Macumba Words: Aimé Césaire

ZP_Aimé Césaire dans les années 1930ZP_Aimé Césaire dans les années 1930

Macumba-Word

.

A word can be father to a saint,

words are the mothers of saints,

with a word that both chases and caresses one can

cross a river peopled by caïmans.

Sometimes I sketch a word on the sun,

with a cool, fresh word one spans a desert

in a day.

There are life-buoy words that ward off squalls,

there are iguana-words,

there are delicate words  –  phantom stick-insect words.

And those shadow-words

when one awakes in a rage of flying sparks.

There are Shango words.

And sometimes I swim slyly – playfully –

upon the back of a dolphin-word.

.     .     .

Glossary:

 

Macumba  –  an African (Bantu) word generally meaning “magic”

 

caïmans  –  a species of crocodile found in the Caribbean, Central and

South America;  hunts along riverbanks

 

Shango  –  god of fire, thunder and lightning, from West-African religion

– mainly Yoruba;   survived “The Middle Passage”, and is venerated in

Haitian vodou (voodoo) and Brazilian candomblé.

 

dolphin  –  perhaps a reference to two ‘dolphins’:

‘dauphin’ as in ‘Dauphin’, the old heir-apparent to France’s throne +

the notion of “correct” French;

also the Boto (Amazon River dolphin) of Afro-Brazilian religion

.     .     .     .     .

Mot-Macumba

.

Le mot est père des saints

le mot est mère des saints

avec le mot couresse on peut traverser un fleuve

peuplé de caïmans

Il m’arrive de dessiner un mot sur le sol

avec un mot frais on peut traverser le désert

d’une journée

Il y a des mots bâton-de-nage pour écarter les squales

il y a des mots iguanes

il y a des mots subtils ce sont des mots phasmes

il y a des mots d’ombre avec des réveils en colère

d’étincelles

Il y a des mots Shango

Il m’arrive de nager de ruse sur le dos d’un mot dauphin.

.     .     .

Aimé Césaire (1913-2008) was born and died in Martinique,

yet he was a man of the world.  In his poetry and plays, both

full of hope and strength, he promoted decolonization

throughout the island-countries of the Caribbean.  From

the geography and customs of those same islands he

drew much of his imagery  –  as in the poem featured above.

English translation:  Alexander Best.

*

Aimé Césaire (1913-2008) était un Martiniquais, aussi

un homme du monde.  Dans sa poésie et son théâtre, et avec

de l’espérance et puissance, il a promis la décolonisation des

pays caraïbes.  Ses paroles sont fondées sur la géographie et

les coutumes de ces mêmes îles.  Par exemple: le poème ici…

Traduction en anglais:  Alexander Best


Kettly Mars: Defiance of Oblivion

ZP_Kettly Mars_2011ZP_Kettly Mars_2011

Behind the door

.

Sweet sentinel, you keep watch

over the shadows of my room.

This evening my dreams depart

for the north.  Toward the sea.

Gentle candle, gentle

flame, under your tears of light

wood, stone, copper and glass

cloaked in golden silence

bathed in the same mystery.

 

.     .     .

 

Derrière la porte

.

Douce sentinelle, tu veilles

sur les ombres de la chambre.

Ce soir mes rêves partent

vers le nord.  Vers la mer.

Douce bougie, douce

flamme, sous tes larmes de lumière

bois, pierre, cuivre et verre

enveloppés d’or silencieux

baignent dans le même mystère.

 

.     .     .

 

My hand and the stone

.

My hand and the stone,

sage rebellion of noble particles

gripped in my palm.

I’ve made my own her reality:

grey, heavy, oval.

Millenial stone

whose cry

lays claim to nothing other than a

defiance of oblivion.

 

.     .     .

 

Ma main et la pierre

.

Ma main et la pierre,

sage rébellion de particules

tenant dans ma paume.

J’ai fait mienne sa réalité

grise, lourde et ovale.

Pierre millénaire

jusqu’en son cri

elle ne se prétend autre chose

qu’un défi à l’oubli.

 

 

.     .     .     .    .

Kettly Mars est née en 1958.

Un romancier à le proue de la littérature haïtienne,

elle est aussi un poète.  Les poèmes ici viennent de

son recueil de 2011, Feulements et sanglots.

Traductions:  Alexander Best

*

Kettly Mars, born in 1958, is a novelist

at the forefront of Haitian literature.

She is a poet as well, and these poems

are from her 2011 collection, Growls and Sobs.

Translations into English:  Alexander Best


James Noël: Four poems from “Kana Sutra”

ZP_James Noël in 2011_photographed by Henry RoyZP_James Noël in 2011_photographed by Henry Roy

Inside my Cage

.

In me the words

released like parrots

blue-black-red-and-green

hurled like stones

at the sleeper’s roof

inside my private cage

all the illegal words

all the SDF * words

all the words without i.d. or release papers

in me all the words at the margin

which dream of a line

of a better horizon

in me love’s words

words which kiss between two fingers

– the middle and the baby one

words which die wordlessly

lacking hands to touch

or lips to kiss with

in me a word

in me the kamikaze-word of mad love

trapped in a speeding car

heading toward a public climax

 

.

* Self Defense Force

 

_____

 

Cage intérieure

.

En moi le mots

lâchés comme des perroquets

bleus-noirs-rouges-et-verts

lancés comme des pierres

sur le toit du dormeur

dans ma cage intérieure

tous les mots sans-papiers

tous les mots SDF

tous les mots sans-papiers ni cahier

de décharge

en moi tous les mots en marge

qui rêvent d’une ligne

d’un horizon meilleur

en moi les mots’ d’amour

les mots qui baisent entre deux doigts

le majeur el l’auriculaire

et qui crèvent sans mot dire

fate de mains pour toucher

ni de lèvres pour le baiser

en moi un mot

anmwe le mot kamikaze de l”amour fou

allant voiture piégée

vers son orgasme public.

 

_____

 

Waltz of the Valises

.

My suitcase pops open in public

i endorse this without saying anything

i’ve packed Death

inside

cash paid in full

childhoods

childhoods

see my waltzing valise

few people in this world

are as open as my valise

in public my suitcase on display

down to the merest details

my made-in-China suitcase

nylon and polyester

my suitcase with its exhibitionist’s soul

down to the least titbits

few people in this world

are as exposed as my valise

now

all my guts are out

all my dirt in disorder

my vices

my nuts and bolts

all my lives

are known

my whole history

within  –  without

and my poem

inside  –  outside

known at last

and acknowledged

for the grand importance of

its public uselessness.

 

_____

 

Valse des valises

.

Ma valise s’ouvre en public

et j’avalise sans rien dire

j’encaisse la mort

à l’intérieur

rubis sur ongle

enfances

enfances

voyez la valse de ma valise

ma valise est ouverte

peu de gens danse le monde

sont aussi ouverts que ma valise

en public ma valise étalée

dans les moindres détails

ma valise made in China

nylon et polyester

ma valise à l’âme

exhibitionniste

dans les moindres détails

peu de gens dans le monde

sont aussi ouverts que ma valise

maintenant

tous mes boyaux sont dehors

toutes mes ordures en désordre

mes vices

mes écrous

toutes mes vies

sont connues

toute mon histoire

dedans  –  dehors

et mon poème

dedans  –  dehors

enfin connu

et reconnu

pour sa grande importance

d’inutilité publique.

 

_____

 

Of love and other generalities:  an excerpt

.

Certain love poems are to be read at night so that

their effect might be fully felt within the body –

like Japanese green tea, a concoction of datura, or

even a mild drug, a sweet drug that produces the

impression of the city’s dust under a rain.

The best poems often come after a break-up.

That most awful thing about a split is the feeling of

being ditched in the middle of the ocean,

with few choices for somebody who doesn’t know

how to swim.

Only one option has existed up till now: to sink.

 

_____

 

De l’amour et autres généralités:  un extrait

.

Certains poèmes d’amour sont à lire la nuit

pour que leurs effets soient pleinement ressentis

dans le corps comme un thé vert japonais,

une concoction de datura, ou bien encore une

drogue douce, l’effet d’une drogue douce que

procure la poussière d’une ville sous la pluie.

Les meilleurs poèmes viennent souvent après

une rupture amoureuse.  Ce qu’il y a de plus

terrible dans les ruptures, c’est le sentiment

d’être lâché en haute mer, au mauvais moment

par l’autre.  Être lâché en haute mer donne peu

d’options à quelqu’un qui ne sait pas nager.

Une seule option demeure jusqu’ à ce jour:

le naufrage.

 

_____

 

Two burning candles

.

The day will come, says a man to his belovéd,

when God will intervene with a knife

to slice this onion

which costs our eyes so many tears

and sucks up so much wax

from two burning candles

on their way to dying in the rain

God will come one day

to slice this onion

under our eyes

 

_____

 

Deux bougies allumées

.

Un jour viendra , dit l’homme à sa bien-aimée,

un jour viendra

où Dieu fera une intervention au couteau

pour trancher cet oignon

qui coûte tant de larmes à nos pupilles

et pompe tant de cire

à nos deux bougies allumées

en passe de mourir sous la pluie

Dieu viendra un jour

trancher cet oignon sous nos yeux.

 

_____

 

Poet and writer James Noël was born in

Haiti in 1978.  These poems are from his

2011 collection, Kana Sutra.

Translation from the original French:

Alexander Best

*

Né en Haïti en 1978,  James Noël est

un poète et écrivain.  Les poèmes ici

viennent de son recueil 2011, Kana Sutra.

Traduction en anglais:  Alexander Best


Michèle Voltaire Marcelin: “Quicksand words”

ZP_painting by Michèle Voltaire MarcelinZP_painting by Michèle Voltaire Marcelin

Michèle Voltaire Marcelin:

And there comes

the time of the Poem

.

The afternoon blazes through the window

at siesta hour

It is forbidden to speak to the poet

do not disturb

because

I’m making love to words

here behind the door

in my bed

One must not disturb the poet

there’s no response from the number you just dialed

momentarily I’ve removed myself from this world

put misery off to one side

it’s the time to say to myself

kick the door shut and

take your pleasure

Talking to the poet’s not allowed

until the month of August

because je suis in bed

with words

feetless, headless words

words that dog-howl at the moon

quivering-iguana words dazzled by roses

bad-luck words like roof tiles that bonk me on the head

because I don’t know how to put on an act

quicksand words

words like crucifixion nails

and an Easter brought back to life

words of flagellation upon naked thighs

promised-land words

Place de l’Opéra words

or of Place Saint-Pierre

or words of whichever Place you’d like

between Brooklyn and Africa

It’s forbidden to disturb the poet

I’m not there for anyone

when words are running  ’round in my head

and walking through my blood

just three little turns more and then they’ll take off

– wait till the end of summer and

it’s just the time, the weather’s right,

to place a poem, to set a poem off, in the street.

 

.     .     .

 

Il fait un temps de poème

.

L’après-midi flambe à travers la fenêtre

à l’heure de la sieste

il est interdit de parler au poète

do not disturb

because

je fais l’amour avec des mots

derrière la porte

et dans mon lit

il ne faut pas déranger le poète

il n’y a pas de réponse au numéro que vous avez composé

je m’absente du monde momentanément

je laisse la misère de côté

le temps de me dire

pousse la porte du pied

prends ton pied

il est interdit de parler au poète

jusqu’ au mois d’août

because je suis in the bed

avec des mots

des mots sans pieds ni tête

des mots aboiements de lune aux chiens

des mots frissons d’iguanes éblouis par des roses

des mots tuiles qui me tombent sur la tête

car je na sais pas jouer la comédie

des mots sables mouvants

des mots clous de crucifixion

et de Pâques ressuscitées

des mots flagellations sur des cuisses dénudées

des mots promissions

des mots Place de l’Opéra

ou Place Saint-Pierre

ou Place où tu voudras

between Brooklyn and Africa

il est interdit de disturb le poète

je n’y suis pour personne

quand les mots courent dans ma tête

et marchent dans mon sang

trois petits tours et puis s’en vont

attendez la fin de l’été

il fait un temps à mettre un poème à la rue.

 

.     .     .

 

My heart

.

My heart’s “in use” so much and so often, that

rust never settles there.

Each time the lock’s got to be changed, because

it’s always my previous lover who keeps the key.

 

.     .     .

 

Mon coeur

.

Mon coeur sert tant et si souvent

que la rouille ne s’y installe pas

Il faut à chaque fois y changer la serrure

Le dernier amant garde toujours la clef.

 

 

 

.     .     .     .     .

Michèle Voltaire Marcelin is from Port-au-Prince,

Haiti.  She was born in 1955.

She is both poet and painter and has been called

a “disenchanted enchantress” (editor Bruno Doucey).

Poem translations into English:  Alexander Best

French originals:  Éditions Bruno Doucey

*

Michèle Voltaire Marcelin, née à Port-au-Prince, Haiti,

en 1955, est une poétesse et peintre, aussi une

“désenchantée enchanteresse”  (éditeur Bruno Doucey).

Traductions:  Alexander Best


Thanksgiving Poems – 10 / 10 / 2011

.

Alexander Best

GIVE   THANKS

.

Green  growth  in  a  clay  pot,  citrus  peel,

cat’s  paw.

Rakes,  staves,  a  busted  clock.

Clackety  spinning  of  rusty  wheels.

Nuts  and bolts  in  a  bashed-up  box,

kicked  across  the  floor.

Hair-raising  feelings.   A  bare  ass  to  the  world.

ClearEarly.

Cool  air,  and  straight-back  chair.

Cat’s  ear.   Basket,  of  rough  weave,  trumpet-shaped.

Heavy  tasks.   Leaves,  a  stump,  some  stuff.

Unknown  Men  and  Women.

Hammered  tray and  coffee  pot  of

brass / wood,  looks  like  a

sputnik  with  minaret.

Cat’s  chin,  offered  upward.

A pyramid of lemons.  A  big-wide

cracked  maple  bowl

(flung  as  the  lover  fled,  spent  winter

face-down  in  puddle-deep  yard).

Cat  sleeping,  after  the  hunt…

no  longer  hot  and  full  of  craft.

Cotton,  wool,  gravel,

soil  of  several  consistencies.

Sandy-shale  pumice  for  ‘seasonal’  foot.

Rain,  sun  and  cloud,

of  course.   Remorse.

Being  human.

All  cats,  contented  and  cross.

Agéd  treetrunks  whose  bark  suffers  loss,

cement  and  copper,  dross.

Stones  in  groups,  free-thinking  boulders,

grasses  tufted  tiny  and  tall.

Porridge-of-bricks.

And,  put  to  no  purpose:

wedges,  clods,  mud.

Fragrance,  the  Body.

Cats-as-judges.  Purring-song.

Pig  and  cow,  fowl,

Sardines  grilled,  and  memory  of

flash-fried  scallops.

A  meal  set  down  before  me.

Snoozes.   Solitude.

Ripe  hollering,  and

Crude.

Kind  people.

Passionate  ones.

Sad  or  angry  anybodies.

Cat’s  nose.

INVISIBLE  HOME

.

The  cast-iron  gate  at  the  top  of  the  fire  escape  swings  open,  swings  shut.   The  skinny  girl  who  lives  across  the  way  skips  down  the  metal  stairs  in  her  hideous,  clunking  platform  shoes.

The  ugly,  charming  bulldog  scampers  around  the  flat  tar-and-pebble  roof;   sniffs,  snorts,  and  whines.   Its  master  opens  the  door  a  sliver;  inside’s  a  muddle  lit  by  two  computer  screens.   The  dog  walks  itself  in  a  cold  dark  built  of  specific  small  noises;   scratches  at  the  door  then  disappears.

The  clunking  girl  returns;  dances,  graceless  and  free,  up  the  fire  escape;   the  gate  talks  on  its  hinges.

Voices  banter,  in  burnt  or  polished  tones.   Footfalls  approach,  on  ice,  mud  and  trash;

boots  crunch  over  starchy  snow.   Regular  strangers,  alley  trudgers.

These…the  night  sounds  through  a  gap  in  my  window.

Is  my  face  neutral – or  grim ?

My  face  shows  nothing,  as  I  sink  and  rise  into  the  hours  of  sleep.

Smiling,  I  am  smiling;   borne  along  these  sounds  of  night,

glad  to  be  here,  exactly  now.

 

_____

 

THE   VIVID   PICTURE

.

Curls  of  incense,  gusts  of  cold  air,  meet  in  a  little  room.

Means  the  world  to  me,  this  space;   and  all  objects  in  it

–  broken,  brassy  –  are  beautiful.

Here,  the  eye  everywhere  falls  on

Something  that  soothes  the  human  animal.

And  you,  my  darling,  are  come  to  me – at  last –

And  you  came  in  your  own  way,  taking  me  by  surprise,

Like  the  tender  return  of  the  wanderer-cat;   or  the

Kind  face  of  the  January  sun.

And  a  crow’s  voice  tells-it-like-it-is  this  visionary  morning.

You’ve  let  me  touch  your  body…and  it’s  a

Reaching-Home  after  long  absence;  a

Perfect  walk  in  darkness,  the  jig  of  a  blind  man  with  his  sugar  cane.

You  and  I,  we  can  still  speak !

Your  field-and-forest  feet  cover  mine  richly,

and  the  whole  of  us  is  a  vigorous  stalk.

You  laid  your  head  on  my  thigh,

Remembered  my  body’s  health  to  me.

And  like  a  great  journey  in  progress,

Being  is  strong  throughout  my  limbs.

Lying  a-bed  after  pure-ancient  Moment,  our

Body  arrives  at  the  place  of  the  Soul.   And

It’s  happened  together.

Shall  we  rest ?

Upon  a  chunk  of  earth,   Heart  takes  its  ease.

Home  is  invisible,  but

Today  I  caught  a  glimpse.  And

I’m  gonna  ’scribe  it

Before  the  vivid  picture  fades.

CAN’T  PUT  IT  IN  WORDS  BUT  I’LL  TRY

.

Can’t  put  IT  in  words  but  I’ll  try…

Didn’t  mind  being  had,  hung  out  to  dry.   There

Is  food  in  mouldbread,   good’s  come  of  bad,   I’ve  no

Beefs / bitter  gripes.   And  besides:

’T’were  a  suspect  load  I  dragged.

We’re  grown  now…berry’s  bit,  dice  sown,  and  how.

Are  green  and  grey;  in  places,  brown.

My  chores ( + questionable  deeds )  are  done.

Was  clever  as  a  knife…carved  a  jigsaw  life.

Spat  nails  in  righteousness,  squandered  hate

(wrong, delicious)  down  to  the

Last  hot  penny,  glad  it’s  spent.

Cried  a  great  cry,  very  late  in  the  day,

And  dipped  a  biscuit  in  water.

And  something  worthwhile,  many-hued-and-fine,

Came  clean  via  palm-packed  cakes  of

Sand,  peppered-pinecones,  ashes  and  fat.

Crush  my  spirit,  there’s  more  of  us  yet,  and

Whisk  the  thick-and-thin  mix.

Will  not  keep  telling  lies.   There’s  a  mouthful.

Crows:   be  commas,  colons,  punctual  dots.

Underscore  me,  and  lend  me  your  sceptical  weight.

Some  plans  won’t  fly.

Dearly  beloved / abandoned,  we  are

Scattered  here  today…

Can’t  put  IT  in  words  but

I’ll  try.

 

.

(2002-2003)


Poema para El Día de Acción de Gracias

 

Olga García Echeverría:

“Quemando Tortillas”

 

Corazón, no esperes tortillas

recién hechas a mano, redondas

y perfectas como la cara de la luna

las mías, si algún día llego a hacerlas

saldrán cuadradas como hojas de papel

 

dices tú que en otros tiempos

las mujeres enamoraban con el sudor

el calor y la energía de sus manos

tantas gotas de deseo

envueltas en masa de maíz

 

de niña me gustaba hacer tortillas

de tierra, me gustaba lo húmedo del olor

y lo negro que se me metía bajo las uñas

mi cocina ideal era un mundo sin paredes

un lugar entre plantas y hierbas, bajo un cielo

que parecía espejo del mar

 

ahora de mujer

quiero darte mi esencia de comer

que me sientas viva en tu boca

 

pero la idea de hacer tortillas a mano

¡me choca! aburrida quemaría

una tras otra

una tras otra

 

lo que quiero es entregarme entera

caminar descalza

bailar bajo un cielo

chorreado de estrellas

 

en vez de tortillas

haré poema tras poema

recién hechos a mano de mujer

calientitos y blanditos

color chichiltic

sabor a mango

tamaño a luna entera

redondos y perfectos

como la espiral

de tu ombligo

 

la palabra, como el maíz, mi amor

también es indígena

 

_____

 

Olga García Echeverría es una escritora, también una maestra.

Vive en Los Angeles, California.

Olga nos muestra que ¡La Poesía es Comida del Alma!

 

_____

 

“Burning Tortillas”

 

Darling, don’t expect

fresh, hand-made tortillas,

perfect circles like the face of the moon

Mine, if one day I

get around to making them, will come out

square,

like sheets of paper

 

You tell me that in olden times

women used to fall in love with the

sweat – heat – the energy of their own hands

so many drops of desire

enveloped in that cornflour

 

As a little girl I loved making “mudpies” out of

earth, loved the damp smell

and the black that got under my fingernails

my ideal kitchen was a world without walls

among plants and herbs, a sky above me

that seemed like a mirror of the sea

 

Now as a grown woman

I want to give you my essence – to eat – so that you’ll

feel me – alive – in your mouth

 

But the very idea of making tortillas – and by hand –

well, it annoys me !   Bored, I’d burn the lot,

one after another

after another

 

What I really want is to

give myself over entirely to

walking barefoot

dancing under a sky

gushing with stars

 

Instead of tortillas you’ll get

poem after poem – hot off the press – made of

A Woman who’s a little sizzler and kind-a tender,

chichiltic-coloured, mango-flavoured

 

Poems full-moon-sized, round and perfect like the

spiral of your navel

Because words, like corn, my love,

are also Native in us…

 

_____

 

Olga García Echeverría is a writer and teacher, in Los Angeles, California.

She demonstrates that:  Poetry is Food for the Soul !

Translation/interpretation from Spanish into English by Alexander Best

 


“Sopa Azteca”– receta en forma de una décima


Josefina Beverido de Risso

“Sopa Azteca”

 

I

Diez tortillas en tirita,

de preferencia atrasadas,

epazote, hojas moradas,

caldo, un litro necesita.

Crema espesa, una tacita,

ajo, aceite, Knorr y sal,

chipotle seco, tal cual,

tres cuartos de jitomate,

media cebolla, aguacate,

queso jarocho es usual.

 

II

Si quiere una sopa azteca

que sepa y se vea exquisita,

le daré unos tips ahorita

y no esté batida o seca.

Fría la tortilla en manteca

o en aceite del normal,

escurra junto al comal.

Mientras, en cazo muy hondo,

con algo de grasa al fondo,

cueza recaudo habitual.

 

III

Ponga jitomate, un ajo,

cebolla, todo molido,

a dejarlo convertido

en un puré de agasajo.

Cuélelo, tire el cascajo,

hierva bien a fuego lento,

y ya llegado el momento

el caldo de pollo añada,

la yerba muy bien lavada

y sazone al cien por ciento.

 

IV

Aparte para el final

la tortilla ya dorada

y, por cierto, desgrasada,

a que esté en su punto ideal.

Luego prepare el total

de ingredientes del listado,

coloque queso rallado,

chipotle seco, aguacate,

media crema desenlate,

en trastes por separado.

 

V

En sopero muy vistoso,

justo en el fondo, hasta abajo,

ponga de tortilla un fajo,

cubra con caldo sabroso.

Preséntelo apetitoso,

con adornos exprofeso:

bañe primero con queso,

agregue aguacate en raja,

encima un chipotle encaja,

crema da fin al proceso.

 

VI

Así, calientita, humeante,

perfectamente adornada,

será bastante adulada

por sencilla y elegante.

Hasta el mejor restaurante,

invita a la maravilla

que es la sopa de tortilla;

con ella entera, crujiente,

sin batir, tan sugerente,

que al mejor comensal pilla.

 

*

 

“Sopa Azteca” es un poema-receta por Josefina Beverido de Risso,

de su libro:  “Recetario de cocina en décimas espinelas”

(Instituto Veracruzano de Cultura, 2007).

Josefina nos muestra que  !La Comida es Amor!

_____


Nawal Naffaa: “Slip”

_____

 

“Slip”

 

I count up the corpses and aircraft
Falling in pieces from the news
I count the bullets that are exhumed,
The bullets that are buried
And the bullets preparing
To be shot loose.
I follow the ritual of food.
I finish my plate
By eating the plate
After a backbreaking day of the work I do.

When did I get this heartless?
Tomorrow, I’ll make room in a corner of your chest
Where I can cry
And I just might exhume the corpse out of my chest
And prepare a ritual
Of proper burial.

عثرة

اعُدّ الجثث والطائرات
المتساقطة من نشرات الاخبار
اعد الرصاصات المنزوعة
الرصاصات المدفونة
والرصاصات الجاهزة
للاطلاق
واتابع طقوس الطَعام
آتي على الطبق
آكل الطبق
بعد يوم عمل شاق!

متى اصبحت قاسية هكذا؟
غداً أفسِحُ لي ركناً في صدركَ
كي ابكي هناك
فقد انزِع الجثث من صدري
وأُعِدّ طقوساً لائقةً لدفنها

 

_____

 

Palestinian poet Nawal Naffaa was born in 1970.

She writes in Arabic.

To create in two “languages” – painting and poetry – holds

great meaning for her and she often strives to merge the two

via “painting within writing – using metaphor in poetry”.

“Slip” captures – in strong, simple metaphors – the

“stunning”  effectiveness, the “numbing”  capability,

in acts of war.

*

For this translation from Arabic into English

we are grateful to A. Z. Foreman.

Visit his site:  http://www.poemsintranslation.blogspot.com


“Supplica a mia Madre” – PierPaolo Pasolini

_____

 

“Supplica a mia Madre”

 

 

È difficile dire con parole di figlio

ciò a cui nel cuore ben poco assomiglio.

 

Tu sei la sola al mondo che sa, del mio cuore,

ciò che è stato sempre, prima d’ogni altro amore.

 

Per questo devo dirti ciò ch’è orrendo conoscere:

è dentro la tua grazia che nasce la mia angoscia.

 

Sei insostituibile.  Per questo è dannata

alla solitudine la vita che mi hai data.

 

E non voglio esser solo.  Ho un’infinita fame

d’amore, dell’amore di corpi senza anima.

 

Perché l’anima è in te, sei tu, ma tu

sei mia madre e il tuo amore è la mia schiavitù:

 

ho passato l’infanzia schiavo di questo senso

alto, irrimediabile, di un impegno immenso.

 

Era l’unico modo per sentire la vita,

l’unica tinta, l’unica forma:  ora è finita.

 

Sopravviviamo:  ed è la confusione

di un vita rinata fuori dalla ragione.

 

Ti supplico, ah, ti supplico:  non voler morire.

Sono qui, solo, con te, in un futuro aprile…

 

 

(1962)

 

_____

 

 

“Prayer to my Mother”

 

 

It’s so hard to say in a son’s words

what I’m so little like in my heart.

 

Only you in all the world know what my

heart always held, before any other love.

 

So, I must tell you something terrible to know:

from within your kindness my anguish grew.

 

You’re irreplaceable.  And because you are,

the life you gave me is condemned to loneliness.

 

And I don’t want to be alone.  I have an infinite

hunger for love, love of bodies without souls.

 

For the soul is inside you, it is you, but

you’re my mother and your love’s my slavery:

 

My childhood I lived a slave to this lofty

incurable sense of an immense obligation.

 

It was the only way to feel life,

the unique form, sole colour;  now, it’s over.

 

We survive, in the confusion

of a life reborn outside reason.

 

I pray you, oh, I pray:  Don’t die.

I’m here, alone, with you, in a future April…

 

 

(1962)

 

_____

 

PierPaolo Pasolini (1922-1975)

was a controversial Italian film director,

newspaper columnist, novelist and poet.

He embraced Communism while at

the same time being a Celebrity.  He

viewed the new (1970s) “consumer society”

of Italy and its main “tool” – Television –

as destroyers of Italian grass-roots culture

and regional dialects.

Internationally he is praised as an “auteur”

film director, beginning with 1961’s “Accattone”.

But it can be argued that Pasolini the poet was

the superior artist…


John Clare: The Gipsy Camp + The Braggart

ZP_Julia and Bernie McDonagh_Irish Travellers_photographed by Alen MacWeeney in the 1960sZP_Julia and Bernie McDonagh_Irish Travellers_photographed by Alen MacWeeney in the 1960s

The Gipsy Camp

.

The snow falls deep; the Forest lies alone:
The boy goes hasty for his load of brakes,
Then thinks upon the fire and hurries back;
The Gipsy knocks his hands and tucks them up,
And seeks his squalid camp, half hid in snow,
Beneath the oak, which breaks away the wind,
And bushes close, with snow like hovel warm:
There stinking mutton roasts upon the coals,
And the half roasted dog squats close and rubs,
Then feels the heat too strong and goes aloof;
He watches well, but none a bit can spare,
And vainly waits the morsel thrown away:
‘Tis thus they live – a picture to the place;
A quiet, pilfering, unprotected race.

 

.     .     .

 

The Braggart

.

With careful step to keep his balance up
He reels on warily along the street,
Slabbering at mouth and with a staggering stoop
Mutters an angry look at all he meets.
Bumptious and vain and proud he shoulders up
And would be something if he knew but how;
To any man on earth he will not stoop
But cracks of work, of horses and of plough.
Proud of the foolish talk, the ale he quaffs,
He never heeds the insult loud that laughs:
With rosy maid he tries to joke and play,–
Who shrugs and nettles deep his pomp and pride.
And calls him ‘drunken beast’ and runs away–
King to himself and fool to all beside.

 

 

*     *     *

John Clare (1793-1864) was an English poet active mainly

in the 1830s and ’40s.   Coming from a poor rural

family in Northamptonshire, he spent most of his life as

a field hand, hired labourer, and observant vagabond.

Except for one excursion to London, where briefly he

was flavour-of-the-season – “The Peasant Poet” –

(an inaccurate, sentimental moniker) – he stuck close

to his county, covering many miles on foot, even

wandering “back home”  from Northborough Asylum

where he would spend the last twenty years of his life.