Translation: At Our Feet. 49 Poets Respond to Ana Cristina Cesar

I am living hour by hour, with so much fear.
One day I won’t suffer — bit by bit I’ll stop suffering, I’ll go on safari.

— Ana Cristina Cesar

9569870459-77
I first came across Ana Cristina Cesar (1952-1983) years ago in a photo of a friend’s apartment with a pile of books of his to-read list. It was hard to avoid: the Brazilian edition is eye-catchingly fluorescent in pink and blue.
—Have you heard of her?
—No…
I’d almost certainly seen the influence of her poetry: she was included in the 1976 anthology that defined the so-called Marginal Poets and the poetry written in her short life certainly feels very present in Brazilian poetry today.
A nossos pés (At Our Feet, a play on her book A teus pés, At Your Feet) is written in response to her work and brings together poems by 47 Brazilian and two non-Brazilian poets. Six of them that I’ve translated here. Elsewhere Leonardo Gandolfi constructs a biography and bibliography based on the question “what if”, Heitor Ferraz Melo responds to her death, Carlos Augusto Lima takes a walk with her around Lagoa, Micheliny Verunschk seems to follow her style, Marília Garcia puts the lines of A teus pés in alphabetical order, Ricardo Aleixo samples her, my poem is based on my fascination with her outsider’s insight into student life at a university in the East of England.

ana
—    Tarso de Melo

among the poet’s wreckage, notebooks thrown on the fire
and half-finished translations (as if between one language and another
the poem had fought back), the neighbours are calling for your eviction

but don’t worry, Ana, bit by bit poetry detaches itself
from photos, from your eyes, breaks the hidden grille of your handwriting
comes back from its travels, resists the invitations at the last window

“poetry can’t wait”? yes, it can, years, maybe decades,
in the rayban silence, trapped in the family album, the loose strand
of a girl’s hair, a bridge in the landscape – but then it jitters

: it is already too much for the ear, it doesn’t fit inside the eye,
it slips from your fingers to return to the mass grave it lives off
– and escapes, without a word, a thread of blood on the gums


slow
—    Rita Isadora Pessoa

I swap hymen
for a he-man
like swapping
one phoneme

.                         for another

.                         my skin
.                         for another

.                         flower

written in the vicinity
.                         of natural catastrophes


Postcard
—    Ruy Proença

in my country there are palm trees. I don’t want to die without you and me spending a summer afternoon at the zoo, a winter afternoon at the planetarium. I leave behind thought and travel the whole world. people always think they’re Fernando Pessoa. or the opposite. I’m from an age when travel is departure. Pedra Sonora, Uruguay, Amsterdam, London, Ireland, Wales, Spain, the US, Paraguay, Maranhão, Bahia, Pernambuco, Ceará, Bariloche, Buenos Aires, Búzios, Brasília, Campos do Jordão, Rome, Paris, Santiago, São Paulo, Portsmouth and, above all, Rio and Niterói where I was born. this is my small world, my exile. my country is wherever I’m not. I live. I live pretending. I pretend to live. poetry is a lie. I don’t want to die before seeing previously unseen meteors kiss impotently. I don’t want to die without trying glasses for colour blindness. I don’t want to die before my therapy notebook is full. I don’t want to. and if I die before I’ll never see the moon close up. I outlive. I outpretend. it seems there’s a way out just here where I thought all roads ended. a way out of life. now you’re getting here, I don’t need to rob myself anymore.


misunderstanding
—    Júlia Studart

from this close you
seem a little
silly, vulgar
so I tell you
again:
.                         things die

but also it’s
that age where everything
begins, that
we break with
any misunderstanding

I already mistrusted
this bony nakedness

.                thinness

I repeat the line stolen
and crossed out on a
notepad,

.                                there is a love that takes holidays

I don’t have
any idea
how to excite
your body
today a cat
scratched me
and vanished
with the sole of
my left foot,
I woke up with an itch
on my hymen and no
wish to speak

now if everything
was no more than
a misunderstanding

.                                we can start another correspondence

if you really
insist, but I
won’t make any
guarantees, I make no
promises

.                                [death would be worse – I think,
.                                but it would be definitive]


a hummingbird bangs its head against the glass
—    Manoel Ricardo de Lima

someone screams in the middle of
the road – loud, so very loud. a
name. there’s fear in this. fear
when someone screams a name
so loud in the middle of the road. or
laziness when they write
a name down as acronym, number,
logo or favour. and vomit: a kind of
disgust, nausea

[ a compensation ]

there is delight and desire in speaking
a name. it can rip any
heart, in two. anonymous
name, no-one’s
name

to speak a name is to rip
the heart in two. it’s good
to think about this. how it would
be if they said something like
I know your handwriting. these
things we don’t know
well, these things we know
nothing about, not even askance

[ so many times this wish not
to die, ever ]

a kind of disgust, nausea, love
story, but one about love in
war and one that begins licking
from the foot up 


albatross
—    Paloma Vidal

they preferred
not to speak
ipanema beach
post 9
on the left
the 80s
that went by
without us noticing
a thing
they used to come
when my parents
travelled
against the flow
and who knows
from us
the beach packed
olha o mate
olha o biscoito
and we didn’t buy
a thing
the sandwiches
we’d brought
in a polystyrene box
the umbrella
the chairs
my grandparents sitting
silently
so as not
to give themselves
away
the 80s
went by
I didn’t see a thing
they preferred
not to speak
I learnt
the packed beach
the rough sea
my grandfather
who barely knew how
to swim
jumped in
and bobbed about
I ran
across the sand
calling
he didn’t hear
the sea took him
far away
I didn’t understand
from the sand
today
my children
call me
I prefer
not to speak
in the car
they want to know
“when you
were a kid”
I don’t know
if rather
than speaking
whether to jump in
and bob about
the blue covers everything
I am the blue
it’s like being
part
it’s like flying
in the water
it’s like being
in two places
at once
I drive silently
would like to say
the sign says
“albatross
bay”
they want to know
what is
an albatross
I say it’s
a bird
that looks
like it’s not made
to fly
but flies

Advertisements

“Sometimes the night closes in around me like a small room without a door.”

I must have heard of Bruno Schulz (1892-1941) before this year. I probably had while reading secondary literature for my university dissertation on Kafka; I definitely had listening to this BBC documentary about the history of Jewish life in Poland by the writer Eva Hoffman.

But it was this year that I kept coming across his name: referenced in Tomasz Różycki’s sonnet sequence Colonies; in this interview with David Grossman where the conversation turns to See Under: Love and Bruno Schulz’s resurrection after being murdered on the street by a Gestapo officer; in this radio essay on Kafka by Margaret Atwood that—by incredible coincidence—I listened to the same night as a discussion at the Goethe-Institut on a book by Martin Walser about the Yiddish writer Sholem Yankev Abramovich; in the new Brazilian edition of complete fictions of Schulz that I saw on a friend’s bookcase.

If it was the sheer anonymity of his name and the fleeting references that had made me forget him before, in 2015 it was impossible and now—after reading his incredible prose that conjures up something like a disembodied synaesthesia where all the sense are mixed up—doubly so.

Here is a paragraph from The Street of Crocodiles and Other Stories (Penguin) translated from the Polish by Celina Wieniewska:

A night in July! The secret fluid of dusk, the living, watchful, and mobile matter of darkness, ceaselessly shaping something out of chaos and immediately rejecting every shape. Black timber out of which caves, vaults, nooks, and niches along the path of a sleepy wanderer are constructed. Like an insistent talker, the night accompanies a lonely pilgrim, shutting him within the circle of its apparitions, indefatigable in invention and in fantasies, evoking for him starry distances, white Milky Ways, the labyrinths of successive Colosseums and Forums. The night air, that black Proteus playfully forming velvety densities streaked with the scent of jasmine, cascades of ozone, sudden airless wastes rising like black globes into the infinite, monstrous grapes of darkness flowing with dark juice! I elbow my way along these tight passages, I lower my head to pass under arches and low vaults, and suddenly the ceiling breaks open with a starry sight, a wide cupola slides away for a moment, and I am led again between narrow walls and passages. In these airless bays, in these nooks of darkness, scraps of conversation left by nightly wanderers hang in the air, fragments of inscriptions stick to posters, lost bars of laughter are heard, and skeins of whispers undispersed by the breeze of night unfold. Sometimes the night closes in around me like a small room without a door. I am overcome by drowsiness and cannot make out whether my legs are still carrying me forward or whether I am already at rest in that small chamber of the night. But then I feel again a velvety hot kiss left floating in space by some scented lips, some shutters open, I take a long step across a windowsill and continue to wander under the parabolas of falling stars.

“Leave the rest of your dream to sleep at the open window”

The title a contradiction. It is unclassifiable. And all of that you say about the book itself. Absent Presence is—depending on the moment you look at it—the autobiography, the memoirs, an extended prose poem, a novel, perhaps more specifically a Künstlerroman, a monologue written into the mirror, difficult prose, simple prose, an ars poetica, by the Palestinian poet Mahmoud Darwish (1941-2008), translated by Mohammad Shaheen. It is all of the above and none. What it is—and what it remains—is hallucinatory, enlightening, beautiful in specific sentences, such as:

Poems and twilight have this in common: obscurity mingles with clarity, because a hidden pit emits its rays in shafts of light and in words, and consequently deprives darkness of the eternity of adjectives.

Or in longer sections, such as this description of his writing process that plays off the title and the previous sentence a good 25 pages before:

You marvel at how the water and the song are united; the voice of water is rhythm. Perhaps music is the organisation of drops of water in a spirit which becomes clear in the hands of one who plays on instruments made out of watery, emotional material. […] …and you proceed to the hobby which has become a trade, and the trade which has been a hobby. The cup of coffee on the left side of the desk, the box of pens on the right, next to the bottle of black ink; in the middle, the white leaves covered with white writing. You meet them, and they meet you, containing the secret memory of those who have gone before. You alone have nothing determinate, no content, and in vain you try to find your own line in this white throng which stretches between writing and speech. You longer ask, ‘What shall I write?’ but rather, ‘How shall I write?’ You summon a dream, but it flees from form; you beg for a meaning, but the rhythm is uneasy with it. You believe that you have crossed the threshold which divides the horizon from the abyss. You have practised the opening of metaphor to an absence that is present, to a presence that is absent, a spontaneity that seems obedient. You know that meaning in poetry is made up of the meaning in the movement of meaning in a rhythm in which prose aspires to the citizenship of poetry and in which poetry aspires to the aristocracy of prose. ‘Take me to features of the river that I do not know, take me.’

Take us all.

I should also mention that I read this book a while back, but the impulse came from the Brazilian poetry blog, Modo de Usar, where a Portuguese translation of one of Darwish’s poems appeared my Facebook feed yesterday.

Mahmoud Darwish, Absent Presence (translated by Mohammad Shaheen), Hesperus Press, 2010

Hamid Ismailov and the “Reality Novel”

By Rob Packer

The new novel by Hamid Ismailov

The new novel by Hamid Ismailov

“A Reality Novel” is a bold subtitle for any novel: the very act of writing slices up reality in a particular way, creating lacunae and juxtapositions. It’s an especially bold claim with political subject matter or somewhere relatively unknown, such as Central Asia. In the three months I lived in Kyrgyzstan, it seemed that half the facts were half-false, all lies contained a grain of truth and reality, if it existed, was somewhere in between.

For English-speakers, one of the best people to make sense of the conflicting and interlocking narratives of Central Asia, it’s probably Hamid Ismailov, Uzbek journalist, poet-novelist, BBC World Service Writer in Residence and head of the Central Asia service. In September, Glagoslav—a new publisher of literature in Russian, Ukrainian and Belarusian—published his 2005 novel, A Poet and Bin-Laden.

Personally, the title feels a little sensationalist (the original Russian means ‘the road to death is greater than death’) and even misleading in a literary world where the Taliban write poetry.

The novel tells the story of Belgi, an internationally-renowned Uzbek poet with an American girlfriend, who leaves Uzbekistan after his brother is murdered by the police. He is delivered to and joins the Islamic Movement of Uzbekistan in the mountains of Tajikistan; and he is later sent to the Taliban’s Afghanistan to make a (propaganda?) film about Uzbek refugees, where he does briefly encounter Bin-Laden, before being found by American troops in 2001.

Read more of this post

Teju Cole’s “Open City”

By Rob Packer

Open City by Teju Cole

Last month, I attended a joint reading by Jeet Thayil and Teju Cole at the Edinburgh International Book Festival. It was a stellar pairing between two debut novels and the two cities depicted in them: Mumbai in Thayil’s Narcopolis (2012) and New York in Cole’s Open City (2011). Over the following day and a half I was in Edinburgh, my friend, her sister and I kept coming back t othe reading as we evaluated and re-evaluated our festival highlights. We all had lots, but we were all agreed that Cole and Thayil came high in any list of favourites.

Open City is the monologue of Julius, as he goes on walks through the streets of New York, cataloguing meticulously what he sees and thinks and interleaving it with memories of his childhood in Nigeria. These walks are not just the narrative: Cole captures it in the flow of narrative form as well. The stream-of-consciousness prose reflects the contingent fluidity that an aimless walk around Manhattan actually produces. On a good day (like last weekend) it’s a sublime experience, where thesis, antithesis and synthesis pile up unexpectedly one on top of another in the world’s most impression-dense city. In an article for the FT, Cole described composing an article as “writing as diving”: Open City works as “reading as diving”—so much so, that I read most of the book on one transatlantic flight. Read more of this post

Rain by Don Paterson

By Rob Packer

At first glance it seems the perfect opening metaphor: a poem about two trees lashed together, their branches intertwining over time and eventual separation so that:

each strained on its shackled root to face
the other’s empty, intricate embrace.

But Don Paterson’s 2009 collection, Rain (his latest), also begins by prohibiting interpretation and the poem concludes:

They were trees, and trees don’t weep or ache or shout.
And trees are all this poem is about.

Don Paterson’s Rain

Over-interpretation is something all poetry readers dabble in every now and again—sometimes it really is irresistible—but in an extreme and simple example, I heard Palestinian poet, Mahmoud Darwish, say in this podcast that his mother is often interpreted as Palestine: he really is writing about his mother. For good measure, Paterson closes the collection with “and none of this, none of this matters”.

Ultimately this means you can concentrate on Paterson’s fantastic use of language that often rumbles along unobtrusively in subtly rhymed and effortless metre and end up leading you into a trap. Domesticity often hides something dark or unnerving, referenced obliquely and unexplained: a child tied up like some Frankenstein creation or a son’s hand that shakes because “one inch from home, we couldn’t get the air to him”. Paterson’s genius lies in the way he makes the unsaid say more than the said and he does this best in the opening to ‘The Story of the Blue Flower’:

My boy was miles away, yes, I admit it,
but the place was empty, my lines of sight were good
and besides, such things were unknown in this town –

Even without any details, these is a hidden menace below the surface: which “lines of sight”? Maybe he has a gun? And what things are “unknown in this town”? We assume the worst, but still aren’t sure. This menace reminded me of the Spanish theatre genre* of the esperpento, Valle-Inclán’s theatre of the grotesque, where language is colloquial and reality is deformed by the grotesque.

Rain is fascinating for its effortlessness, simplicity and often-grotesque imagery, but also for its varied poetic forms and influences that come from far and wide. There is a sequence of adaptations of poets like Li Po, Antonio Machado or Robert Desnos and a fantastic poetic description of Zurbarán’s masterpiece of dark and shadow, St Francis in Meditation (a personal National Gallery favourite). There is the strangely wonderful ‘Song for Natalia “Tusja” Beridze’, a poem about a musical internet obsession with a Georgian electronic musician, where I just enjoyed finding out just what Paterson is going to use as a rhyme (struggling/Googling, virusy/piracy and maxxing/taxing are particular gems). But some of the most entertaining verse comes in a 35-poem renku sequence**, where some made me laugh out loud and others are simple at first glance but incredibly deep: it’s impossible to choose favourites, but here’s one of the most bizarre ones:

Aha! The zip
for that idiot-suit.
And inside? Zip!

Don Paterson, Rain, Faber & Faber 2009


* Admittedly not one I know well, though.

** If you think of renku as a sequence of haikus, you get the right kind of idea.

White Egrets by Derek Walcott

By Rob Packer

It doesn’t happen too often that I pull out a book of poetry in Waterloo Station to read a few lines to a friend. She and I were each heading back home from a rather literary lunch; I opened the book (almost) at random and read:

If all these words were different-coloured pebbles,
with little pools that the blue heron might drink from,
a mosaic sheeted and glazed by the vanishing bubbles
of the shallows, and bannered waves marching to the sea’s drum,
if they were more than black marks on white paper,
and sounds that our eyes make upon their meeting,
they would all be yours …

We then had to break off and run for our trains, but these lines remain some of my favourite of White Egrets, the 2010 collection by St Lucian poet, Derek Walcott (1930–). They’re also characteristic of a collection that creates potent image after potent image in the reader’s mind and weaves together motifs that echo, develop and interact through the collection: it feels as much a poetic sequence as a collection.

The “bannered waves” of the sea are a constant presence throughout White Egrets. The sea creates comparisons of “huge trees tossing at the edge of the lawn like a heaving sea without crests” and is described in countless ways, whether “a bosoming wave unbuttons her white bodice” or the reader being invited to:

Watch how spray will burst
like a cat scrambling up the side of a wall,
gripping, sliding, surrendering; how, at first,
its claws hook then slip with a quickening fall
to the lace-rocked foam.

A white egret (Source: JJ Harrison, Wikimedia Commons)

The sea also recalls the Caribbean’s history: it stretches off to Africa and Europe (Sicily and Andalucía feature particularly strongly). It clearly references the triangular slave trade, which resulted in the syncretic Caribbean culture and I found Walcott’s linking of Syracuse in Sicily with St Lucia fascinating. As well as both being islands, where “the sea was the same except for its history”, they share the same patron saint.

The “blue heron” of the extract I read in Waterloo also makes a visual allusion to the book’s most fluid motif: the white egrets of the title (egrets are a type of heron and look very similar). They are both beauty and terror; they are immortality, death, anonymity, human transience and nature’s permanence; they are rhymed visually with sails, with regrets, with poems, letters, clouds and sea waves breaking.

Every time the white egret reappears, it adds a new and contradictory shade of meaning. Right now, I imagine them as metaphors for the creative process: the muse’s fleeting ideas that arrive—and disappear—without warning. In an hour, I might imagine them as Walcott’s drive “to paint and write well in what could be my last year”. Tomorrow, I may think that they defy interpretation completely. But it’s these connections and contradictions between the book’s imagery and motifs that are really what add so much to its richness and make it such a joy to read and re-read.

Derek Walcott, White Egrets, Faber & Faber 2010

%d bloggers like this: