El verano es un sueño que nos sueña…
Posted: July 31, 2015 Filed under: Alexander Best, Spanish Comments Off on El verano es un sueño que nos sueña…El verano es un sueño que nos sueña; es el mismo el invierno. Son dos estaciones en un equilibrio de extremos: + 30 grados centígrados o negativo 20; banquetas abrasadores o la nariz cambiando azul. El girasol es la grande cara del calor (julio/agosto), y el copo de nieve es la flor diminuta del frío (enero/febrero). ¡Me dan placer estas dos flores! Y son las caras de unas hermanas preciosas canadienses – hermanas mías.
. . .
Alexander Best
31.07.2015
. . .
Summer is a dream, a dream that dreams us…
And it’s the same with Winter.
These are two seasons in an equilibrium of extremes:
+ 30 degrees celsius or minus 20;
baking-hot sidewalks or your nose turning blue.
Sunflowers are the big face of Heat (July/August),
and the Snowflake is that tiny “flower” of the Cold (January/February).
I love these two flowers.
They are sisterly faces, special and Canadian – and they’re
my sisters!
. . .
Alexander Best
31.07.2015
. . . . .
Wayne Keon: poemas de “Hierba Dulce II”
Posted: July 31, 2015 Filed under: Spanish, Wayne Keon, ZP Translator: Alexander Best Comments Off on Wayne Keon: poemas de “Hierba Dulce II”
El Cuervo Grande Roba La Luz_Raven Steals The Light_por John Brent Bennett_artista de la Nación Haida Gwaii_Canadá
Wayne Keon (Nación Nipissing-Ojibwe, n. 1946, Pembroke, Ontario, Canadá)
.
en este pueblito
.
En este pueblito,
este gran pueblito
.
soy
el profeta del sol
de ningún hombre
.
llamado “Canadá”
en la lengua
.
apenas
puedo dirigir
mis propios incidentes
día a día
.
de mi madre,
tierra-ojibwe,
tierra-algonkin
.
o resolver
lo que es el pasado
también
el misterio del sol
.
el Pueblo
del tiempo atrás
.
me paro
ante de ti,
sol
. . .
sueño-despertar
.
en mis sueños
los caballeros del espíritu
.
vuela
sobre el sol
radiente en azul
cielo y Cielo
.
mientras todo la gente
está mirando
y
locamente aclama
.
la carrera
completerá
.
ningún vencedor
declarado
.
y
es porque
el hombre-cuervo
.
todavía
no ha regresado de
.
afuera
mi puerta
la gata está rascando,
arañando
la pared
por algo a comer,
el hambre despierta a ella
.
también
se ha levantado
mi mujer
.
abre la puerta,
conecta la pava eléctrica para café
. . .
xxiv
.
me dijiste tarde de noche
que hacías bien tu trabajo
.
naturalmente tu tipo de trabajo
era ayudar – la profesión de ayuda
.
yo tenía miedo
decirte que
la mía era
la profesión de
desesperanza
. . .
color plata y negro
.
necesitó tres noches
para inscribir ésto:
sus brazaletes
están hechos de
plata y negro
plateado y negro
plata-morado
plateado-negro
plata y negro
.
no tengo ningunos pretextos
– buenas líneas son una obra ardua
. . .
bahía de trueno
.
afuera
en la
bahía donde
.
duerme
el
gigante
.
las
olas
son silenciosas
.
aquí
a lo largo de
la costa
.
donde
yacen
los ancianos
.
lamen
las rocas y
.
el viento
continua hacia
la estación tercera
mientras
la cámara de comercio
pide
.
setenta y cinco centavos
por un tour-lección de los huesos
.
todavía
no está aclarado
el gran misterio
.
el color plateado
refleja
a lo largo de la costa
. . .
noches de tierra
.
he estado fuera
de esta tierra y suelo natal
tan largo tiempo
.
llamé a
una banda plata, simple,
de círculos
.
donde la luna
monta al lado
.
radiante del sol
ella lucía una máscara
y miraba a
.
los ancianos
girando
las luces
.
le veo a ella
allí
júpiter
.
¿pueda yo verle
de nuevo?
.
dijo
no hay prisa
.
ahora
veo al hombre-cuervo
no hay que
relatar el cuento
alrededor de las fogatas
tarde de noche
.
y deseo esa senda
flameante
entre las estrellas
.
tierra
he estado
fuera de ella
demasiado tiempo
.
el planeta-estrella júpiter
es más cerca
que creas
.
está por encima de
tu comprensión
.
puedo
ver eso
puedo
ver
eso
.
puedo ver
que no habrá
ningún descanso
ahora
. . .
el trabajo del águila
.
ella – el águila – ella
golpea a su presa
agarrado del aire
.
con un solo porrazo
chillando
sangre y garra
.
rauda, limpia, orgullosa
.
y estoy torturando esta página
cada hora
.
hasta que
mi alma se tropeza con
su ser de testigo oficial
– estando enferma de todo
.
pero mi alma
empieza a caminar y hablar y
bailar
en alto
. . .
rueda sur
.
es
todas esas fogatas
mágicas
el fuego encendido
tarde de noche
.
es leones
y zorros
y el oso
.
es el naranja
y rojo
ámbar y blanco
.
es lavar tus ojos
con el sol
con la luz
.
es
“hierba dulce”
y canela
cedro
y oro
.
es
bailar con el amor,
amar hasta que
envejeces
. . .
truco de un cuervo
.
hay un río que
fluye con colores
.
en un sueño donde
fue el oso para esconderse
.
hay una cinta de
“hierba dulce”
alrededor de ti
.
en un sueño donde nunca lloró el alce
.
hay una pluma azul
del cuervo
junto a ti
.
hay una turquesa de piedra
en tu mano
.
hay una sombra de amor
en tu entrada
.
en un sueño hecho de
plata y arena
.
hay una piedra lunar
atrapado en tu belleza
.
hay un bolsillo de
oro recién descubierto
.
hay el hombre
en la noche,
esperando
.
en tu sueño que
nunca puede
envejecer
.
en tu sueño que nunca puede envejecer
. . .
humo y tomillo
.
me dijeron
dejar de vestir
esa vieja “camisa-medicina”
a la oficina
.
y esta vez
accedí
.
pero nunca les dije
de la “bolsa-medicina”
que hice
muy tarde de una noche
.
o sobre la llama de cedro
el humo y el tomillo
. . .
“atrapasueños” y la danza
.
cuando
yo bailaba con
el Pueblo
bajo del cielo negro
.
sueño en el ojo de ella
y el cuervo que baila
.
yo no podía creer – ya no
yo miraba su sonrisa
yo no podía creer – ya no
yo miraba su sonrisa
y el zorro que baila
en frente de mi
.
tambor aporreando
dentro mi cabeza
y yo no podía pensar en nada
en medio de
un trance
.
lo que yo podía sentir – ya no – fue
el “atrapasueños”
el plateado
y las estrellas
– todos llenos en mi mano
. . .
Poemas del poemario “Hierba Dulce” II por Wayne Keon
Sweetgrass II: poems by Wayne Keon, © 1990, Wayne Keon and The Mercury Press (Aya Press), Stratford, Ontario, Canadá
Traducción en español: Alexander Best
. . . . .
Deborah Amar: The Lilies whisper Poetry
Posted: July 28, 2015 Filed under: English Comments Off on Deborah Amar: The Lilies whisper PoetryDeborah Amar
The Lilies whisper Poetry
.
A summer day can never end,
Or so it seems each year;
The longer cycles of the sun
Make cloudy skies seem clear.
.
Each time the wind begins to chime
And end begins to near,
A whisper of the softest sort
Flows gently to the ear.
.
The scent and sight enough are great
Yet lilies live for more:
The lilies whisper poetry
As none have heard before.
.
The lilies whisper to the day
That sends the breeze below;
It touches ground that none can see
Where lilies lively grow.
.
Beautifully arrayed in white
And drinking from the soil,
Free to whisper their poetry
Without the need to toil.
.
But flowers do not last the year
And newer buds must bloom;
So short the span of lily life
To give new blossoms room.
.
The lilies whisper poetry
That none shall ever know;
For just as summer cannot last
The lilies cease to grow.
.
But beauty lives from that which dies
And leaves something to last:
For lilies whisper poetry
For lilies of the past.
. . .
Deborah Amar understands the “brief poetry” that is the Lily in bloom at this time of year (July, here in Canada).
Ms. Amar holds an Honours English Literature BA from the University of California at Los Angeles. She writes poetry and short stories, and is working on a SciFi/Fantasy epic. She lives in Japan.
. . . . .
Miriam Isabel Quintana: El Lirio
Posted: July 28, 2015 Filed under: Spanish Comments Off on Miriam Isabel Quintana: El LirioMiriam Isabel Quintana (Venezuela)
El Lirio
.
De la flor del camino,
Tomé un bello lirio,
Para llegar a su bohío,
Mañana, a mañana es tan mío.
.
Llamas del crepúsculo,
Y no seco tus ríos,
Las hojas de tu alma,
Más allá de tus pétalos vigilo.
.
Lirio, mi destino,
¡Voz de pájaros cantas!
Profundos, tus anhelos,
Destino, mi corazón, y morada.
.
¡Libre corre fuente!
No seques, mi lirio,
¡Sus hojas ramillete!
Sus raíces abrazo, mi ombligo.
.
Allí está mi destino,
Y viajando besas,
Los cuidados míos,
Lirio: sin ti vivir, no me imagino.
. . . . .
Rabia y El Diente de León: poemas de Lee Maracle
Posted: July 21, 2015 Filed under: Lee Maracle, POETS / POETAS, Spanish, ZP Translator: Alexander Best Comments Off on Rabia y El Diente de León: poemas de Lee MaracleLee Maracle
(Escritora/poeta Salish-Sto:lo, n. 1950, Vancouver, British Columbia, Canadá)
Rabia
.
Voceo mi rabia
hacia las páginas de un libro
– que yo trate bien humanamente posible
a la gente.
. . .
Sin título
.
No discutamos ninguna cosa,
No seamos razonable;
porque éso supone que somos humanos:
seres cariñosos y solícitos,
que necesitan paciencia, dulzura y amor.
.
La meta no es unidad; es ganar esta lucha.
Contraataca. Patea el orgullo de tu amante.
Desmantela su dignidad.
Y bebe, bebe, bebe
a los fantasmas en tu clóset.
. . .
Sola
.
Estoy sola, tan sola.
Solitaria, sí – y quiero permanecer como eso.
.
Me gustan sombras breves y entreviendos de los hombres.
.
En la ausencia de un auténtico amor,
me conformaré con el engaño.
. . .
Esfuerzos
.
Tomé fuertemente del vino del colonizador,
aprendí muy bien su lengua,
y contemplé con asombro en su éxito.
.
Me tambaleé a través de su cultura, fermentado en escuelas del oeste.
.
Mi empeño me sirvió para nada.
Ahora es ese seguir intentando que me provoca tan vergüenza.
. . .
Diente de León
.
Hay un diente de león al lado de una calle de hormigón – en Toronto.
Sus hojas: una mezcla desarreglada en verde y marrón.
Este diente de león ralo está rengueando.
.
Hay una flor junto a un bloque de concreto,
en la calle Bay, en la ciudad de Toronto.
Permanentemente rebelándose contra
tacones con clavos y trajes de sarga azul.
.
El desfile monetario por la calle Bay a las cinco de la tarde
desdeña:
“¡Flor amarilla de pollito!”
Y está sordo a los chillidos silenciosos del león delgado y envejecido.
.
Mis hojas, mi rostro, mi piel…
Ellos me rascan, ellos me descarapelan la piel.
.
Hay una flor, al arcén del camino…
Necesita martillos neumáticos y aparatos brutos
para desenterrar el hormigón de las banquetas de las calles de Toronto
– ¡para hermosear la ciudad por los trajes de sarga azul!
.
Pero, con este león “dandy” (chachi),
solo existía una semilla,
unas gotas de lluvia-ácida,
“pantalones” y temple,
y un deseo negro de renguearse hacia adelante
(si un poco mugroso).
.
Hay una flor…
. . .
Poemas del poemario Bent Box (Caja de Madera Curvada) por Lee Maracle, © 2000 (Theytus Books Ltd., Penticton, British Columbia)
. . . . .
El “Lirio de Día” Ubicuo de Julio: David Budbill y Albert Ahearn
Posted: July 19, 2015 Filed under: Spanish, ZP Translator: Alexander Best Comments Off on El “Lirio de Día” Ubicuo de Julio: David Budbill y Albert AhearnDavid Budbill (nacido 1940)
El “Lirio de Día” Ubicuo de Julio
.
Hay un “lirio de día” del color naranja que florece en julio
y está en todas partes – justo ahora.
Común. Corriente.
Brota en el patio delantero, si abandonado o habitado;
a lo largo de la calle, en frente de murallas de piedra,
al lado de la estación de servicio o de una cochera,
en la entrada del acceso; en hecho: a cualquier parte quiere crecer.
Los ve en racimos, no solos.
Se propagan por rizomas, entonces son resistentes y los encuentra en matas.
.
Hay un “lirio de día” que florece en julio
y está ubicuo – ahora mismo.
Las podadoras grandes de grama los “talan” muchos
pero no segan todos.
.
Estos no son los “lirios de día” raros y delicados
que alguna gente tienen alrededor de su casa.
Éste es áspero, ordinario, a veces severo en su curtida belleza
– casi como una mujer veterana de cara correosa, arrugada,
que conoce mundo.
.
En esta flor no hay nada núbil, lisa o animada.
No es fresca; la hemos visto de largo, de aquí para allá;
todos la conocen.
.
He dicho que el “lirio de día” es áspero y ordinario;
y es bello a causa de ser ordinario.
Una planta que ha naturalizado en el campo y en la ciudad;
una planta que se vuelve robusta, irrompible, indómita.
En pocas palabras: firme y fuerte, como
alguien o alguna cosa que debe sobrevivir.
Albert Ahearn
El Lirio de Día
.
Los periantos magníficos de los Lirios de Día,
con sus brazos naranjos
– extendiendos y luminosos
– y embudos –
fijos en sus colonias agrupadas,
ausente de un perfume atreyendo,
aún suscitan los abejos – y los ojos estéticos del poeta.
Rayos de sol – oblicuos y penetrantes –
brillan a través de las frondas altas de los árboles,
con franqueza
sobre sus flores,
ardiendo como brasas en la fogata extinta de un campista.
Y, como esa fogata, quedan bellos los lirios de día
– brevemente bellos –
y pues mueren.
. . . . .
“Uma perfeita, excepcional e amável existência de girassol!” Uma tradução de Ginsberg por Tomaz Amorim Izabel
Posted: July 18, 2015 Filed under: Allen Ginsberg, Portuguese Comments Off on “Uma perfeita, excepcional e amável existência de girassol!” Uma tradução de Ginsberg por Tomaz Amorim IzabelAllen Ginsberg (1926-1997)
Sutra do Girassol (1955)
Tradução por Tomaz Amorim Izabel
.
Eu caminhava às margens da doca de latão onde se descarregavam bananas e
me sentei sob a sombra gigante de uma locomotiva da Southern
Pacific para olhar o pôr-do-sol sobre os
morros de casinhas em forma de caixas e chorar.
Jack Kerouac, companhia, sentou-se do meu lado em uma coluna de ferro arrebentada
e enferrujada, pensamos as mesmas coisas
sobre a alma, desolada e azul e de olhos tristes,
cercada pelas raízes de aço cheias de nós das árvores de
maquinaria.
A água oleosa no rio espelhava o céu vermelho, sol
mergulhado no topo dos últimos picos de São Francisco, sem peixe
naquele rio, sem ermitão naqueles montes, apenas nós
olhos marejados e ressaca como velhos vagabundos
na beira do rio, cansados e astutos.
Olhe o Girassol, ele disse, tinha uma sombra cinza
e morta contra o céu, grande como um homem, sentada
seca sobre uma pilha antiga de serragem –
eu corri encantado – era meu primeiro girassol,
memórias de Blake – minhas visões – o Harlem
e Infernos dos rios do leste, pontes retinindo sanduíches
do Joe Greasy, carrinhos de bebês mortos, pneus
carecas esquecidos e não recauchutados, o
poema da beira do rio, camisinhas e vasos, facas
de aço, nada inoxidável, só a nojeira úmida
e os artefatos afiados se afundando no
passado –
e o Girassol cinza se equilibra contra o pôr-do-sol,
desolação que quebra e poeirenta com a fuligem e a fumaça
e a poluição de locomotivas velhas em seu olho –
corola de espinhos embaçados decaídos e quebrados como
uma coroa espancada, sementes caídas de seu rosto,
boca quase desdentada de ar cheio de sol, raios de sol
obliterados em sua cabeça cabeluda como um arame
teia seca de aranha,
folhas esticadas como braços saindo do tronco, gestos
vindos da raiz de serragem, pedaços quebrados de gesso
caídos de galhos negros, uma mosca negra em seu ouvido,
Profana coisa espancada era você, meu girassol, oh
minha alma, eu te amava tanto então!
O lodo não era lodo de gente, mas morte e locomotivas
humanas,
toda aquele vestido de poeira, aquele véu de pele escurecida
em ferrovias, aquela poluição do rosto, aquelas pálpebras de
miséria negra, aquela mão de fuligem ou falo ou protuberância
artificial de algo mais que sujo – industrial –
moderno – toda aquela civilização manchando sua
louca coroa dourada –
e aqueles pensamentos lacrimejantes de morte e insensíveis
e empoeirados olhos e fins e raízes murchas no fundo, na
pilha natal de areia e serragem, notas de dólar
de borracha, pele de maquinaria, as entranhas e interiores
do carro que chora e tosse, as vazias e solitárias
latas com suas línguas enferrujadas, ai, o que
mais posso eu nomear, as cinzas fumadas de algum
charuto de pinto, as bucetas de carrinhos de mão e
os seios leitosos de carros, cus arrombados de cadeiras
e esfíncteres de dínamos – todos estes
emaranhados em suas raízes mumificadas – e você lá
em pé na minha frente durante o pôr-do-sol, toda a sua glória
em sua forma!
Uma beleza perfeita de um girassol! Uma perfeita, excepcional
e amável existência de girassol! Um doce olho natural
para a nova lua sensual, acordou vivo e excitado
agarrado na sombra do poente nascente mensal
brisa dourada!
Quantas moscas zumbiram inocente ao redor do seu
lodo enquanto você amaldiçoava os céus das
ferrovias e sua alma floral?
Pobre flor morta? quando você se esqueceu de que era uma
flor? quando você olhou para sua pele e
decidiu que você era uma velha locomotiva suja e impotente?
o fantasma de uma locomotiva? o espectro e
a sombra de uma outrora poderosa locomotiva americana?
Você nunca foi locomotiva alguma, Girassol, você foi um
girassol!
E você locomotiva, você é uma locomotiva, não me
esqueça!
Então eu apanhei o espesso esqueleto do girassol e o enfiei
ao meu lado como um cetro,
e profira o sermão à minha alma, à alma de Jack
também e para qualquer que o ouça,
– Nós não somos nossa pele de lodo, nós não somos nossa pavorosa
desolada enferrujada locomotiva sem imagem, nós somos todos
lindos girassóis dourados por dentro, nós somos abençoados
por nossa própria semente e loiros corpos
completos crescendo tornando-se loucos girassóis
formais e negros no pôr-do-sol, espionados por nossos
olhos sob a sombra da louca locomotiva
beira do rio pôr-do-sol São Francisco tarde montanhosa de latão
vendo tudo sentado.
. . .
http://tomazizabel.blogspot.ca/
. . . . .
Kateri Akiwenzie-Damm: Poetisa mestiza chippewa
Posted: July 14, 2015 Filed under: English, Kateri Akiwenzie-Damm, Spanish, ZP Translator: Alexander Best Comments Off on Kateri Akiwenzie-Damm: Poetisa mestiza chippewa
Kateri Akiwenzie-Damm
(Poetisa mestiza Chippewa de la Península Saugeen, Ontario, Canadá)
Sangre extraña
.
Las mujeres se callan…
Es como la voz de mujer fue contigo
al mundo-espíritu.
Y tengo hambre para ese sonido en mis oídos.
.
No hay nadie charlarme…
El pueblito está lleno de ruídos raros
y un silencio que me asusta.
Estoy perdida
y, aunque puedo ver las estrellas de noches puras,
todavía no hay ninguno que me explique sus direcciones.
.
Entonces vagabundeo…
Ahora oigo voces pero nadie me habla;
estoy confundida pero nadie me busca;
estoy sangrando pero nadie me ayuda.
.
Hay voces que gritan – y sangre.
Hay noches que no puedo recordar;
estrellas en mi cabeza.
Y gritos – y sangre.
.
(1999)
. . .
Canción de Perdiz
.
Acércate, mi amor – te llamo.
Escucha mi canto, querido – estoy tamborileando.
En los juncos estoy esperando para ti – mi vida.
Ven, corazón – te llamo.
.
(1997)
. . .
Esturión del lago
.
Me retuerzo, jadeo; abro y cierro mi boca,
cada vez que está cachado un esturión en el río lluvioso.
Conozco el tacto de manos extrañas sobre mi cuerpo;
la lucha ser libre; el anhelo de ir donde quiero ir.
.
Me siento el golpe del palo o de la piedra – en mis huesos;
la salpicadura de color
pues el vacío que es mi cabeza – mi cabeza como el cielo de medianoche
si están capturado por un otro paraíso la luna y las estrellas.
.
Lo sé, aún cuando estoy despierto, de nuevo,
y me siento a la mesa de la cocina,
mirando fijo a mi plato con su diseño de zarzamora
y sus bordes rugosos y quebrados.
Lo entiendo…
Y eso es por que no como el esturión:
porque lo comprendo que
cuando está tomado un estirón del río lluvioso
soy yo un estirón
y cuelgo en los anzuelos.
.
(1997)
. . .
La Resurrección de Deseo
.
La resurrección de deseo,
el arte de devoción,
es la pasión de los santos/imbéciles/amantes
– y abusadores de todos tipos –
aquellos que tienen cabezas llenas de reflexión y dolor.
Ellos flotan lentamente con la corriente
mientras sus labios mueven como rezan.
Contando las ramas que agitan de la orilla…
Marineros – sin techo, olvidados –
se embalan en una ola de marea de su propia creación.
Destructores de piel,
devotos de Siempre,
mapeando el camino al cielo;
cruzando pies, manos, cabezas y torsos;
rechazando las bellas mortificaciones que persiguen la mente del pervertido;
la culpa de granujas (cabelleras arrancadas colgando de sus cinturones);
severamente, intensamente bonito.
.
Delicados en su vuelo, estos pájaros sin alas,
se transforman en dulce, sangrientos, gozozos mesíases;
en silencio desvistiéndose de la piel,
a la envidia de ellos que cantan del dolor y que hacen el amor en la oscuridad.
.
Manitouwan, ah Manitouwan…
Exilios eminentes, terrenales,
¿Dónde está el cuervo azabache?
¿O esos raros monstruos ancianos de los caminos de agua
que arrastren a un ingenuo hasta ese otro mundo donde duerme la muerte?
.
Díganos, ¿Cuál ceremonia – o locura – salvaguardará su regreso?
. . .
Kateri Akiwenzie-Damm
Strange Blood
.
The women are quiet
it is though woman’s voice went with you
to the spirit world
and i am hungry for the sound
in my ears
.
there is no one to talk to
the village is filled with strange noises
and a silence that frightens me
i am lost
and although i can see the stars on clear nights
there is no one to explain their directions
.
so i wander still
now
i hear voices but no one talks to me
i am lost but no one looks for me
i am bleeding
but no one helps me
.
there are voices
screaming
and blood
nights i can’t remember
stars in my head
screaming
and blood.
.
from: Bloodriver Woman (1999)
. . .
Partridge Song
.
come to me
my love
i am calling
.
hear my song
sweet one
i am drumming
.
in the reeds
dear one
i am waiting
.
come to me
my love
i am calling
.
(1997)
. . .
Sturgeon
.
i twist and gasp
open and close my mouth
whenever a sturgeon is caught in the rainy river
i know
the feel of strange hands touching my body
the struggle
to be free
the longing to go where i want to go
i feel
the impact of stick or rock on bone
the splash of colour
then the emptiness that is my head
my head like a midnight sky if the stars and moon were captured
by another heaven
i know
even when i am awake again
sitting at the kitchen table
staring at my plate with its bramble design
and rough chipped edges
i know
that is why i do not eat sturgeon
because i know
when a sturgeon is caught in the rainy river
i am a sturgeon
and i dangle on hooks
.
from: My Heart is a Stray Bullet (1997)
. . .
The Resurrection of Desire
.
the resurrection of desire
the craft of devotion
is the passion of saints idiots lovers
and abusers of every kind
those whose heads of filled reflections and suffering
float slowly downstream
while their lips move as if in prayer
counting branches waving from the shore
homeless
forgotten sailors
swept in a tidal wave of their own creation
destroyers of flesh
worshippers of forever
mapping the way to heaven
across feet and hands and heads and torsos
rejecting the beautiful mortifications that haunt the minds of perverts
the guilt of sinners three scalps hanging from their belts
starkly insanely lovely
.
delicate in flight these wingless birds
transform into sweet bloody joyous messiahs
noiselessly stripping themselves of flesh
to the envy of those who sing of pain and make love in the dark
.
manitouwan oh manitouwan
earthy earthly exalted exiles
where is the raven
or those strange ancient monsters of the waterways
who would drag an innocent to that other world
where death sleeps
.
tell us
what ceremony or madness will safeguard their return?
.
from: My Heart is a Stray Bullet (1997)
. . .
Kateri Akiwenzie-Damm es un escritor mestizo de la Nación Chippewa en Ontario, Canadá. Ha vivido/trabajado en el pueblito de Neyaashiinigmiing, Reseva India de Cape Croker de la Península Saugeen – desde 1994.
Traducciones del inglés al español: Alexander Best
La emprensa editora de Kateri Akiwenzie-Damm: http://www.kegedonce.com/
. . .
Kateri Akiwenzie-Damm is an Anishinaabe writer of mixedblood from the Chippewas of Nawash First Nation. She has lived and worked at Neyaashiinigmiing, Cape Croker Reserve, on the Saugeen Peninsula in southwestern Ontario since 1994. The poet has said: “I know I belong here and regardless of where else I might live, this will always be my home. This is where I live and write and remember who I am.”
Translations into Spanish: Alexander Best
Visit Kateri Akiwenzie-Damm’s bookpress site: http://www.kegedonce.com/
. . . . .
Legends and Narratives from the Moose Cree language, as told by Gilbert Faries, Sophie Gunner, James Gunner, Hannah Loon and Ellen McLeod
Posted: July 8, 2015 Filed under: Cree, English Comments Off on Legends and Narratives from the Moose Cree language, as told by Gilbert Faries, Sophie Gunner, James Gunner, Hannah Loon and Ellen McLeodLegends and Narratives from the Moose Cree language, as told by Gilbert Faries, Sophie Gunner, James Gunner, Hannah Loon and Ellen McLeod: from recordings made in 1958, 1964 and 1965 in and around Moose Factory in Ontario, Canada
.
Why the squirrel has red eyes (Acicamoŝ wêhci-mihkwacâpit)
.
So then, the legend is told of why the squirrel has red eyes…
Once long ago when an animal was being sought to be leader in the woods, the squirrel thought that he should be foremost. Now then, when the other animals saw him, they began to make fun of him. And they ridiculed him, saying: “Be off with you! You’re too little. You’ll never be able to be master here in the woods, because you’re little.”
And so, since the squirrel hated it very much, he cried very hard. And he also rubbed at his eyes very hard, until he began to have entirely red eyes from crying so hard.
. . .
Why the loon’s feet are near the tail (Mwâkwa wêhc’-îšinâkwaniliki osita)
.
Now then, this again is the beginning of the legend about the loon, why this one’s feet look the way they do.
Once upon a time long ago, the beasts and the birds got together because they wanted to have a feast. And so, as they were there on the lake, in the course of the feasting, this loon began to flirt around with other birds. So then the rest of those birds weren’t pleased with the fact that this loon wanted to take away Shingibish’s wife.
And so, when being angry, Shingibish chased after this loon. And then, as the latter ran away, he kicked him very hard as he ran off. And he utterly knocked his feet back there, having crippled him. And ever since, that’s why the loon’s feet hang that way, right near his tail-end.
. . .
Why the bear has a short tail (Maskwa wêhci-tahkwâliwêt)
.
Now, this is the beginning of the legend about the bear, why his tail is short.
Once upon a time long ago he saw a fox that had a fish. And so at this the bear said: “How is it that you are able to catch fish?”
And so at this the fox replied: “It’s very easy when one wants to catch a fish. At that hole there in the river, in the ice, it’s just at that very spot that I dip my tail in. And then, as I feel a fish playing around with my tail, I suddenly give a jump. While he’s biting my tail I pull him to the surface…You can do it too, if you want to catch hold of him, if you want to catch a fish,” he said to the bear.
So then the bear thought, “Certainly, I’ll be able, too.”
So then he dipped his tail in, his long tail, that is. And then as he felt a fish playing with his tail, he didn’t yet give a jump.
“So wait a little, and many will be hanging on here and there,” thought the bear in his greedy desire, that is. He wanted a lot of fish.
And so, at last, as his tail began to freeze to the ice, he thought, “Now there are a lot of fish,” as he began to feel his tail heavy.
And then at that point when he gave a sudden jump, that’s the way he tore off his tail, since it had already been stuck to the ice.
. . .
A favourite dish from whitefish roe (Atihkamêk owâhkona ê-kîsisomihci)
.
Now for that fish which is called the whitefish, in processing its innards, called “liver-water”. When we catch a good number of whitefish we clean the innards and cook them. And we call it “liver-water”.
We squeeze out the whole of those innards. Then we put them in a frying pan and cook them. We cook them there a long, long time until they’re boiled completely dry, so they may come to a fry, so they become all brown. Then we put in a little flour. We mix it in a small dish, then we put them there in the “liver-water”, as we cook them. And they are very delicious.
And then also that other fish, the so-called red sucker, what’s called the roe there, we cut them open, as they have it. We cook those roe along with them. That “liver-water” is tastier though, as I make it, when we put the flour with it, we put a little flour in as we continually stir it. That’s what we do when we make that “liver-water”. We put in a little flour, that is, and we stir it in a small dish. It’s more delicious when it’s dressed that way, with a little flour put in it. And so red sucker roe also is sometimes put in it, and cooked along with it. And it’s more delicious when it’s dressed that way.
. . .
Snatch of a conversation: to go up-river or not? (Ayamihitowinišiš: n’tahikâtêkwê nêstapiko êkâ?)
.
“Are you decided, are we making up our mind…to go to the Indian Reservation right now? I don’t think we should. The weather’s too dirty. I think that the sky doesn’t look right.”
“Just as you please. You always seem to want to be the boss.”
“Let it go at that. That’s what I think right now. I don’t very much relish the thought of travelling in dirty weather. It’s just that…although we only want to go this short distance. Never mind then, I may as well stop thinking about it.”
“If you’re satisfied at that, I don’t mind either.”
. . .
Mishchagalash, who is supposed to have died and then to have risen (Mišcâkalâš kâ-kî-nipikopanê, êko mâka kâ-kî-waniškâkopanê)
.
The twenty-first day of July…
Mishchagalash, as he was called, was very good at hunting. The people fought with each other and he too wrestled. The other person hollered: “Now these people are killing each other.” But ošâwasko, ošâwaskwapîway, laughed at it. He wrestled with Mishchagalash. But ošâwaskwapîway got very angry, being wrestled with there by Mishchagalash. His uncle, his uncle’s name, ošâwaskwapîway was his uncle’s name.
“I was only grabbed again and again, I felt just as if I were slashed,” he said as his uncle seized him and stopped him from fighting.
.
Now one day he went away by boat when they had finished wrestling. So then, this Mishchagalash, this very Mishchagalash said: “It would seem I had died.” So then he was confined.
“What is that? At last…it seems now I am awakening. It would seem I had died. Now I am getting up. The grass was yellow when I got up. When I had turned over I took my ghost-pipe and smoked. Then when I went home my mother knew me very well, since I had arrived in the morning. Now my mother saw me. My mother wept: “To be sure, I love my son very much. He was much given to hunting.”
.
It seems then that I started to go away by canoe, looking for deer.
My mother went down the bank in the distance, as she saw me as I came paddling, facing her. Now she came into sight, paddling towards me.
“It’s a stump which he’s bringing back.”
In my craft, in my canoe…I had put it in the bow of my canoe.
“It’s a buck deer, it seems, which he has killed.”
And now my mother knew that I was bringing food.
My mother wept: “No wonder, it’s my son for whom I was sorry when he died, because he was such a
good hunter.”
. . .
A fight between a whiskey-jack and a mouse (Ê-mâšihitocik wîskacâniš nêsta mâka wâpikošiš)
.
Once again when we had been living somewhere in this area, we were at West River…
Now, at that time, we regularly used to have our tent out towards the sea, in the willows, more or less, as we killed foxes. Well then, once as I was sitting inside, a whiskey-jack was making an awful racket. “My! Whatever’s wrong with this whiskey-jack that he’s making this noise?” I thought. I looked around, finally. For a long time, at first though, I didn’t look. But at last I looked through a hole in the tent. From there I looked at him. The whiskey-jack was perched on a willow. I looked at him. “What’s wrong with this one who’s making this noise?” Suddenly there popped…a mouse slowly emerged at last, in the snow. It emerged from the snow.
At that point the whiskey-jack jumped at the mouse. He bit him in the neck. He flew away with him repeatedly.
The mouse got the better of him. He carried him off, again and again.
Then the mouse struggled as he carried him off again and again…to such an extent that he was quickly dropped as he struggled. Again and again the mouse fell away on the ground, on the snow. Then he quickly dug in the snow again. Then once more the whiskey-jack would watch the spot again. The whiskey-jack kept a look-out for him. But out came that mouse, again. I looked at him.
Now the whiskey-jack jumped at that mouse once again. He bit him in his neck. He dropped him again and again as he carried him off struggling, just biting him.
Now, once more, the mouse quickly took cover. Finally, he came out again. Now he landed. Now they had a tussle with each other, out in the open. Then they battled each other.
This whiskey-jack was not able to get the better of this mouse…
He was worsted by him. This whiskey-jack was making a dreadful lot of noise.
“Look now, whatever’s wrong with this fellow that he’s making such a racket?” I thought, as he made a noise like this [ imitative screech ]. That’s what the whiskey-jack said, because he was scared.
So at last I laughed really hard. The mouse bit away at the whiskey-jack. He was just standing on his hind legs. And then they were jumping at each other back and forth, and the whiskey-jack was jumping back and forth as he was getting the worst of it from that mouse. This whiskey-jack was helped a little by his wings, but to my mind the mouse was stronger as I looked at him. I couldn’t help but laugh hard as I watched them, to the point that I disturbed them while they were fighting with each other.
. . .
A conversation (Ayamihitowin): Hannah Loon and Ellen McLeod
.
H.L.: “Ellen, what happened to you folks while you were staying at Hannah Bay while you were living with your father as he was hunting?”
.
E.M.: “Uh hmm.”
.
H.L.: “What had happened to you that led you to come when only you folks arrived?”
.
E.M.: “He wasn’t going to come at Christmas. But my older sister said to me, “Let’s go, you and me. Let’s follow our older brothers who are going away,” she said. So then I said to her: “Alright, let’s go. But let’s hurry and cook up some things first for our father before we leave,” I said to her. And we cooked for him. We did everything properly for him. Now then, we left to come. There was no axe there. There was only the big axe. With my older sister taking that one, we came away. By the time we were at Big Stone we had already caught up with them, including my older brother. “What’s wrong with you two?” he said. We didn’t speak to them. We hid from them [she laughs.]
.
“These people ought to have left to come anyway. Yes.”
.
“We slept there. We slept there, the two of us. By and by there, by and by we saw them there at Netitishi.”
.
“They had come away in advance.”
.
“And then my older brother said to me: “Where is your father?”
“We left him. He didn’t want to come away. He didn’t want to go to the settlement for Christmas. But we’ve left to come. I got a ride…she got a ride, though. But I wasn’t taken. I ran along.”
.
“Your older sister, Mary, was taken.”
.
“Only my older sister, Mary, was taken. I ran along. And he said: “Take that axe of theirs,” my older brother, Willie, was told. “Where are these two going?” “They’re off logging to Peehtawanagaw,” said Archibald [she laughs.]
.
“Just teasing you…”
.
“Uh-huh.”
.
“Because you two sure didn’t own an axe.”
.
“I ran along all the time. She was carried on the sled.
Finally, I saw a young fellow, James. He gave me a seat on his sled. We arrived here. On the second day my father suddenly arrived. He laughed, he laughed at us. We laughed too.”
.
“But what did James there say to you while you were tired, as he was hauling you?”
.
“Who knows?”
.
“Didn’t you…didn’t you have him as a boyfriend? There’s nothing wrong with that …!”
.
“That’s as much as I’m going to tell.”
.
“Oh? Oh!”
.
“This is as much as I’ll tell you.”
.
“Yes.”
.
“Not about that.”
.
“Then that’s the extent of your story.”
.
“Yes.”
. . .
The above transcriptions are excerpts from Cree Legends and Narratives from the West Coast of James Bay (Âtalôhkâna nêsta tipâcimôwina), published by The University of Manitoba Press in 1995. The text is in several Cree variants, plus English translations. Edited and with a glossary by C. Douglas Ellis.
Flags of Canada: Métis to Lou-Ann Neel…
Posted: July 1, 2015 Filed under: IMAGES Comments Off on Flags of Canada: Métis to Lou-Ann Neel…Patriote movement, Lower Canada, 19th century
Altered Red Ensign, Canada’s flag from the 1890s till 1965
Canada’s current flag, designed in 1964, adopted in 1965
Flag of the Iroquois Confederacy, 1980s
Native Pride flag from Kahnawake, 1990s
Nunavut, Canada’s newest territory, 1999
Mulidzas Curtis Wilson of Campbell River, B.C.: an imaginative re-design of Canada’s national flag
Lou-Ann Neel’s re-design of Canada’s national flag…
She writes:
“I originally created this design to express how I see this country we call ‘Canada’. Canada is often referred to as a ‘mosaic or tapestry of multiculturalism’, and for me, as a textile artist, I thought it would be fitting to take the idea of a tapestry and the flag of Canada, and apply my own cultural and artistic practices to it.
I transformed the iconic Maple Leaf into a Raven. I chose Raven because he is known in many of our legends as a Transformer, a Messenger and a Trickster. I thought this would be an interesting and intentional use of symbols to challenge our thinking around the body politic and its intentions.”
. . .
“Lest We Forget…”
https://zocalopoets.com/2013/11/11/5670/