{"id":39855,"date":"2020-05-28T11:32:45","date_gmt":"2020-05-28T15:32:45","guid":{"rendered":"https:\/\/www.artsjournal.com\/herman\/?p=39855"},"modified":"2020-05-28T16:20:04","modified_gmt":"2020-05-28T20:20:04","slug":"moloko-releases-mahers-new-poems-in-bilingual-edition","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2020\/05\/moloko-releases-mahers-new-poems-in-bilingual-edition.html","title":{"rendered":"Moloko+ Releases Maher&#8217;s New Poems in Bilingual Edition"},"content":{"rendered":"\n<p class=\"has-text-align-center\"><em><strong><a href=\"http:\/\/www.molokoplusrecords.de\/finder.php?folder=Print&amp;content=111\"> \u201cThis is a partial autobiography. The important things are missing.\u201d<\/a> \u2014 William Cody Maher<\/strong><\/em><\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"THE RETURN \/ DIE R\u00dcCKKEHR  WILLIAM CODY MAHER &amp; SIGNE M\u00c4HLER\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/WsT6pYC5IqQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption><em><a href=\"http:\/\/www.molokoplusrecords.de\/finder.php?folder=Print&amp;content=111\">The collection <\/a>includes photographs by<a href=\"https:\/\/www.artsjournal.com\/herman\/2017\/10\/just-like-real-life.html\"> Signe M\u00e4hler<\/a>. The German translations are by Walter Hartmann. <\/em><br><em>In this video the poet reads an excerpt from his poem, &#8220;Pornography.&#8221;<\/em><\/figcaption><\/figure>\n\n\n\n<pre class=\"wp-block-verse\"><em><strong>from THE RETURN<\/strong><\/em>\n\nSOLD UNDER THE COUNTER (WHILE THEY LAST)\n\u00a0\nLast words from a dying man to a loved one (sent third class)\nA statement from your mother why you weren\u2019t in school\nA set of stainless steel knives (only one missing from the set)\nA few useless phrases in case of an emergency\nA prayer book with the pages shit stained\nA chain with a missing link still wrapped around someone\u2019s throat\nA map of the city before they changed all the street names\nA face you can turn to when you refuse to wake up\nThe whip of De Sade still beating his willing wife\nA pair of lovebirds torn apart\nA handful of threatening remarks for a rainy day\nSurgical instruments worn to the bone\nA sealed envelope held firmly in a bride\u2019s nervous hands\nA winning pair of dice left rattling in a dead man\u2019s fist\nA look of horror that time will not erase\nAn act of mercy for a limited time only (at a price too good to be true)\nA portrait of Lenin done by a socialist painter in a shaky hand\nA wide selection of body parts floating face down in formaldehyde under a doctor\u2019s dining room table in Berlin\nA few scattered leftovers from a feast in a famine\nA hope chest worth its weight in dust and flies\nSome valuable medicine for a young woman in Odessa that I threw away\nA complete set of Holy Communion soldiers still sealed in a plastic bag\nSandwiches, a cookie and an apple in a child\u2019s lunch pail that never made  it home from school\nA face saving mask dangling on a string just out of reach\nA few wasted words to the wise\nA sarcastic remark for those still young at heart\nA few sacred books held together by a few dirty lines\nThe collected jokes of a traveling salesman\nAn open box of blind folds in a wide selection of fading colors\nFamous last words protected by copyright from the authorities\nA stick in the ground where a man used to be proclaiming all men equal\n\n<em><strong>\u2014 William Cody Maher<\/strong><\/em><\/pre>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cThis is a partial autobiography. The important things are missing.\u201d \u2014 William Cody Maher<\/p>\n<p>The collection includes photographs by Signe M\u00e4hler. The German translations are by Walter Hartmann.<\/p>\n<p>The poet reads an excerpt from his poem, &#8220;Pornography.&#8221;<\/p>\n","protected":false},"author":3,"featured_media":39877,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[19,26,18,4,20,23,17],"tags":[],"class_list":{"0":"post-39855","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-art","8":"category-books","9":"category-literature","10":"category-main","11":"category-media","12":"category-news","13":"category-political-culture","14":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2020\/05\/Willam-Cody-Mahler.jpg","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-amP","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/39855","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=39855"}],"version-history":[{"count":5,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/39855\/revisions"}],"predecessor-version":[{"id":39891,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/39855\/revisions\/39891"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media\/39877"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=39855"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=39855"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=39855"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}