The Marathon Poet
The Marathon Poet
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About the Book
Iconic poet-artist of the Swedish post-war avant-garde, Åke Hodell tells the story of his artistic journey through the absurd, satirical, tour-de-force that is The Marathon Poet, originally published in 1981 and now available for the first time in a facsimile-style English translation.
Hodell’s book is centered around a fictional race between poets, in which our author-protagonist becomes the sole qualifier after some fitness and alcohol tests. The narrative of the race is intersected by apocryphal origin stories of Hodell’s earlier works that freely blur fact and fiction, taking us even as far as Hell to find a publisher for one of his books. Through para-fictional devices, repetitive language techniques, phonetic writing, and satirical humor he continuously mocks authority. Hodell’s tall tales unmask and satirize oppression’s many guises—from disciplinary speed reading in elementary school to the forced repetition of a military command. In one chapter, Hodell relates the history of capitalism by way of a multi-vocal sound-poem featuring the voices of European and American automobiles. Through all the tribulations experienced by the marathon poet, Hodell’s pacifist and anarchist politics are always present, always in solidarity, always in resistance.
Author
Åke Hodell
In 1941, while serving as a fighter pilot in WWII, Åke Hodell (1919-2000) miraculously survived a plane crash. During his convalescence, he decided to change the course of his life and became a poet and artist, influenced by socially critical art movements as well as by Fluxus. His experiments with language and visual art moved fluidly between a variety of forms and genres, including concrete poetry and artists books (such as igevär and Orderbuch), collage, spoken word, performance, radio theater, sound- and object-based installations, and pioneering sound-art works such as Mr. Smith in Rhodesia and Where is Eldridge Cleaver?
Translator
Fia Backström
Fia Backström is a Swedish artist based in New York. Her multi-disciplinary practice includes photography, performance, events, installation, display architecture, and writing. Her work engages questions around the construction of the collective fabric often through collaboration or by re-contextualizing works by other artist. In her book COOP A-Script (Primary Information), she continues her exploration into modes of visual and spoken language. Backström received the Bernard Heidsieck – Centre Pompidou literary prize in 2018. In 2019, she performed Fluid Sites – Haunted Debris: virtual, possible, viscirreal with choreographer Mariana Valencia at the Centre Pompidou, and exhibited Facing Her Land – Notes from elsewhere at the Thiel Gallery Museum (Stockholm). Backström is an Assistant Professor at The Cooper Union.
Editor
Kira Josefsson
Kira Josefsson is a writer, editor, and literary translator working between English and Swedish. She was awarded a PEN/Heim Translation Fund Grant for her work on Pooneh Rohi’s The Arab. Her work has appeared in Granta, Words Without Borders, The Nation, Exchanges, Triple Canopy, Kritiker, and Arbetaren. She serves as Assistant Translations Editor for Anomaly, and on the editorial board for Glänta, a Swedish independent journal of arts and philosophy.
Praise
In the News
Excerpt
An atrocious penalty for a radical pacifist. How many times had I not suffered all the qualms of hell listening to this command from where I used to live in the Old Town in Stockholm, right next to the castle. During each changing of the guard, a solider in the bailey of the castle will shout: “igevääääääääääääär!” (present arms) This happens twelve times a day in the summer.
So, I had been sentenced to shout i gevär in eternity. I will admit that during the first years, I performed this command quite half-heartedly . Indeed, in a hesitant, often quite sad voice. At one point, when my holler resounded even more sad than usual, General Bussig approached me yelling: “Hodell is crying like a faint maiden! Act like a soldier dammit! Use your vocal resources! This is how it should sound: iiiiiiiiiiiiiiiiiiii…” At this point he interrupted himself. A couple of pointy i’s had gotten stuck in his throat. He began to cough violently. That’s when I had an idea. I figured that if I shouted i gevär and kept on going at the vowels i and ä as long as I could without pausing to breathe, the semantic content of the exclamation would dissolve. It would extinguish itself! I confided my idea to an old Zen master. He immediately hit my head with a butt of a rifle and exclaimed “Satori!”. Then he said: “If you succeed in this, the exclamation: i gevär can be transformed into a remarkable mystic musical experience and …” – “Really?” I interrupted surprised, “it can?” The Zen master continued: “If you prolong one and the same note infinitely it will no longer be the same note that you hear. The note will be transformed into another note, which in its turn will get transformed into another. Kimi hi take.”