No more, you thought, could it stare back at you

Two poems by Allan Popa translated from Filipino by Mabi David and the author.

Mabi David                  Allan Popa

 

Aso

by Allan Popa

Hindi punyal hindi krusipiho ang hawak mo

nanggigigil na kinakaskas sa ilalim ng kaldero kahit

 

walang nasisimot kundi ang ngilong tinutugon

ng ungol sakal ng kadenang-asong nakatanikala sa iyo.

 

Anong pangangailangan pa ang nagpapalubay

sa iyong kapit upang haplusin siya sa noo, malupit

 

na kamay na malugod niyang inaabot upang basain  

ng dila na minsang nahuling dumidila sa kanyang

 

ari: matalim mo siyang tinitigan upang pahiyain.

Hindi na niya makakayang harapin

 

ang iyong tingin. Sa iyo siya nakatingin.

 

 

 

Dog

by Allan Popa

Neither crucifix nor knife

what you scrape against the pot’s bottom.

 

You scrape up nothing, not

a scrap off it, only a grating screech

 

to which the dog whines, choking at

the leash chained to you. Out of what need

 

would you loosen your grip to pet

its forehead? It licked your hand.

 

Once you caught it feverishly licking its own

sex and fixed on it, staring it into shame.

 

No more, you thought, could it stare

back at you. It stares back at you.

 

 

translated from Filipino by Mabi David & Allan Popa
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Baboy

by Allan Popa

Malalasap pagbigkas ng baboy kung bakit baboy

ang mababasaging alkansiyang hindi nagawang

 

mapabigat bagamat matabang-mataba sa iyong palad.

 

Pinakinggan mo ang pag-alog sa kahungkagan

ng iilang sensilyong naihulog sa mabintog na tiyan,

 

tiningala’t sinilip ang dilim sa napakakitid na butas. 

 

Matatandaang ito ang gulang ng pagtuklas ng sarap

sa pagtuklap ng langib ng papahilom na sugat.

 

Nakapaglalaway, nakapangingiwi ng mga labi

 

ang pagsungkit, pagkupit ng pilak mula sa sarili

na mariing maikukuyom sa nangangati mong palad.

 

Malalasap pagbigkas ng baboy kung bakit baboy.

 

 

 

Pig

by Allan Popa

Savor as you say the word pig, why

it is a pig, this coin bank

 

you cannot for all its size make heavy.

 

You listen as you jangle the handful inside

its hollow distended belly, the teats you tilt

 

to peer past the chink into the dark,

 

remembering when you first discovered

what pleasure picking on a scab gave you.

 

You bite your lip to hold the drool in.

 

You try to snatch at the shiny silver, picking

your own pockets for all that you can

 

hog, and savor why, as you say the word, pig.

 

 

 

translated from Filipino by Mabi David & Allan Popa
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…but any clever man is half a crook

Two excerpts from “Too Clever by Half” by Alexander Griboyedov translated by Betsy Hulick.

“Too Clever by Half” (usually called “Woe from Wit”) is a verse comedy by Alexander Griboyedov, a contemporary of Pushkin’s. It is a Russian classic. The plot is simple: Chatsky, after a three-year absence, returns to Moscow. He is in love with Sophie, who is carrying on a clandestine love affair with her father’s secretary, Molchalin, a careerist upstart who, in turn, fancies Liza, Sophie’s maid. Chatsky’s sharp social observations and contempt for the man she secretly loves leads her to circulate a scurrilous remour at a ball, that Chatsky is mad. Chatsky uncover’s Sophie’s betrayal and Sophie is disabused of her lover’s character. In the end, her father, Famusov, mistakes their showdown for a tryst, and fires off against them both. He has the last words of the play, “What will Princess Maria say?” indicating the social life of the period will settle back to its stultifying normal.

                                                                                                      —Betsy Hulick

[Зови меня вандалом:]

by Alexander Griboyedov

 Репетилов

                                Зови меня вандалом:
        Я это имя заслужил.
        Людьми пустыми дорожил!
Сам бредил целый век обедом или балом!
Об детях забывал! обманывал жену!
Играл! проигрывал! в опеку взят указом!
     Танцовщицу держал! и не одну:
                             Трех разом!
Пил мертвую! не спал ночей по девяти!
     Всё отвергал: законы! совесть! веру!

Чацкий

        Послушай! ври, да знай же меру;
        Есть от чего в отчаянье прийти.

 

 

                           * * * * *

 

Чацкий

    Да из чего беснуетесь вы столько?

Репетилов

Шумим, братец, шумим…

Чацкий

                                        Шумите вы? и только?

Репетилов

Не место объяснять теперь и недосуг,
        Но государственное дело:
        Оно, вот видишь, не созрело,
            Нельзя же вдруг.
Что за люди! mon cher! Без дальних я историй
     Скажу тебе: во-первых, князь Григорий!!
Чудак единственный! нас со́ смеху морит!
Век с англичанами, вся а́нглийская складка,
     И так же он сквозь зубы говорит,
И так же коротко обстрижен для порядка.
     Ты не знаком? о! познакомься с ним.
        Другой — Воркулов Евдоким,
     Ты не слыхал, как он поет? о! диво!
        Послушай, милый, особливо
     Есть у него любимое одно:
«А! нон лашьяр ми, но, но, но»  2.
        Еще у нас два брата:
Левон и Боринька, чудесные ребята!
Об них не знаешь что сказать;
Но если гения прикажете назвать:
     Удушьев Ипполит Маркелыч!!!
     Ты сочинения его
     Читал ли что-нибудь? хоть мелочь?
Прочти, братец, да он не пишет ничего;
     Вот эдаких людей бы сечь-то,
И приговаривать: писать, писать, писать;
В журналах можешь ты однако отыскать
     Его отрывок, взгляд и нечто.
     Об чем бишь нечто? — обо всем;
Все знает, мы его на черный день пасем.
Но голова у нас, какой в России нету,
Не надо называть, узнаешь по портрету:
     Ночной разбойник, дуэлист,
В Камчатку сослан был, вернулся алеутом,
     И крепко на руку нечист;
Да умный человек не может быть не плутом.
Когда ж об честности высокой говорит,
     Каким-то демоном внушаем:
     Глаза в крови, лицо горит,
     Сам плачет, и мы все рыдаем.
Вот люди, есть ли им подобные? Навряд…
Ну, между ими я, конечно, зауряд,
Немножко поотстал, ленив, подумать ужас!
Однако ж я, когда, умишком понатужась,
     Засяду, часу не сижу,
И как-то невзначай, вдруг каламбур рожу,
Другие у меня мысль эту же подцепят,
И вшестером, глядь, водевильчик слепят,
Другие шестеро на музыку кладут,
Другие хлопают, когда его дают.
     Брат, смейся, а что любо, любо:
Способностями бог меня не наградил,
Дал сердце доброе, вот чем я людям мил,
     Совру — простят…

 

[Call me a barbarian!]

"Too Clever by Half," Act IV

by Alexander Griboyedov

Chatsky, about to leave the ball, is buttonholed by Repetilov (pronounced Repetílov). In Russian there are two verbs for “to lie,” one to lie out and out, the other to fabricate. Repetilov is that uniquely Russian type  who flies into a sort of ecstasy when lying.

 

REPETILOV

            Call me a barbarian!

For vicious living I’m your man.

I’ve traveled in an idle, worthless set,

been mad for balls, the whirl of social life,

ignored my children, cheated on my wife,

gambled recklessly, piled debt on top of debt,

defaulted on a mortgage, ruined my best friend,

kept a ballerina, no, not one, but three,

and kept them simultaneously.

went drunk and missing for a fortnight,

set conscience, law, religion all on end.

I tell you—

 

CHATSKY

                       Your lies are out of sight.

Lie of course, but exercise restraint.

Yours would make the stoutest heart grow faint.

 

                                    And later, in a parody of liberal secret societies:

 

CHATSKY

But why get so worked up? What for?

 

REPETILOV

To stir the pot, to stir the pot, mon cher!

 

CHATSKY

To stir the pot? Nothing more?

 

REPETILOV

Now’s no time or place to give an explanation.

I can only tell you it’s a state affair;

we’re in the early stages of our preparation.

Such men! In short, Prince Gregory, for one,

Eccentric? Funny? There’s no comparison!

A dedicated Anglophile:

clips his vowels, crops his hair,

You haven’t met him? Wait awhile,

you will. Let’s see: Who else is there?

Eudókimus Vorkúlov: What a singing voice!

Ah, Non lashiarmi no no no!

That’s his aria of choice.

Then Boris and his brother, Leo,

splendid fellows,  say no more.

But if it’s genius that you’re looking for,

Udúshev, Ípolit Markélich—he’s your man.

You must have read him once upon a time.

I used to be his biggest fan.

No new work for ages! It’s a crime!

Flog these idlers—it will serve them right—

and sentence them to write, write, write!

He’s published articles still widely read

in reprint: Shards. Envision. Nought.

What is Nought about? Better left unsaid.

How much he knows! And all of it self-taught.

We’re keeping him for when the time is ripe.

Our leader is a Russian without peer.

Why name him when his portrait makes it clear

just who he is, a dueling, fractious type;

was exiled to Kamchatka, trekked a thousand miles

returning via the Aleutian Isles.

Some skeletons, no player by the book,

but any clever man is half a crook.

When nobility of soul or honor is addressed,

his flaming cheeks and bloodshot eyes

clothe him in the aspect of a man possessed.

He breaks out weeping, and the whole room cries.

Where are people to be found like these?

Among them all, no mediocrities

except myself—a lazy dog, not up to snuff.

But I’ve been known, when thinking hard enough,

to come up with a genial pun or turn of phrase

to turn into a vaudeville: six will write the verse,

another six compose, another six rehearse

and all the rest supply applause and praise.

You laugh, but brother, we enjoy ourselves, we do!

My heart is good, if my abilities are few,

BESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswy

that’s why I’m liked, why I’m forgiven for my lies!

translated from Russian by Betsy Hulick
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[Вы помиритесь с ним, по размышленьи зрелом. ]

by Alexander Griboyedov

Вы помиритесь с ним, по размышленьи зрелом.
     Себя крушить, и для чего!
Подумайте, всегда вы можете его
Беречь, и пеленать, и спосылать за делом.
Муж-мальчик, муж-слуга, из жениных пажей —
Высокий идеал московских всех мужей. —
Довольно!.. с вами я горжусь моим разрывом.
А вы, суда́рь отец, вы, страстные к чинам:
Желаю вам дремать в неведеньи счастливом,
Я сватаньем моим не угрожаю вам.
     Другой найдется благонравный,
     Низкопоклонник и делец,
     Достоинствами наконец
     Он будущему тестю равный.
     Так! отрезвился я сполна,
Мечтанья с глаз долой — и спала пелена;
        Теперь не худо б было сряду
     На дочь и на отца
        И на любовника-глупца,
И на весь мир излить всю желчь и всю досаду.
С кем был! Куда меня закинула судьба!
Все гонят! все клянут! Мучителей толпа,
В любви предателей, в вражде неутомимых,
     Рассказчиков неукротимых,
Нескладных умников, лукавых простяков,
     Старух зловещих, стариков,
Дряхлеющих над выдумками, вздором, —
Безумным вы меня прославили всем хором.
Вы правы: из огня тот выйдет невредим,
     Кто с вами день пробыть успеет,
     Подышит воздухом одним,
     И в нем рассудок уцелеет.
Вон из Москвы! сюда я больше не ездок.
Бегу, не оглянусь, пойду искать по свету,
Где оскорбленному есть чувству уголок! —
        Карету мне, карету!

                                                           (Уезжает.)

[You’ll make it up with him, once you’ve thought it over—]

"Too Clever by Half," Act IV

by Alexander Griboyedov

In the denouement, Sophie learns her love for Molchalin is deluded, and Chatsky learns that Sophie started the rumor he was mad: In Griboyedov’s own words, he “spits in her face and everyone else’s” and takes off.

 

 

You’ll make it up with him, once you’ve thought it over—

He trumps a future with all hope removed.

Imagine what a prize you’ll get,

an errand boy,  domestic pet

to stroke and coddle, Moscow’s

picture of the ideal spouse.

Enough! This break restores my pride.

But you, sir, father-of-the- bride,

with your fine appreciation

for degrees of rank and station,

may you enjoy the blissful ease

of wanton ignorance, now and ever:

I’ve no intention whatsoever

of offering for your daughter’s hand.

Another who can’t fail to please,

underhanded, smooth and bland,

with all a toady’s fawning qualities

has that honor. He will do you proud!

There! I’m sane! No dreams becloud

my reason. I’ve nothing more to lose!

It’s their turn now to suffer the abuse

they turned on me—father, daughter,

witless lover—I’ll pour  my bitterness

and gall on each of them in order,

on all the world, and its maliciousness!

Where was I thrown up by fate:

What people was I cast among?

A hateful mob, eager to calumniate:

the spinster with a spiteful tongue,

the evil-minded reprobate,

the denigrator, cutting down to size,

the clever parasite, self-regarding fool,

tittering maidens scarcely out of school,

decrepit graybeards, feeding off of lies—

all declared me mad, in one concerted choir.

And right they were. Take it for a fact:

A man could pass unharmed through fire

who spent a day with them and kept his mind intact.

Farewell to Moscow, to its days and nights!

I’m off to search the wide world round

for somewhere I can go to ground

and set insulted sense to rights.

My carriage! Bring my carriage round!

translated from Russian by Betsy Hulick
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keeping secrets, plotting murder,
smiling

Two Old English poems translated by Elijah John Petzold

These two Old English poem come from the Exeter Book, a hefty codex which preserves a large proportion of the Old English corpus. I’ve given them new names, drawn from phrases repeated in each poem. The traditional titles assigned to them—“The Wife’s Lament” and “The Husband’s Message”—suggest a parallelism not supported by the text: there’s no explicit connection between the poems, and the narratives, vague as they are, don’t seem to match up. As with several other Old English elegies, they do, however, describe feelings of love, loss, and longing across watery expanses. As both poems present significant interpretive issues, I’ve highlighted some particularly challenging elements. 

beneath an oak (The Wife’s Lament)

            The nebulous narrative of this poem has stumped generations of Anglo-Saxonists. Although elaborate theories abound, there’s nothing close to scholarly consensus on what exactly is going on. It’s clear enough that here a female speaker laments a tumultuous romantic past, but the sequence, location, and causality of the events remain murky. First, the beloved disappears, but then, we are told, his family connives to keep them apart. It’s unclear whether their scheming led to the beloved’s departure in the first place, or whether they took advantage of his departure to reinforce their separation. No sooner do we hear about the family, however, than they are out of the poem entirely, but it seems that the speaker has gone in search of her beloved and finds him changed: morose and murderous. He imprisons her in the earthen cave from which she tells her story, suggesting perhaps that he has murdered and buried her, leaving her waking ghost to mourn. I’m not entirely convinced of this, nor of any other theory that claims to conclusively explain the text beyond what is actually said. Although translation necessarily privileges some readings over others, I’ve tried to leave narrative possibilities open, rendering a poem that feels fragmentary, abrupt, elliptical: a long, traumatic memory distorted and elided by time and repetition.

in days gone by (The Husband’s Message)

            Interpreting this poem hinges on two related questions: who is speaking?, and what is the function of the runes? I’m quite certain our speaker is a piece of wood inscribed with runes, delivering a coded message to an absent lover. More than ninety verse riddles are interspersed throughout the Exeter Book, generally written in the voice of the riddle’s solution: an animal or inanimate object. The riddle immediately preceding the “The Husband’s Message” speaks of an object that talks without a mouth, is carved by a knife and a “prince’s mind,” and passes on a message that no one else can understand. “Rune-staff” seems the obvious answer. The riddle illuminates (and perhaps anticipates) “The Husband’s Message,” particularly the cryptic runic sign-off. The runes read S, R, EA, W, and M, but these don’t render any name or word. The runes’ names may provide a clue: Sigel, “sun”; Rad, “ride/path”; Ear, “earth” or “sea”; Wynn, “joy”; and Mann, “man/human.” Runologist Ralph Elliott has us construe these ideas together to find the epitome of the poem: “Follow the sun’s path south across the ocean to find joy with the man who is waiting for you.”[1] Tempting though it seems, I’m not inclined to presume anything. By design, the runes are untranslatable except to the lovers, whose private oaths of love in bygone days decipher the code.

—Elijah John Petzold

 

[Ic þis giedd wrece yes bi me ful geomorre,]

Ic þis giedd wrece yes bi me ful geomorre,

minre sylfre sið. Ic þæt secgan mæg,

hwæt ic yrmþa gebad, siþþan ic up aweox,

niwes oþþe ealdes, no ma þonne nu.

A ic wite wonn minra wræcsiþa.

 

Ærest min hlaford gewat heonan of leodum

ofer yþa gelac; hæfde ic uhtceare

hwær min leodfruma londes wære.

Ða ic me feran gewat folgað secan,

wineleas wræcca, for minre weaþearfe.

 

Ongunnon þæt þæs monnes magas hycgan

þurh dyrne geþoht, þæt hy todælden unc,

þæt wit gewidost in woruldrice

lifdon laðlicost, ond mec longade.

 

Het mec hlaford min her eard niman,

ahte ic leofra lyt on þissum londstede,

holdra freonda. Forþon is min hyge geomor.

Ða ic me ful gemæcne monnan funde,

heardsæligne, hygegeomorne,

mod miþendne, morþor hycgendne

bliþe gebæro. Ful oft wit beotedan

þæt unc ne gedælde nemne deað ana

owiht elles; eft is þæt onhworfen.

Is nu swa hit næfre wære

freondscipe uncer. Sceal ic feor ge neah

mines felaleofan fæhðu dreogan.

 

Heht mec mon wunian on wuda bearwe,

under actreo in þam eorðscræfe.

Eald is þes eorðsele, eal ic eom oflongad.

 

Sindon dena dimme, duna uphea,

bitre burgtunas, brerum beweaxne,

wic wynna leas. Ful oft mec her wraþe begeat

fromsiþ frean. Frynd sind on eorþan,

leofe lifgende, leger weardiað,

þonne ic on uhtan ana gonge

under actreo geond þas eorðscrafu

þær ic sittan mot sumorlangne dæg,

þær ic wepan mæg mine wræcsiþas,

earfoþa fela; forþon ic æfre ne mæg

þære modceare minre gerestan,

ne ealles þæs longaþes þe mec on þissum life begeat.

 

A scyle geong mon wesan geomormod,

heard heortan geþoht, swylce habban sceal

bliþe gebæro, eac þon breostceare,

sinsorgna gedreag. Sy æt him sylfum gelong

eal his worulde wyn, sy ful wide fah

feorres folclondes, þæt min freond siteð

under stanhliþe storme behrimed,

wine werigmod, wætre beflowen

on dreorsele. Dreogeð se min wine

micle modceare; he gemon to oft

wynlicran wic. Wa bið þam þe sceal

of langoþe leofes abidan.

 

 

beneath an oak

The Wife’s Lament

here’s a sad one about

where i’ve been. listen:

life’s been rough, but

never worse than now.

every step stings.

 

first he left, slipped to

sea. i worried watching dawn,

wondering where he went.

duty called. i followed,

left. lack exiled me.

 

his kin conspired,

darkly, to keep us

worlds apart.

and i longed.

 

he made me move here.

i have no friends—nothing

but a heavy heart.

mister right, i found,

was troubled, glum,

keeping secrets, plotting murder,

smiling. we swore

nothing—only death—

could divide us. it’s all fucked now.

it’s like it never happened—

our friendship. he hates me

—my love—wherever i go.

 

he sent me to the woods,

to a cave beneath an oak,

an old clay hall. and i long.

 

mountains climb, dimming valleys;

weeds seize towns left

empty. his absence

cripples me. the world’s lovers

live and sleep together

while i pace before dawn alone

in a cave beneath an oak,

where i sit summer-long days,

crying over

everything. worry 

keeps me up,

and longing, all this longing.

 

he’ll always be sad,

callous. maybe

he smiles, still he suffers—

always. whether

he has what he wants

or drifts outlawed, (i bet)

my old friend sits,

dreary, under rimed cliffs

in a flooded hall, tired. yes,

he suffers, remembering days

in the city. woe to those

who long for love.

translated from Old English by Elijah John Petzold
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[Nu ic onsundran þe secgan wille]

Nu ic onsundran þe secgan wille

…… treocyn ic tudre aweox;

in mec æld… sceal ellor londes

settan…… sealte streamas

…sse. Ful oft ic on bates

bosme……gesohte

þær mec mondryhten min……

ofer heah hafu. Eom nu her cumen

on ceolþele, ond nu cunnan scealt

hu þu ymb modlufan mines frean

on hyge hycge. Ic gehatan dear

þæt þu þær tirfæste treowe findest.

 

Hwæt, þec þonne biddan het se þisne beam agrof

þæt þu sinchroden sylf gemunde

on gewitlocan wordbeotunga,

þe git on ærdagum oft gespræcon,

þenden git moston on meoduburgum

eard weardigan, an lond bugan,

freondscype fremman. Hine fæhþo adraf

of sigeþeode. Heht nu sylfa þe

lustum læran þæt þu lagu drefde,

siþþan þu gehyrde on hliþes oran

galan geomorne geac on bearwe.

Ne læt þu þec siþþan siþes getwæfan,

lade gelettan lifgendne monn.

Ongin mere secan, mæwes eþel,

onsite sænacan, þæt þu suð heonan

ofer merelade monnan findest,

þær se þeoden is þin on wenum.

 

Ne mæg him worulde willa mara

on gemyndum, þæs þe he me sægde,

þonne inc geunne alwaldend god

þæt git ætsomne siþþan motan

secgum ond gesiþum s…

næglede beagas; he genoh hafað

fædan goldes …

geond elþeode eþel healde,

fægre foldan   …….

holdra hæleþa, þeah þe her min wine…….

nyde gebæded, nacan ut aþrong,

ond on yþa gelagu ana sceolde

faran on flotweg, forðsiþes georn,

mengan merestreamas. Nu se mon hafað

wean oferwunnen; nis him wilna gad,

ne meara ne maðma ne meododreama,

ænges ofer eorþan eorlgestreona,

þeodnes dohtor, gif he þin beneah.

 

Ofer eald gebeot incer twega,

gehyre ic ætsomne .ᛋ.ᚱ. geador

ᛠ.ᚹ. ond .ᛗ. aþe benemnan,

þæt he þa wære ond þa winetreowe

be him lifgendum læstan wolde,

þe git on ærdagum oft gespræconn.

in days gone by

The Husband's Message

now i’ll speak to you, apart.

i’m a twig, sprig, tree’s kid.

a man’s son somewhere else

set words on me, sent me

over salty streams. in boat’s

breast, i go

where my lord sends me,

across the deep. now i’m here,

off the ship, to hear,

in your heart’s heart, do you love

my lord? you’ll find—i dare swear—

faith rooted deeply there.

 

he carved this wood and had me bid

you, bejeweled, open thought’s box,

remember oaths

sworn in days gone by,

when you called the city home,

lived in one place, had your

friendship. bad blood

banished him. now follow him

—i’m to say—row ripples

when you hear cuckoo sing,

sad in the hillside grove.

let no one, no living soul,

change your path, check your course.

seek the sea, gulls’ domain,

board a ship ’til you find

your prince, south

overseas, expecting you.

 

he has one wish

—he told me so—nothing more:

that god almighty bring

you together,

sharing gifts, spangled rings

among friends. he has enough

polished gold.

he found home abroad,

good land,

and friends, but arrived

needy. eager, he launched,

into stormy seas,

followed ships’ road alone:

oars whisked seas. his woe’s now

done. he’ll lack nothing

noble in the world

—horses, cash, joy—

if he’s with you, princess.

 

about those old vows between you,

i think ᛋ with ᚱ, along with

ᛠ, ᚹ, and ᛗ swear this oath:

long as he lives, he’ll keep

love’s vows and oaths

sworn in days gone by.

translated from Old English by Elijah John Petzold
more>>
 

[1]Ralph W.V. Elliott,  Runes: An Introduction (Manchester, UK: Manchester UP, 1989), 90.

Finally then—but not until then

Two poems by Bragi Ólafsson translated by K. T. Billey

Þögnin

by Bragi Ólafsson

Loks þá – en ekki

fyrr en þá – í lok sumars,

þegar gröfurnar, sagirnar, borarnir og há-

þrýstidælurnar voru þagnaðar,

 

var hægt að fara út í garð

og setjast niður, eins og

upphaflega hafði staðið til

þegar við keyptum húsið. En þá var þegar

 

tekið að glitta í haustið,

sólin ekki eins hátt á lofti

og í byrjun júní,

þegar borarnir fóru af stað, þegar gröfunum

 

var ekið inn í garðana í nágrenninu,

sagirnar ræstar og háþrýsti

dælurnar stilltar

á hæstu stillingu.

The Silence

by Bragi Ólafsson

Finally then—but not

until then—at the end of summer,

when the excavators, saws, drills and high-pressure

pumps were silenced,

 

were we able to go out in the yard

and sit down, as we had

originally planned

when we bought the house. But then already

 

fall was beginning to settle in,

the sun not as high in the air

as in early June,

when the drills were switched on, and excavators

 

driven into the neighboring yards,

saws started up and high-pressure

pumps set

on the highest setting.

translated from Icelandic by K. T. Billey
more>>

Undirdjúpin

by Bragi Ólafsson

Skip siglir frá landi.

Það fjarlægist eins og maður fjarlægist

mann: það verður minna

en það var

 

þegar það lá við höfnina,

og alltaf minna og minna

eftir því sem höfnin stækkar

og himinninn þrengir að því.

 

Svo lítið er það orðið

þegar hafsröndin mætir því

að hafi það haft einhverja von

er sú orusta töpuð – og það sekkur.

The Deep

by Bragi Ólafsson

A ship sails from land.

It moves away like people drift

apart: it becomes smaller

than it was

 

when it lay in the harbour,

and smaller and smaller still

as the harbour expands

and the sky narrows in.

 

So little has it become

when it meets the horizon

that if it ever had any hope

that battle is lost—and it sinks.

translated from Icelandic by K. T. Billey
more>>

 

Your dress soughs softly
On the spiral stairs

Four poems by Georg Trakl translated by Jay Hopler.

Im Herbst

by Georg Trakl

Die Sonnenblumen leuchten am Zaun,


Still sitzen Kranke im Sonnenschein.


Im Acker mühn sich singend die Frau’n,


Die Klosterglocken läuten darein.



 

Die Vögel sagen dir ferne Mär’,


Die Klosterglocken läuten darein.


Vom Hof tönt sanft die Geige her.


Heut keltern sie den braunen Wein.



 

Da zeigt der Mensch sich froh und lind.


Heut keltern sie den braunen Wein.


Weit offen die Totenkammern sind


Und schön bemalt vom Sonnenschein.

 

In the Autumn

by Georg Trakl

The sunflowers shine by the fence.

The invalids sit quietly in the sunshine.

The singing women work in a field,

Into which are chiming cloister bells.

 

The birds tell you tales of far-off places

Into which are chiming cloister bells.

From the courtyard, a violin is heard.

Today, they press the brown wine.

 

In autumn, man is blithe and balmy.

Today they press the brown wine.

Wide open are the chambers of the dead

And full of the most beautiful sunshine.

translated from German by Jay Hopler
more>>

Sommer

by Georg Trakl

Am Abend schweigt die Klage


Des Kuckucks im Wald.


Tiefer neigt sich das Korn,


Der rote Mohn.



 

Schwarzes Gewitter droht


Über dem Hügel.


Das alte Lied der Grille


Erstirbt im Feld.



 

Nimmer regt sich das Laub


Der Kastanie.


Auf der Wendeltreppe


Rauscht dein Kleid.



 

Stille leuchtet die Kerze


Im dunklen Zimmer;


Eine silberne Hand


Löschte sie aus;



 

Windstille, sternlose Nacht.

 

 

Summer

by Georg Trakl

In the evening, in the forest,

The cuckoo’s complaint grows quiet. 

The wheat leans more deeply,

The red poppy. 

 

Thunderheads threaten

Over the hill. 

The old song of the cricket

Dies in the field. 

 

Ever still, the leaves

Of the chestnut tree. 

Your dress soughs softly

On the spiral stairs. 

 

Silently, the candle

In the dark room shines;

A silver hand

Snuffs it out. 

 

Windless, starless night.

translated from German by Jay Hopler
more>>

Delirium

by Georg Trakl

Der schwarze Schnee, der von den Dächern rinnt;

Ein roter Finger taucht in deine Stirne

Ins kahle Zimmer sinken blaue Firne,

Die Liebender erstorbene Spiegel sind.

In schwere Stücke bricht das Haupt und sinnt

Den Schatten nach im Spiegel blauer Firne,

Dem kalten Lächeln einer toten Dirne.

In Nelkendüften weint der Abendwind. 

 

Delirium

by Georg Trakl

Black snow spills from the rooftops. 

A red finger pokes into your skull. 

Blue glacial ice melts into an empty room,

The lover’s dead mirror. 

Or is it, the dead lovers’ mirror? 

The brain breaks into heavy pieces

Just thinking about it.  The reflection

Of that blue ice in the mirror

Is like the cold smile of a dead tramp. 

The evening wind wails,

Reeking of carnations.

translated from German by Jay Hopler
more>>

Nachtergebung

by Georg Trakl

Mönchin!  schließ mich in dein Dunkel,

Ihr Gebirge kühl und blau!

Niederblutet dunkler Tau;

Kreuz ragt steil im Sterngefunkel.

 

Purpurn brachen Mund und Lüge

In verfallner Kammer kühl;

Scheint noch Lachen, golden Spiel,

Einer Glocke letzte Züge.

 

Mondeswolke!  Schwärzlich fallen

Wilde Früchte nachts vom Baum

Und zum Grabe wird der Raum

Und zum Traum dies Erdenwallen. 

 

Vespers

by Georg Trakl

Mother Superior, lock me up in darkness,

Yours!  Your mountains so cool.  So blue—.  

The gloom-dimmed dew blooms down into the earth. 

A cross rockets Heavenward.  Star-spark and star-shine. 

 

In a shabby backroom, a liar takes one

In the kisser and his split lips swell. 

I hear laughter growing fainter,

Shining like a dying bell. 

 

Mooncloud!  At night, when the ripe fruit falls

From the trees so bitterly,

Our every room a tomb becomes. 

What a waste the world is.

translated from German by Jay Hopler
more>>

our one small lamp struggles against the wind

Ten late poems of Du Fu translated by George Life.

These quatrains are part of a projected two-volume translation of the late poems of Du Fu. The first volume, from which this selection is drawn, covers the last period of his life (769-770) when he was traveling on the Xiang River in present-day Hunan province; the second covers a period just before this (766-768) when he was living in and around the city of Kuizhou on the banks of the Yangzi River at the mouth of the Three Gorges.

The project emphasizes aspects of Du Fu’s late poems often commented upon by scholars but rarely carried across by translators. These include structural features such as sequentiality, segmentivity, fragmentation and disjunction that convey below the level of content the deep volatility and uncertainty that mark the poems. It is as though in these poems Du Fu splits the root of the Chinese language, opening the way for the radical experiments in form and tone that would follow in the Mid and Late Tang. 

What Du Fu reveals in his language I hope to reveal in his poetry by taking the couplet rather than the poem as the primary unit of translation. These quatrains, in other words, are formed by the juxtaposition of two independently selected and translated couplets. My preoccupation with Du Fu’s late work—what drew me to it, and what I aim at in translating it—is not a matter of completeness, either at the level of the poem or in terms of his entire oeuvre, but resonance. I hope by this approach, combining the processes of selection, juxtaposition, and constellation, to arrive closer to that split root.

—George Life

[人人傷白首]

by Du Fu

 

人人傷白首

處處接金杯

 

應過數粒食

BESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswy

得近四知金

[everyone I meet is struck by how I've aged]

by Du Fu

everyone I meet     is struck by how I’ve aged

and everywhere I go     I’m offered cups of wine

 

 

I’ve eaten little     no more than a bird would

BESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswyBESbswy

approached favor     as wisely as Yang Zhen

translated from Chinese by George Life
more>>

[爽攜卑溼地]

by Du Fu

 

爽攜卑溼地

聲拔洞庭湖

 

憑報韶州牧

新詩昨寄將

[relief spreads through the humid lowlands]

by Du Fu

 

relief spreads     through the humid lowlands

after the wind rushes      over Dongting Lake  

 

 

please pay a visit     to Wei Tiao of Shaozhou

just yesterday     he sent me these new poems

translated from Chinese by George Life
more>>

[十暑岷山葛]

by Du Fu

 

十暑岷山葛

三霜楚戶砧

 

參卿休坐幄

蕩子不還鄉

[for ten long summers I wore the cloth of Shu]

by Du Fu

 

for ten long summers     I wore the cloth of Shu

three winters     heard washing blocks of Chu

 

 

once an advisor     honored in the governor’s tent

now only a wanderer     unable to return home

translated from Chinese by George Life
more>>

Read full article

and after sessions luxurious and tender

Three poems by Idea Vilariño translated by Jesse Lee Kercheval

Tango

by Idea Vilariño

Yo vengo por la calle

compro pan

entro en casa

hay niebla y vengo triste

tu amor es un ausencia

tu amor digo mi amor

amor que quedó en nada.

Subo las escaleras

repasando esa historia

y me quedo en lo oscuro

tras de la puerta

amarga

pensando no pensando

en tu amor

en la vida

en la soledad que es

única certidumbre.

 

Tango

by Idea Vilariño

I come down the street

buy bread

enter the house

there is fog and I arrive home sad

your love is an absence

your love, I say, my love

love that came to nothing.

I climb the stairs

reviewing this history

and I stop in the dark

behind the bitter

door

thinking not thinking

on your love

on life

in the solitude that is

the only certainty.

translated from Spanish by Jesse Lee Kercheval
more>>

Después

by Idea Vilariño

Es otra

acaso es otra

la que va recobrando

su pelo su vestido su manera

la que ahora retoma

su vertical su peso

y después de sesiones lujuriosas y tiernas

se sale por la puerta entera y pura

y no busca saber

no necesita

y no quiere saber

nada de nadie.

 

Later

by Idea Vilariño

There is another

perhaps there is another

the one going to recover

her hair her clothes her manners

the one that now measures again

her height her weight

and after sessions luxurious and tender

she goes out the door whole and pure

and does not seek to know

does not need or want to know

anything about anyone.

translated from Spanish by Jesse Lee Kercheval
more>>

Me pregunto

by Idea Vilariño

No pensarás a veces

no volverás los ojos

a aquel estante al libro

que volví a su lugar

a aquella mesa de café en Malvín

ya tarde

al aire libre

conmigo y los muchachos

o tal vez al café pajarería

de donde huíy dejé que me alcanzaras.

No te acordás

supongo

de mi puerta entreabriéndose

a las dos de la tarde

y tú con un sombrero

que por fin regresabas.

No te acordás

seguro

no sabés que una noche

te esperé y fue una noche

de amor

y no viniste

y fui feliz vagando por la casa

escuchando la escalera

esperándote.

Hubo también las noches

—torpe de mí

te odiaba—

en que llamabas

—dígame

cómo ordeno esta serie

es mejor esto o esto—

y esa otra en el suelo

con luna y mis retratos

tirados por ahí que todavía

tienen manchas de vino.

O la noche terrible en que tú estabas

llorando en el teléfono

nunca lloré decías

y yo mi amor mi amor

—te había echado

había muerto

y yo mi amor

mi amor

y yo estaba con otro. 

I Wonder

by Idea Vilariño

Will you not think sometimes

will you not return your eyes

to that shelf to the book

that I returned to its place

to that table in the bar in Malvin

already late

outdoors

with me and the boys

or perhaps at the café like a bird cage

from which I fled and left you to catch up with me.

You don’t remember

I suppose

my door half-open

at two in the afternoon

and you with a hat

finally returning.

You don’t remember

I am sure

don’t know that one night

I waited for you and it was a night

of love

and you did not come

and I was happy wandering in the house

listening at the stairs

waiting for you.

There were also nights—

clumsy with my

hating you—

when you called

Tell me

how to order this sequence

is it better like this or like this

and this other one on the floor

with the moon and my portraits

thrown around that still

have wine stains.

Or the terrible night when you were

crying on the telephone

I never cried you were saying

and me my love my love—

I had thrown you out

I was dead

and me my love

my love

I was with another.

translated from Spanish by Jesse Lee Kercheval
more>>

Should we stop to breathe
as we open a parenthesis in the dream

 Four poems by Kepa Murua translated by Sandra Kingery. 

Escribir el Cansancio

by Kepa Murua

Porque tan díficil es desentrañar

lo que dentro sentimos como único,

nos encontramos abatidos en un vivir

donde no se celebra nada

más que el abandono.

Porque tan díficil es explicar

lo que solo a nosotros nos pasa

el cansancio acumulado nos vence

frente a la alegría de los otros.

¿A qué se debe esa incontinencia

por las palabras pronunciadas,

los gestos exagerados

y los abrazos múltiples?

¿Es que nos hemos vuelto locos

al querer ser felices a todas horas?

Es este modo de vida

que nos agota en el trabajo.

Que nos mata en casa.

Que nos aleja del mar como del amor.

De la lluvia fina como de la ternura.

De la hierba como de la esperanza.

De un beso que se da a primera hora

como del cielo por la mañana.

Es este modo de vida rastrero

donde no se celebra nada más

que el abatimiento sereno

y el impertérrito aniquilamiento

de lo que nos rodea

el que nos lleva a escondernos en casa

y desaparecer en un mapa

donde el rastro de los hombres

sigue la estela perdida de los animales.

¿Para qué marcar un territorio

que nunca será nuestro?

¿Por qué dibujar una casa

con una chimenea y un caminito

que nos lleva a la escuela?

¿Un árbol que nos da sombra,

un sol que nos ilumina,

un pájaro que canta?

Y ¿para qué decir finalmente

esto es mío, esto es tuyo,

si no podemos salir de una senda

donde mirarnos a los ojos

como lo hace un gato a un punto fijo

o un tigre a un punto más cercano?

¿Volveremos a pasear de un lado a otro

de la jaula, de un lado a otro de la celda,

por sentir la necesidad del aire libre

en un espacio que se abre a nuestros pasos?

¿Deberemos detenernos a respirar

como abrimos un paréntesis en el sueño

que persigue la vida que queremos

mientras es el cansancio el que escribe

del amor que se confunde con el deseo,

la necesidad con la esperanza

o el miedo con el abandono?

Es el dibujo de los días de la infancia

al no ver el verdadero significado

de lo que nos llama la atención.

El grito liberador de la juventud

al no entender lo que sucede

a nuestro alrededor.

El no encontrar las palabras precisas

—en el momento preciso—

eso que sentimos como único.

Y que solo a nosotros nos pasa.

 

Writing Fatigue

by Kepa Murua

Because it is so difficult to unravel

what we feel inside as unique,

we find ourselves despondent in a life

where nothing is celebrated

except abandon.

Because it’s so hard to explain

that which only happens to us

accumulated fatigue conquers us

in the face of others’ happiness.

What causes this lack of control

over spoken words,

exaggerated gestures

and multiple hugs?

Have we gone crazy

wanting to be happy at all times?

It’s this way of life

that exhausts us at work.

That kills us at home.

That distances us from the sea and from love.

From fine rain and from tenderness.

From grass and from hope.

From a kiss that’s given at first light

and from the morning sky.

It’s this servile way of life

where nothing more than serene dejection

is celebrated

and the undaunted annihilation

of all that surrounds us

which leads us to hide at home

and disappear into a map

where the route of men

follows the lost trail of animals.

Why mark a territory

that will never be ours?

Why draw a house

with a fireplace and a little path

that takes us to the school?

A tree that gives us shade,

a sun that lights our way,

a bird that sings?

And why say finally

this is mine, this is yours,

if we cannot leave a path

where we look each other in the eyes

like a cat does at a fixed point

or a tiger with a point that is closer by?

Will we once again stride from one side of the cage

to the other, from one side of the cell to the other,

because of the need for fresh air

in a space that opens at our feet?

Should we stop to breathe

as we open a parenthesis in the dream

which pursues the life we want

while it is the fatigue that writes

about love that’s confused with desire,

need with hope

or fear with abandonment?

It is the sketch of the days of childhood

when not seeing the true meaning

of what attracts our attention.

The liberating shout of youth

when not understanding what’s happening

around us.

Not finding the precise words

—at the precise time—

that which we experience as unique

and that only happens to us.  

translated from Spanish by Sandra Kingery
more>>

Escribir el Aniversario

by Kepa Murua

Si todas las fechas

son un número en el calendario

no todos los días pasan iguales

como no pesan lo mismo

una lágrima sincera

y un falso jadeo.

Creíamos haberlo vivido

o creíamos haberlo olvidado

pero pasada la tormenta

la vida persigue el recuerdo

cuando se cruza una persona

y se dispara el corazón

en un suspiro certero.

Este era un día como otro.

Un día sin importancia.

Pero se envolvía de una luz

efímera en la que creíamos

y con la que brindábamos

para no desfallecer

y seguir adelante.

Y lo hacíamos con un beso

y dos copas que chocaban

muy suave.

Se diría que era eterno.

Se podría decir

que así como nadie

daba un duro por nosotros

nadie se atrevería a romperlo.

Pero, ya ves, la vida tiene esa doblez

que nos espera entre los días

que se marcan o se borran en la pared

para guardar los momentos felices

como se intenta enterrar en la memoria

los que tanto daño nos hicieron.

¿De qué estamos hablando?

¿Del amor?, ¿de la ternura?,

¿de la amistad hecha añicos?

¿De algo que fue real y no queda?

¿Y de qué hablábamos mientras tanto

cuando los números pasaban

a nuestras espaldas su peso vacío

y las palabras en minúsculas

las escribíamos más grandes

para que se dieran importancia

y nos escucharan un poco más lejos?

Escribir del aniversario no es fácil.

Escribir del ritual que como títeres

nos lanza al centro del calendario

no es sencillo. Algunos lo relacionan

con la muerte de sus seres queridos.

Otros con pérdidas que se confunden

con hallazgos. Pero unos y otros

—como los días que se borran

o aquellos que se marcan en rojo—

no pueden volver a vivirse

por más que una persona nos recuerde

un día señalado que nos parecía

más importante que la propia vida.

En una fecha así donde ya no queda

aquel sentimiento que nos hace chocar

contra todos —a veces suave

y otras muy duro—

habla el cuerpo entregado

a un tiempo imposible de olvidar.

 

Writing the Anniversary

by Kepa Murua

If all dates

are a number on the calendar

not every day passes by the same

just as a sincere sob  

and false breathlessness    

do not signal equivalence.  

We thought we had lived it

or we thought we had lost it

but once the storm passed

life pursues memory

when you cross paths with a person

and your heart pounds

in an unerring sigh.

This was a day like any other.

A day without importance.

But it was wrapped in an ephemeral

light in which we believed

and with which we toasted

so as not to collapse

and to continue onward.

And we did so with a kiss

and two glasses that clinked

very softly.

You could say it was eternal.

You could say

that just as no one

believed in us

no one would dare break it.

But, as you see, life has that duplicity

that awaits us between the days

that are marked or erased on the wall

to save the happy moments

as we try to bury in our memory

those who caused us so much damage.

What are we talking about?

About love?, tenderness?

friendship smashed to bits?

About something real that no longer remains?

What were we talking about in the meantime

while the numbers passed

their empty signal behind our backs

and we wrote

the lower case words bigger

so they were given more importance

and we would be heard a bit farther out?

Writing an anniversary isn’t easy.

Writing the ritual that throws us

against the center of the calendar like puppets

is not easy. Some relate it

to the death of their loved ones.

Others with losses that are confused

with discoveries.  But all of them

—like the days that are erased

or the ones marked in red—

cannot be lived again

no matter how much a person reminds us

of a noteworthy day that seemed

more important to us than life itself.  

On a date like that when there is no longer

that feeling that makes us collide

against everyone—sometimes gently

and others very hard—

the body that is dedicated to a time

impossible to forget resounds. 

translated from Spanish by Sandra Kingery
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Escribir el Recuerdo

by Kepa Murua

Estoy sentado sobre mis recuerdos.

La colcha azul de la cama.

La alfombra roja y el silloncito

también de color azul

al lado de la ventana con dos puertas

que miran al balcón.

El lugar ha cambiado tanto

que no lo reconozco.

No encuentro el camino del colegio.

No encuentro la entrada del cine.

Por no encontrar no encuentro

ni el número ni el nombre de la calle.

Parece un ojal en el bolsillo de la chaqueta

la casa que se esconde.

Debería, tal como lo hace él

a la hora de vestirse, llamar

a alguien y pedir ayuda.

Preguntar por dónde queda

la fábrica de dulces.

Por dónde la plazoleta.

Por dónde la callejuela

que da a la vía.

Todavía puedo escuchar

el ruido del tren en mi cabeza

y sentir cómo a su paso

se mueven los objetos de la casa.

Cómo se desliza la lámpara

o cómo cruje el suelo con su peso

en aquella caja de zapatos

tan cerca de los raíles.

Pero como se anuda una corbata

después de veinte años

he de recordar más:

el ruido de las escaleras en mi habitación

cuando alguien bajaba a saltos

hasta llegar al portal.

El cielo blanco del invierno.

O el azul íntimo del verano.

Y la primera langosta que me enseñó mi madre

o el primer gato callejero que se me acercó

en la terraza.

Los rosales de la terraza.

Un viejo coche a pedales con el número trece.

Siempre me ha gustado este número

creo que me da suerte.

Recordar mientras se viste

tiene esas cosas:

suena el reloj de la salita.

Está cerrada la tapa del piano

pero la vida sigue su rumbo

en medio de la muerte

que nos espera a la vuelta de la esquina.

Ojalá cuando llegue me encuentre vestido

soñando que recuerdo

esas cosas que creía olvidadas.

Ojalá me encuentre dormido

aun con la memoria perdida.

 

Writing Memory

by Kepa Murua

I am sitting upon my memories.

The blue bedspread.

The red carpet and the chair

that was also blue

next to the window with two doors

that look upon the balcony.

The place has changed so much

I don’t recognize it.

I can’t find the street to the school.

I can’t find the entrance to the cinema.

I find so little I can’t even find

the number or the name of the street.

The hidden house

looks like a buttonhole on the pocket of a coat.

I should, like he does

when it comes to getting dressed, call

someone and ask for assistance.

Ask where

the sweet shop is.

And the little plaza.

And the alleyway

that leads to the avenue.

I can still hear

the sound of the train in my head

and feel how things move at home

when it passes.

How the lamp slides over

or the floor creaks with its weight

in that shoebox

so close to the rails.

But as one knots a tie

after twenty years

I must remember more:

the sound of the stairs in my room

when someone was bounding

all the way down to the entrance.

The white sky of winter.

Or the intimate blue of summer.

And the first lobster my mother showed me

or the first alley cat that approached me

on the terrace.

The rose bushes on the terrace.

An old pedal car with number thirteen.

I’ve always liked that number

I think it makes me lucky.

Remembering while you get dressed

has those things:

the clock in the sitting room sounds.

The piano lid is closed

but life continues on

in the midst of the death

that awaits us around the corner.

I hope when it arrives it finds me dressed

dreaming that I remember

those things I thought forgotten.

I hope it finds me sleeping

with my memory still misplaced.

 

 

translated from Spanish by Sandra Kingery
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Escribir de Pie

by Kepa Murua

Escribir de pie

es escuchar una música

mientras balanceas el cuerpo

de un lado a otro.

No se puede caminar rápido.

No se puede descansar al máximo.

No se puede mirar a los ojos

ni tocarse con la mano

la barbilla desde el pecho.

Es olvidar lo que tienes entre manos.

Pasear por las voces del desierto

en las arenas de la duda.

Decir es así la vida

que nos mantiene pegados al suelo.

Escribir del amor

cuando piensas en el abandono.

Del abandono

cuando piensas que cada día que pasa

estás más solo.

Es no hacer muchas preguntas

y responder con tus ojos

a lo que ves alrededor

como un viaje inacabado

a cámara lenta.

Es sentir el frío

en medio del verano.

Cubrirte con un sombrero

que oculta los rayos de luz de tus ojos

y dibujar un sol

en medio del océano

que baña con tus pies

y en una milésima de segundo

lo que queda del desierto

en la palma de la mano.

Es pasear por las arrugas de la piel

como se hace en la arena

con los pies descalzos muy lento.

Retocar sus venas

si escribes del amor

y no lo vives de lleno.

Aligerar las penas.

Liberar sus candados

con el orgullo de ser el mismo

aun pareciendo distinto.

Escribir de pie

es como hacerlo dormido

sin saber que estás vivo.

Como dejar el enredo del mundo

en el fondo de los sueños.

Pero es hacerlo

con la cabeza alta

y diciéndole a la vida

que aunque disfrace su belleza

en melancolía y aspereza

tú estás allí

para descifrarla

con el fin de pasear por sus calles

con una invisible bicicleta

en el fondo de una canción

que se escucha desde una ventana abierta.

Es hablar diferente

mientras se corre despacio.

Escuchar de otra manera.

Sentir lo que se vive muy dentro.

Sentirse libre.

Y quitándose la venda de la cabeza

volar muy alto.

 

Writing While Standing

by Kepa Murua

Writing while standing

is listening to music

while swaying your body

from side to side.

You can’t walk quickly.

You can’t rest fully.

You can’t look into someone’s eyes

or touch with a hand

your chin from the chest.

It’s forgetting what you have in your hands.

Strolling through the voices of the desert

upon the sands of doubt.

Saying life’s like that

that keeps us glued to the ground.

Writing about love

while thinking about abandonment.

About abandonment

when you think that every day that goes by

you’re more alone.

It’s not asking many questions

and answering what you see around you

with your eyes

like a partial voyage

in slow motion.

It’s feeling the chill

in the middle of summer.

Covering yourself with a hat

that hides the rays of light from your eyes

and drawing a sun

in the middle of the ocean

that bathes with your feet

and in a millisecond

what remains of the desert

in the palm of your hand.

It’s walking along the wrinkles of the skin

like one does in sand

very slowly with bare feet.

Touching up its veins

if you write about love

and don’t live it fully.

Lightening the sorrow.

Freeing its chains

with the pride of being the same

even while appearing different.

Writing while standing

is like doing so sleeping

without knowing that you’re alive.

Like leaving the muddle of the world

in the depth of your dreams.

But it’s doing it

with your head held high

and telling life

that even if it disguises its beauty

in melancholy and brusqueness

you are there

to decipher it

in order to stroll down its streets

with an invisible bike

in the depths of a song

that you hear from an open window.

It’s talking differently

while running slowly.

Listening in another way.

Feeling what is lived very deep inside.

Feeling free.

And after taking the blindfold off

flying very high. 

translated from Spanish by Sandra Kingery
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Thirst, its golden circumstances

11406459_910571338991780_8962253701621530478_oDobel_HeadshotFive poems by Carlos Pintado translated and introduced by Hilary Vaughn Dobel. 

Reading Carlos Pintado’s Nine Coins (winner of the Paz Prize for Poetry from the National Poetry Series; available from Akashic Books) in its original Spanish is an almost otherworldly experience. The poems have a timeless quality, mixing formal sonnets with free verse and prose, addressing universal themes: love and wanting, light and dark, dreams and sleepless nights. They are beautiful machines that make you feel things.

And so I fell in love with the poems, with their meaning and their music. The meaning, I think I was mostly able to bring across into English. The music, though, was difficult. Because English is so rhyme-poor and because many of Carlos’ poems are rhymed sonnets, I worked instead with meter and settled for occasional slant rhymes and sight-rhymes. Even if you’re not a Spanish speaker, I urge you to read through the originals just to get a sense of their sound.

There were other times during the translation process when, despite the deeply emotive quality of the poems, I almost felt that voice of the poet had become depersonalized, like an oracle channeling something larger than the self. I hope I was able to bring this oracular nature across, as well—to capture that same feeling of a prophetic “I” speaking somewhere out of time. 

—Hilary Vaughn Dobel

Postal para Elizabeth Bishop

by Carlos Pintado

where the shadows are really the body

                                    —E.B.

 

He tenido en un sueño las horas de la noche:

sus altas horas siempre, sus ruinosos silencios,

sus ecos, sus penumbras, sus fatales contornos

he tenido. La noche ha hecho en mí su casa.

He soñado mi cuerpo como una sombra entrando

en otra sombra, cuerpo de mí o de la noche,

como un fuego en tinieblas despacio devorándome.

He soñado mi muerte como un país lejano,

como un anillo de oro hundiéndose en el agua.

Acaso el sueño acerca inevitablemente

al muerto con su muerte, al vivo con su espejo.

Yo he sentido ese horror que ciega y me confunde

con la imagen del otro: una sombra que en mí persiste,

animal de la noche rompiéndose en la noche. 

Postcard to Elizabeth Bishop

by Carlos Pintado

where the shadows are really the body

                                    —E.B.

 

I’ve been dreaming of the night and all its hours:

its small, late hours, of course, its crumbling silences,

its echoes, and its half-light; its deadly contours,

I’ve dreamed as well. The night has made its home in me.

I’ve dreamed my body like a shadow entering

another shadow, my body or else the night’s,

devouring me slowly like a fire in the dark.

I’ve dreamed my death like some far-off land, like

a golden ring as it sinks into water. 

Perhaps the dream will come inexorably close

to dying with its death; to life with its mirror.

And I have known the horror that blinds and bewilders

with the image of the other: a shadow that persists in me,

a creature of the night gone to pieces in the night. 

translated from Spanish by Hilary Vaughn Dobel
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Other World, M.C. Escher

by Carlos Pintado

Otro mundo me espera: soy la forma

que, en el cuadro sin centro, busca un ciego

orden de cosas que es también trasiego,

donde no hay ley, ni causa, ni hay la norma.

Otro mundo me espera: los flotantes

cuernos perduran, giran, se deshacen.

¿Sabré yo acaso con qué metal se hacen,

si mientras más cercanos, más distantes?

Otro mundo me espera: la ventana

en su mitad se alza, y mi prodigio

será quedar del lado de las cosas.

Otro mundo me espera: la mañana,

como un umbral de luz, hará el litigio

de la noche que muere con las rosas.

Other World, M.C. Escher

by Carlos Pintado

Another world awaits me: I’m the form

that, in the picture with no center, seeks

an order, blind but also bustling,

where there is no law or cause, no norm.

Another world awaits me: the buoyant

horns persist and linger, turn and shatter.

Can I learn what metal makes them,

whether they draw closer or more distant?

Another world awaits me: the window

lies half-open, and my miracle will be

to stay here in the realm of the material.

Another world awaits me: the morning,

with the dawning of the light, will stand

against the night that dies with all the roses. 

translated from Spanish by Hilary Vaughn Dobel
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Paisaje con sombra y casa
que da a la noche

by Carlos Pintado

Huid, niños, de la muerte.

Jueguen. Apártense de mí.

No quisiera yo compartir la infinitud de una plaza,

ni la risa que abre en el aire su más deseable rosa.

Enfermo de enfermas cosas estoy.

Soy una casa oscura

que da a la noche, una casa

habitada tan sólo por los muertos.

 

Huid de mí, niños de la muerte.

Soy yo quien cierra una ventana a ustedes.

Soy yo quien pasa como un cadáver

ante el asombro de todos.

 

Yo esperaba al ángel de ojos afilados.

Yo esperaba al ángel.

Y las ventanas se abrieron a la noche,

y yo no fui más.

Yo no fui

yo. 

Landscape with Shadow and House
Overlooking the Night

by Carlos Pintado

Fly, children, from death.

Play. Keep back from me.

I would not want to share the infinity of a plaza,

nor the laughter that unfurls its most coveted rose

into the air.

I am sick with sick things.

I am a darkened house

that overlooks the night, a house

where none dwell but the dead.

 

Fly from me, children of death.

It is I who bar a window against you.

It is I who walk about like a corpse

to the astonishment of all.

 

I was waiting for an angel with keen eyes.

I was waiting for an angel.

And the windows opened to the night,  

and I was no more,

I was not

Me.  

translated from Spanish by Hilary Vaughn Dobel
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Regresos

by Carlos Pintado

Deambulo por tu sueño y soy

tu propio sueño, dormido.

Bestias de la noche, venid a mí.

Ángeles hermosos, bebed mi sangre.

Yo he sido breve

al cruzar por los espejos,

breve como un golpe de sol

sobre las aguas muertas.

Yo he sido breve.

Largo es el camino

y mis pasos breves.

¿Qué amor me habrá salvado?

¿Qué labio injurió al viento

como si fuera mi nombre

el susurro levísimo de la mies en los campos?

¿Soy yo el que regresa?

Soy yo? 

 

Returning

by Carlos Pintado

I wander through your dream and I

am your own dream, asleep.

Creatures of the night, come to me.

Gorgeous angels, drink my blood.

I have been brief

on crossing through the mirrors,

brief as sun striking

on dead waters.

I have been brief.

Long is the road

and my steps are brief.

What love can save me?

What lip tarnished the wind

as if my name

were the softest whisper of grain in the fields.

Is it I who returns?

Is it I?

translated from Spanish by Hilary Vaughn Dobel
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El desierto

by Carlos Pintado

Doradas circunstancias de la sed

figuran los baldíos espejismos

donde todo perece; en ese abismo

un hombre muere solo con su sed.

Los sucesivos rostros de la luna

han de otorgarle un único consuelo:

soñarse devorado en aquel suelo

y en aquel suelo despertar. Ninguna

salida habrá: el mar de las arenas

repetirá incesante la figura

de un muerto que recorre la llanura

que los dioses negaron terminar.

Porque también eterno es aquel mar

de polvo, sueños, soledades, penas.

The Desert

by Carlos Pintado

Thirst, its golden circumstances,

renders vain mirages where all

must perish; a man in that hell

may die alone with just his thirst.

The moon’s successive faces have

bestowed this single solace: to dream

oneself devoured by the ground

and on that ground awaken. Nothing

will have gone: the endless sea of sand

will still repeat a dead man’s shape

as it travels through the plains—plains

the gods refused to end. For it, too,

goes on forever, that sea of dreams

and dust, of solitudes and shame.

translated from Spanish by Hilary Vaughn Dobel
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that which flies, flaps, beats

Four poems by José Alfredo Escobar Martínez, translated by Wendy Call.

  

JAEM2011 (1)I first discovered the work of indigenous Zapotec poet José Alfredo Escobar Martínez in a Mexico City literary journal. I had lived for several years in the region he calls home, southern Mexico’s Isthmus of Tehuantepec, but had not encountered his poetry. In a special 2004 issue of Generación featuring more than a dozen Isthmus Zapotec writers, I found a single poem by Escobar Martínez. That poem flew off the page and followed me; it became the first poem I translated.

The Zapotecs have long been some of Mexico’s most celebrated writers, perhaps because their language was the first in the Americas to be written down. (The Maya probably got the idea of carving glyphs on stones from the Zapotecs.) Some anthropologists argue that the Zapotecs invented a complex iconography, not a complete writing system. Whatever it was, it arose about 2,500 years ago and endured until 800 CE. Linguists and archeologists are still trying to rediscover the mysteries of those glyphs, but Zapotec literary culture lives on, rendered in a transliterated Latinate script.

Four years after Escobar Martínez’s single poem in Generación entranced me, I finally made contact with the poet via ewendy callmail. Three years after that, we met in person for the first time, in his hometown of Espinal. Before that meeting, José Alfredo sent me a new cycle of poems, called Ripapa. Escobar Martínez writes in Spanish, including Zapotec words in his work. He explains the Zapotec title, Ripapa, as “que vuela, se agita, late.” In Mexican Spanish, as spoken on the Isthmus of Tehuantepec, latir does not just mean “to beat” – as a heart or a pair of wings does, but also to have a hunch or a feeling about something. A sort of truth pulsing through one’s veins.

Translation is all about having hunches. Feelings about things. Just as I’d had about Escobar Martínez’s poetry from that first poem I saw on the pages of Generación.

His hometown, Espinal, is not a coastal village, but the image of the sea recurs in his poems. Only 120 miles separate the Pacific and Atlantic Oceans at the Mexican isthmus. This quirk of geography has impacted the region’s history and culture since long before the conquest. As with many Zapotec writers and artists, the relationship between the natural environment and the human psyche is paramount in Escobar Martínez’s work. In Zapotec cosmology, there is strong distinctions between the spheres of wild and tame. Human beings exist between the spheres of wild and tame, constantly feeling the tension between them

—Wendy Call

 

Ripapa*

by José Alfredo Escobar Martínez

 

En el aire flota una sustancia

Que en el Istmo

Conocemos como ripapa

Da sustento a los pájaros

Y el que lo aspira le brotan alas.

A su solo nombre

Las muchachas casaderas se persignan

Ya que hace el corazon

 

 

 

*En zapoteco del Istmo: que vuela, se agita, late.

Ripapa*

by José Alfredo Escobar Martínez

 

A substance floats in the air

That in the isthmus

We know as ripapa.

It sustains birds

And whoever inhales it sprouts wings.

Its mere name makes

Single young women cross themselves

Since it even migrates

To the heart.

 

 

 

 

*In Isthmus Zapotec : that which flies, flaps, beats.

translated from Spanish by Wendy Call
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Palabras Hechas de Arena  

by José Alfredo Escobar Martínez

 

En la soledad de las dunas

No es tanto lo que la palabra dice

Sino lo que calla.

Cuando digo mar

Callo las clorofilas del azul

Y la sombra del pez que me guarece.

En esta soledad de arena que es el mar Muerto,

Me da miedo nombrar la palabra,

No sea que me espine la lengua. 

Words Made of Sand

by José Alfredo Escobar Martínez

 

In the solitude of dunes

It is not so much what a word says

But what it silences.

When I say ocean

I silence the chorophylls of blue depths

And the fishy shadow that shelters me.

In this sandy solitude that is the Dead Sea,

I fear naming the word,

For my tongue might sting me. 

translated from Spanish by Wendy Call
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La Mar en Su Plenitud

by José Alfredo Escobar Martínez

 

La mar se desborda en sí misma.

Agobiada de su inmensidad

Procura desatar sus orillas

Y burlar el acecho de las olas

Y perderse,

Como aquel barco,

En el horizonte. 

The Sea at Its Apogee

by José Alfredo Escobar Martínez

 

The sea overflows its own shore.

Overwhelmed by its vastness

It strives to break past its shoreline

And mock threats of waves

And lose itself,

Like that ship,

On the horizon. 

translated from Spanish by Wendy Call
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Enhorabuena la Luz

by José Alfredo Escobar Martínez

 

Cierto.

Dentro del ojo sucede la luz:

En esta hora del alba

Bucea en le agua salada del iris

Para arrojar al ahogado

En las orillas del día

Que se aproxima.

En las profundidades de su mirada

Penetra la aurora de los párpados

Asoman los anuncios

Que le dan vida a los sentidos

Y nos invitan

¿A qué?

A vivir.

Congratulating the Light

by José Alfredo Escobar Martínez

 

It’s true.

Light happens inside the eye:

At this dawning hour

It dives into iris brine

Casts out the drowned

Onto the fringes of day

Drawing near.

In the depths of its gaze

It penetrates the eyelids’ halo

Signs appear

Giving life to senses

And invites us

To what?

To live.

translated from Spanish by Wendy Call
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