Vista Palestorre, Blorhn en WY
“Intrussyan tsarist exile from Norlia, currently living in a bucolic vicarage outside Blorhn, Wyoming. [It was in the tierra selva postrera of VP’s aptly named estate, “Vista Palestorre,” by the way, where, with financial assistance from the man himself, Ada Romer, aka Ouida Willoughby-Johnson, established herself in an abandoned stable the unstable stairs and jar-slick handrail of which put prematurely paid to the sociophysiological career of that tenderest lover, aspiratrix sublime dont la survie, torse à plat sur nos girons attrapés, lovés, ripés délicieusement n’est assurée que dans la mémoire. — N.d.l.R.] Although his command of the Norlian language is far from what one would call fluent or even proficient, he is the founder of la Sociedad de Norlianos Exiliados (SNE) in Agua Prieta and homologous assn. elsewhere. His first novel, Sautez!, he wrote in his first abri bien d’exilé, Lutèce, couching it in the larvate prose stichomythia characteristic of that city’s parigothic verlan. [Awk. — N.d.l.R.] Upon reaching the Tetrastics, his prose travails tended toward Ityalian, the lingua franca of the Sihlaucal Coast of Wyoming and Flouziana, culminating in Depreccata, a sort of murder mystery. Sous l’élan de la dite œuvre jumelé, notre homme des trois arts prêta voile sur l’embarcadère de Port Astri Bay, Wyo., eventually debarking at Porto Vecho, Agua Prieta, for a two-year stint as author-in-residence at that city’s Melos e Artes where he was enabled to wrest, for the sake of his third novel, La Cuna, the subtlest prose variations from the idiosyncratic Tixputana dialect of New Lexican. Demand for this so-called Tetrastic Trilogy, which D. I. Swopes, according to Mona Coltrane, describes as “chart[ing] a melancholical journey whose aim is to cast light on the hidden causes of those obscure things that compel us to hurt each other — and that the dark victory to be tasted by those who manage to plow through all three volumes is like insouciantly casting off the dark mantle of one’s own dim or dismal vanity,” was such that publishers were prompted to reprint and translators engaged, translators dismissed until the author himself — fawned upon, linguisticated, polyglottalized, and rhetorically spanked — was inflamed to such a state of literary erubescence that he had no choice but to play locus delicti at his own translexical partouze such that, while Sautez! escabechaba Salta!, straorzava Saltate!, and was jumping Jump!, Depreccata fricotait Dégradée, tiró Despreciado, and diddled Demeaned, tandis que La Cuna gamahuchait La Brèche de la Bergerie and socratized The Empty Cradle by which point our man was too fagged out to salivate or strepitate or perorate vast lists — as any member in good standing of l’Encomio Ityalianyo degli Scriccioryi (EIDS) would, under any other circumstances, perform with gusto — of Ityalian tropes, alias vertere parolyi per frasci come travestir a lo pestiño, parlotear es vistoso, proveis lastarte, salvar estrepitosamente, and so on. Of course, lesser libertines were and perhaps still are employed to frotter, lécher, chupar, strambare, trakhat, śukati, sokmak, blasen, und so weiter the relevant avatars in Sihlaucal, Mountain Fukari, Huerta-Fukari, Intrussyan, Lepastic, Bantu, Yazdehan, and even Texian, but we here at imssoc urge you readers to forgo such desiccated simulacra and plunge, rather, into the glairy, grumous spume du texte même. Fleeing fame and fatigue and furbished with freshly harvested fortune, thus, VP sought for and found a [reparative solst]itial sanctum scriptorum in the coast-mountain scenery between Rancho Convivia and Port Astri Bay where, on the Wyoming side of the border town of Blorhn, he purchased the rambling estancia known to the locals as Vista Palestorre. There, he reverted to his native Intrussyan to pen three novels hoving to Norlian themes, Ostiesa [Lance], Rezbriri [Sprawl], and Isxweramiri [Exodus], el postremo libro being a fictionalized account of his own flight from the destroyed city of his birth. Subsequently, VP has written two works of “non-fiction,” both in the Upper Engush of Appalachia and Flouziana: Their Loose Ideas, a screed qui veut trépasser la voiturée critique dirigée contre lui dont surtout l’impur pétras, sale voiturier and current president of SNE, Bernard Vighdan, and Into My Grave, a “memoir” of his lost Norlian years, chock full of allusions to Hamlet and R. Roussel’s opus singularis, these latter being analysed and clitalysed not, as inexplicable cases of “plagiary by anticipation,” nor as the creatively necessary interplay between le plagiat intentionnel (PI) et le plagiat involontaire (PI) (Ducasse 1870), but rather as the aporia contingent upon the perfidious otiose nature of reality, specifically, the literarily entangled instantiations of nonlocality known as author-generated spooky action at a distance (AGSAD). This latter work forms the core of our study, Prastier’s Infernos (PI), which is why our ineluctable encounter with the person in question on Glamporium’s Playground of Taboo as well as in the more covert spatial seraglio of his vicarage à Blorhn, so devoutly wished on the parts of all involved, was marked by such heat.”Indeed, at this restive pastoral conjuncture on the grounds of the “wrestling-tower” of Blorhn, VP is currently pioneering a form of multidimensional écriture, or sculpt-scripture, entitled, for the nonce, Aerolexist Portraits, which, in truth, deserve to be walked through and around, as not even Mona Coltrane’s exquisitely acute expressionistic descriptions of them in the pages of the Owlstain SCAT do them justice sufficient enough to discourage one from embarking on a slow voyage à travers la frontera to that blurry burg there to experience them in vivo as so many already are divastigating there to do, leading certain snarky adepts to dub the place, “New Taboo Towers.” Meanwhile, we have the pages of his latest reversion to heterolexical noir, The Rapist’s Elevator, to keep our caudæ content and our rostra replete.
V. Prastier | Paris : La Fusée Élective | 1992.
V. Prastier | Convivia : S/Zisti | 1993.
V. Prastier | Agua Prieta : Melos e Artes | 1996.
I. Ducasse | Paris : Librairie Gabrie | 1870.
“Le plagiat est nécessaire. Le progrès l’implique. Il serre de près la phrase d’un auteur, se sert de ses expressions, efface une idée fausse, la remplace par l’idée juste” (6).
D. I. Swopes | Owlstain SCAT | 21 October 1998.
In the Spring 1999 issue of Esther Manse’s The Meaner Side (Lutèce), M. S. Strickland put out ludict poème as his own, appending the following clarification: “[Swopes’s sonnet] is a topical species of versified ephemera chock full of grandiloquent spite and gynandromorphic jealousy towards a distinguished author, Velasto Prastier, she seduced one evening after he had tippled a bit more than usual at a sociophysiological conference being conducted in the Agore Bar of Glamporium in Owlstain and found himself ripe enough to do a bit of adventurous snorkeling in her coelenterate étangs, but not enamored enough to more soberly scaphander himself so as to thoroughly sound the fimbriate bathystome of her cirripede seas the next morning or therein after. Mine, on the other hand, is a schizomythic tour de force of rime argile imaginatively straddling the stichomythic pathos of space, etc. etc.”
M. S. Litarn and Š. Nišivat | in prog. | n.d.