Après le Déluge

Art Rimbaud

As soon as the idea of the Flood was finished, a hare halted in the clover and the trembling flower bells, and said its prayer to the rainbow through the spider’s web.
Oh! The precious stones that hid, – the flowers that gazed around them.
In the soiled main street stalls were set, they hauled the boats down to the sea rising in layers as in the old prints.
Blood flowed, at Blue-beard’s house – in the abattoirs in the circuses where God’s promise whitened the windows. Blood and milk flowed.
The beavers built. The coffee cups steamed in the bars.
In the big greenhouse that was still streaming, the children in mourning looked at the marvellous pictures.
A door banged, and, on the village-green, the child waved his arms, understood by the cocks and weathervanes of bell-towers everywhere, under the bursting shower.
Madame *** installed a piano in the Alps. The Mass and first communions were celebrated at the hundred thousand altars of the cathedral.
Caravans departed. And the Hotel Splendide was built in the chaos of ice and polar night.
Since then, the Moon’s heard jackals howling among the deserts of thyme – and pastoral poems in wooden shoes grumbling in the orchard. Then, in the burgeoning violet forest, Eucharis told me it was spring.

Rise, pond: – Foam, roll over the bridge and under the trees: – black drapes and organs – thunder and lightning rise and roll: – Waters and sadness rise and raise the Floods again.
Because since they abated – oh, the precious stones burying themselves and the opened flowers! – It’s wearisome! And the Queen, the Sorceress who lights her fire in the pot of earth, will never tell us what she knows, and what we are ignorant of.

One thought on “Après le Déluge

  1. In Alphaville the computer is destroyed by being made to calculate love — the most elemental of “plus” terms that connects one to one. The destruction, however, is not an explosion or industrial breakdown in the tradition of one of Jean Tinguely’s auto-destructive machines. Instead, the computer “glitches”, sending out garbled and fragmentary signals which send its automatons bumping into walls and groping blindly along corridors while lights flash on and off. This is, however, an unsatisfying slap-stick ending and Goddard is too Brechtian to expect us to accept it unreservedly. The better hope, for escaping the frozen spinning of Alpha 40, lies in short-circuiting the link between words and meanings, so that Alpha 40 must recognize the impossibility of the a priori postulate on which its calculations are based.

Comments are closed.