeanne’s ‘chiming jewels’, and the way she undergoes a metamorphosis before the bard’s eyes, changing into a tiger, swan, slutty angel and classical catamite by turns, always gives people the hallucinatory sense, sans drugs, of the ‘altered state’ which Baudelaire experienced in sexual love.
And yet, because the banality of this everyday scene takes on a heightened potency and is attenuated to such an exquisite degree, there is a stifling, almost suffocating sense of sublimity into which an erotic horror enters, like the almost painful pleasure of the ‘petite mort’.
As romantic as his love poems are, there is nothing wilting and effeminate about Baudelaire, which is perhaps why women like this book. His voice is forceful and potent, and it seems to combine well with my own style as a writer, such that we make some ‘beautiful music’ together.
I’m thinking of publishing a second edition of Flowers Red and Black, revised and expanded, even including some of Baudelaire’s prose poems. But that project is some way in the future.
In the meantime, I have a very limited stock of the first edition on hand—about a vingtaine. It makes an original St. Valentine’s Day cadeau, and the dames do grok it. As I say in the video, I’ve been reliably informed (regrettably post facto) that ladies have regaled one another with my verses in bed.
I’ve also had a friend rip off my translation of “Les Bijoux” and try to pass it off as his own poem to placate a squeeze who wasn’t in the mood to be squeezed. (She saw through his play at once, which only served to further inspire her ire.)
You can purchase a copy through the Dean Kyte Bookstore, but if you want to buy a copy from me directly, you can do so either by clicking this link, or by registering your interest with me via the Contact form.
This allows me to get in touch with you to arrange payment and delivery details. It also enables me to get some particulars from you so that I can write a thoughtful, personalised message on your behalf to the lucky person you want to give the book to.
Plus, I will flourish the magic wand of my Montblanc Noblesse over the flyleaf and affix my personal seal in wax to it, so your first edition will be doubly exclusive.
I want to thank all my friends who have accepted the invitation to follow my adventures on The Melbourne Flâneur vlog. As I commence my enterprise, offering a bespoke, artisanal approach to document preparation, it means a lot to me to have your support.
It’s also an honour and responsibility to produce online content for an audience who has committed to watch it.
In thinking about how to produce online content that is meaningful, engaging and valuable without bombarding or overwhelming you, I was influenced by Jasmine B. Ulmer’s article, “Writing Slow Ontology” (2017).
In the spirit of the ‘Slow’ movement (as in Slow Food, Slow Cities, etc.), I want to propose a ‘Slow’ approach to producing online content, one that does not bombard you with volume or overwhelm you with fast pace, one that is, as Ulmer says, ‘not unproductive’ but ‘differently productive’.
As opposed to the consumptive and disposable model of online content production that predominates, I won’t spam your inbox with clickbait. You won’t hear from me often, but I hope that when you do receive notification of a new post, you will look forward to the content I offer.
To my mind, online video should open a space in which to breathe for the viewer, not fill a hole hungry to consume. In line with the bespoke, artisanal value promise of my enterprise, I want whatever leaves my hand to be the best that I can make it.
I called my vlog The Melbourne Flâneur because I wanted to bring a more ‘pedestrian’ pace to producing online content, introducing Paul Schrader’s notion of the transcendental style in film to online video.
In the video above, you’ll notice my love of ‘leveraging boredom’—holding on shots of ‘nothing’ at the beginning and end, moments of ‘ventilation’ which encourage you to pause, breathe and observe with me in my flânerie.
The fast-paced, high-volume approach to content generation is opposed to the bespoke æsthetic of the handcrafted, artisanal products and services I promote. To write and publish even a slender volume like Brazen Gifts for Gold took more than a year of my life.
Writing is a true ‘manual labour’, but, as Ulmer observes, it is also a labour of time and being in which we don’t just ‘do’ writing but ‘live’ writing. To be a writer is to live an artisanal lifestyle.
Value emerges from this condition of artisanship: all the being and ‘life/time’ of the writer is imbued in the bespoke, handcrafted book, not merely in the words he sweats over to make perfect, but in the total ‘livery’ of his libello.
Likewise, in the video content I offer you on this vlog, in which places are allowed to be and breathe, I hope you enjoy a vicarious oasis of valuable respite from the overwhelming pace of our amped-up existence.
How does a ‘Slow’ approach to creating online content resonate with you? Do you agree that we could benefit from a more thoughtful, deliberative pace to online video production? I’m interested to hear your thoughts in the comments below.