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On Poetry and Culture Shock

Other people\'s poetry

Forty five (a death haiku)

The news today said that the 45th husband or partner has killed the 45th woman victim so far this year in Spain. This means an average of one murder every 4.6 days. Instead of posting a poem or rant about the murderers, as I have done other times, here you have a death haiku from the master of death haikus: Masaoka Shiki. In honour of the victims, peace be with them wherever they are. 

The last autumn
I will eat  persimmons.
Foreboding.

^^^^^^^^^^^^^^^^^^^^^^

Hoy han dicho las noticias que el marido o pareja número 45 ha asesinado a la esposa o pareja número 45 en lo que va de año. Esto supone una media de un asesinato cada 4.6 días. En lugar de poner aquí algo sobre los asesinos como he hecho otras veces, aquí tenéis un haiku de muerte del maestro de los haikus de muere: Masaoka Shiki. En honor a las víctimas, que en paz estén donde quiera que hayan ido. 

El último otoño
en que comeré caquis.
Presentimiento.  

 

 

 

Bukowski 2

I once mentioned here that my second-hand Bukowski's Play the Piano Drunk Like a Percussion Instrument Until the Fingers Begin to Bleed a Bit was missing a page. Someone sent me the poem, so here it is. I like it because I think it is about lack of communication, and also a very philosophical matter put in very Bukowskian terms: what's more important and urgent, an emotional (spiritual, mental) problem, or a material one?  

I am dying of sadness and alcohol
he said to me over the bottle
on a soft Thursday afternoon
in an old hotel room by the train depot.

I have, he went on, betrayed myself with
belief, delude myself with love
tricked myself with sex.

the bottle is damned faithful, he said,
the bottle will not lie.

meat is cut as roses are cut
men die as dogs die
love dies as dogs die,
he said.

listen, Ronny, I said,
lend me 5 dollars.

love needs too much help, he said.
hate takes care of itself.

just 5 dollars, Ronny.

Hate contains truth. beauty is a facade.

I'll pay you back in a week.

stick with the thorn
stick with the bottle
stick with the voices of old men in hotel rooms.

I aint's had a decent meal, Ronny, for a couple of days.

stick with the laughter and horror of death.
keep the butterfat out.
get lean, get ready.

Something in my gut, Ronny, I'll be able
to face it.

To die along and ready and unsurprised,
that's the trick.

Ronny, listen--

that majestic weeping you hear
will not be for
us.

I suppose not, Ronny.

The lies of centuries, the lies of love,
the lies of Socrates and Blake and Christ
will be your bedmates and tombstones
in a death that will never end.

Ronny, my poems came back from the
New York Quarterly.

That is why they weep,
without knowing.

Is that what all that noise is, I said,
my god shit.

^^^^^^^^^^

Conté una vez que me había comprado un libro de Bukowski,  de segunda mano, y no me di cuenta hasta que llegué a mi casa de que le faltaba una página, y que en el índice, alguien había escrito a lápiz "se lo di a Steve Daniels la víspera de irse a Bulgaria en el Ritz. Agosto 1995. El poema es imposible de encontrar por google (bueno, hasta ahora) y finalmente alguien que tenía el libro entero me lo mandó por email. Me gusta porque creo que trata sobre la incomunicación. Y además, ¿qué problemas son más graves, los espirituales o los materiales? 

Me muero de tristeza y alcohol,
Me dijo agarrado a la botella
En una suave tarde de jueves
En una vieja habitación de hotel
Junto al cementerio de trenes.

Me he, siguió, traicionado a mí mismo con
Creencias, me he engañado con amor,
Me he estafado con sexo.

La botella es sincera de cojones, dijo,
La botella no miente.

Se corta carne como el que corta rosas
Los hombres mueren igual que los perros
El amor muere como un perro,
Dijo.

Oye, Ronny, dije yo,
préstame cinco dólares.

El amor necesita demasiada ayuda, dijo.
El odio se las apaña solo.

Sólo cinco dólares, Ronny.

El odio contiene la verdad. La belleza es una fachada.

Te los devuelvo en una semana.

Hazle caso a la espina.
Hazle caso a la botella.
Hazles caso a las voces de viejos en habitaciones de hotel.

No he comido nada en dos días, Ronny.

Quédate con la risa y el horror a la muerte.
No comas grasas.
Adelgaza, prepárate.

Con que coma algo, Ronny, podré
enfrentarme a esto.

Morir estando preparado, que no te coja de sorpresa,
Ahí está el truco.

Ronny, escucha...

Ese llanto majestuoso que oyes
No es por
Nosotros.

Supongo que no, Ronny.

Las mentiras de siglos, las mentiras de amor,
Las mentiras de Sócrates y Blake y Cristo
Serán tus compañeras de cama y lápidas
En una muerte sin final.

Ronny, me han devuelto los poemas
Que mandé al New York Quarterly.

Por eso lloran,
Sin saberlo.

Por eso hay tanto ruido, dije,
Dios mío, mierda.

Does feeling equal suffering?

Raven says that watching me suffer is great fun. I know he means well and wants the best for me. But sometimes we don't want just to "stop suffering": we want to feel nothing at all. Just like Ruben Darío here; I hate most of his poetry, exclusively because of his themes (pretty nice-sounding nonsense: he was a cultural equivalent of Aestheticism), but I have always liked his way with words. And this poem.

Fatality.  

Blessed be the tree, hardly sensitive,
and more so the hard stone, which doesn’t feel at all,
as there’s no greater pain that the pain of living
and no greater sorrow than consciouness.

To be, and not to know, and be aimless,
and the fear of having been and future terror...
And the certain dread of dying tomorrow
and to suffer for life and for shadow and for

What we don’t know and hardly guess at,
and the flesh that gropes with fresh tendrils
and the grave that awaits with funereal flowers
and not to know where we are going
Or where we come from!

^^^^^^^^^^^^^^^^^^^^

Raven dice que verme sufrir es muy divertido. Sé que tiene las mejores intenciones y que quiere lo mejor para mí. Pero a veces, lo que queremos no es dejar de sufrir, sino no sentir nada en absoluto, como nuestro amigo Ruben Darío aquí. Odio casi toda la poesía de Darío, por sus temas más que otra cosa, aunque siempre he admirado su uso tan hábil de las palabras. Y este poema. 

 Lo Fatal.

Dichoso el árbol, que es apenas sensitivo,
y más la piedra dura porque ésa ya no siente,
pues no hay dolor más grande que el dolor de ser vivo
ni mayor pesadumbre que la vida consciente.

Ser, y no saber nada, y ser sin rumbo cierto,
y el temor de haber sido y un futuro terror...
¡Y el espanto seguro de estar mañana muerto,
y sufrir por la vida y por la sombra y por

lo que no conocemos y apenas sospechamos,
y la carne que tienta con sus frescos racimos,
y la tumba que aguarda con sus fúnebres ramos
y no saber adónde vamos,

ni de dónde venimos!...

erotic poetry by e.e.cummings

As I have said before, I adore e. e. cummings. He's probably the poet I've quoted more often in this blog. He's good at death, at description, at love, and here, he's good at being erotic. Seriously, have you ever seen a description go so much to the point at at the same time manage to be original?

i like my body when it is with your
body. It is so quite a new thing.
Muscles better and nerves more.
i like your body. i like what it does,
i like its hows. i like to feel the spine
of your body and its bones, and the trembling
-firm-smooth ness and which i will
again and again and again
kiss, i like kissing this and that of you,
i like, slowly stroking the, shocking fuzz
of your electric fur, and what-is-it comes
over parting flesh . . . . And eyes big Love-crumbs,

and possibly i like the thrill
of under me you quite so new

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

Me encanta e.e. cummings y lo he citado en este blog montones de veces. Se le da bien hablar de la muerte, del amor, de describir cosas raras, y en esta ocasión, se le da bien el erotismo. En serio, ¿como se puede ser tan claro y directo y al mismo tiempo tan original?

me gusta mi cuerpo cuando está con tu
cuerpo. Qué cosa más nueva.

Músculos mejores y nervios más.

me gusta tu cuerpo. me gusta lo que hace,

me gustan sus cómos. me gusta sentir la columna

de tu cuerpo y sus huesos, y el temblor
-firme-suavidad y que voy a
una vez y otra vez y otra vez

besar, me gusta besarte aquí y allá,

me gusta, acariciando suavemente el,
impresionante vello
de tu piel eléctrica,
y eso-qué-es sale
de entre
carne que se separa . . . . Y ojos enormes migas de amor,

y me gusta quizá la sensación

debajo de mí tú qué nueva.

A case of you by Joni Mitchell

A case of you

Just before our love got lost you said
I am as constant as a northern star
And I said, constant in the darkness
Wheres that at?
If you want me Ill be in the bar

On the back of a cartoon coaster
In the blue tv screen light
I drew a map of canada
Oh canada
And your face sketched on it twice

Oh you are in my blood like holy wine
Oh and you taste so bitter but you taste so sweet
Oh I could drink a case of you
I could drink a case of you darling
And I would still be on my feet
Oh Id still be on my feet

Oh I am a lonely painter
I live in a box of paints
Im frightened by the devil
And Im drawn to those ones that aint afraid
I remember that time that you told me, you said
Love is touching souls
Surely you touched mine
Cause part of you pours out of me
In these lines from time to time

Oh you are in my blood like holy wine
And you taste so bitter but you taste so sweet
Oh I could drink a case of you
I could drink a case of you darling
Still Id be on my feet
And still be on my feet

I met a woman
She had a mouth like yours
She knew your life
She knew your devils and your deeds
And she said
Color go to him, stay with him if you can
Oh but be prepared to bleed
Oh but you are in my blood youre my holy wine
Oh and you taste so bitter, bitter and so sweet
Oh I could drink a case of you darling
Still Id be on my feet
Id still be on my feet

^^^^^^^^^^^^^^^^ 

No he podido resistir la tentación de incorporar un par de cambios, unos para que suene algo más natural y otros porque me ha dado la gana.  

Una caja entera de ti.

Justo antes de que nuestro amor se perdiera, me dijiste: "soy constante, como la Estrella Polar". y yo dije: "Pues vaya, eres constante sólo en la oscuridad. Si quieres algo, estoy en el bar". En la parte de atrás de un pisapapeles de cartón, bajo la luz azul de la tele, dibujé un mapa de Escocia. Ay, Escocia. Y encima dibujé tu cara dos veces. Ay, si es que te llevo en la sangre, como vino consagrado, y eres tan amargo, pero ay qué dulce eres. Me podría beber una caja entera de botellas llenas de ti y seguiría en pie.

Soy una bailarina solitaria, vivo en el ordenador que guarda mis mp3, me asusta el diablo y me atrae la gente que no tiene miedo. Me acuerdo de aquella vez que me dijiste: "el amor son almas que se tocan", y vaya si tocaste la mía, porque parte de ti sale de mí en estas líneas que escribo de vez en cuando.

Conocí a una mujer que tenía una boca igualita que la tuya. Conocía tu vida, tus desastres y tus hazañas, y me dijo: "Ve a por él y quédate con él si es que puedes, pero tendrás que estar dispuesta a sangrar". Pero si es que te llevo en la sangre, como vino consagrado, y eres tan amargo, pero ay qué dulce eres. Me podría beber una caja entera de botellas llenas de ti y seguiría en pie.

World Press Photo

World Press Photo

This photo was taken by Yannis Kontos, and it's one of this year's World Press Photo winners. This boy and his father are in Sierra Leone.

They say an image is worth a thousand words, but most pictures in the World Press photo site need a caption to be understood, or at least to stand out among so many photos with many similar images.

^^^^^^^^^^^^^^^^^^^^^^^^^^

Esta foto la tomó Yannis Kontos y es ona de las ganadoras del World Press Photo de este año. El niño y su padre están en Sierra Leona.

Se dice que una imagen vale más que mil palabras, pero casi todas las fotos de esa página web necesitan un pie de página para entenderlas, o al menos para llamar la atención entre tantas fotos parecidas.

 

Happy Bloomsday, everyone!

James Joyce's Ulysses happens all in one day. Many people know that. The day is June 16th, 1904, because that was the day that Joyce and Nora Barnacle had their first date, or second, it depends on who tells you the story. It was the day they decided to get married. That's a love letter: a whole novel dedicated to that love declaration.

This is the end of Ulysses. The stream of consciousness of the protagonist's wife, Molly Bloom. It is hard to decide whether the man she talks about was an old boyfriend of hers, long before she got married, or her husband. I painted all this in a T-shirt, spiralling aorund me, and I'm definitely going to wear it today. 

... and the glorious sunsets and the figtrees in the Alameda gardens yes and all the queer little streets and the pink and blue and yellow houses and the rosegardens and the jessamine and geraniums and cactuses and Gibraltar as a girl where I was a Flower of the mountain yes when I put the rose in my hair like the Andalusian girls used or shall I wear a red yes and how he kissed me under the Moorish wall and I thought well as well him as another and then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will Yes.

^^^^^^^^^^^^^^^^^^^^

Ulises de James Joyce sucede todo en un día. Mucha gente sabe eso. El día es el 16 de Junio de 1904, porque ese fue el día que el autor y Nora Barnacle quedaron por primera vez, o por segunda, depende de quién te lo cuente. Fue el día en que decidieron casarse. Vaya carta de amor, y lo demás es tontería. 

Este es el final del libro. Son los pensamientos de la mujer del protagonista, Molly Bloom. Es difícil saber si el hombre del que habla aquí es un ex-novio suyo, de mucho antes de que se casara,o su marido. PInté estas líneas en una camiseta que pienso ponerme hoy.

...y las puestas de sol gloriosas y las higueras en los jardines de la Alameda sí y todas las callejuelas curiosas y las casas rosas y azules y amarillas y los jardinesconrosales y el jazmín y geranios y cactus y Gibraltar de joven cuando yo era una Flor de la montaña sí cuando me puse una rosa en el pelo como hacían las chicas andaluzas o me pongo una roja sí y cómo me besó al pie de la muralla mora y pensé bueno lo mismo da él que cualquier otro y entonces le pedí con los ojos que me lo pidiera otra vez sí y entonces me lo pidió si quería sí decir sí mi flor de la montaña y primero lo abracé sí y lo acerqué a mí para que udiera sentir mis pechos todo perfume sí y su corazón iba como loco y sí dije sí lo haré Sí. 

it's raining

I couldn't sleep much last night because I was afraid of the storm. The sky is still grey. We badly needed the rain in this corner of the world, and I hope it keeps raining.

I can't take this song off my mind. The original is in Spanish, by Javier Ruibal. I don't think it sounds sexy at all when it's written down, but the song is very, very sexy.

Summer storm,  that's what they call you,
my friends, my fears and my women.
And I tell them
that I'll still with you come next winter,
I'll stay with you, my love,
I'll stay with you. 

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

Anoche con la tormenta no pude dormir. El cielo aún está gris oscuro, y ojalá llueva más, que falta nos hace.

No puedo quitarme de la cabeza esta canción de Javier Ruibal. Escrita no suena igual de bien, para nada (normal: las bulerías no están pensadas para ser escritas). Es una canción muy sexy, como casi todas las suyas. 

Tormenta de verano, dicen que eres, dicen que eres,
Mis amigos, mis miedos y mis mujeres.
Y yo les digo
que el invierno que viene
yo estaré contigo,
yo estaré contigo, prima,
yo estaré contigo.

 

Seamus Heaney

I have recently written about the difficulties and dangers of rhyme. This lovely little poem by Seamus Heaney, who is wonderful, but rarely lovely and not at all little, amazes me because it manages to make easy rhymes (-ing, "me" and "be") and still sound natural. I don't know why, but I think this message couldn't work unrhymed.

Scaffolding.

Masons, when they start upon a building,
Are careful to test out the scaffolding:

Make sure that planks won’t slip at busy points,
Secure all ladders, tighten bolted joints

And yet all this comes down when the job’s done,
showing off walls of sure and solid stone.

So if, my dear, there sometimes seem to be
old bridges breaking between you and me,

Never fear. We may let the scaffolds fall,
Confident that we have built our wall.

^^^^^^^^^^

Acabo de soltar una de mis diatribas sobre los peligros y defectos de la rima. Aquí tenéis otro poema rimado, esta cosita pequeña y tierna de Seamus Heany, un fabuloso poeta que casi nunca es tierno ni poquita cosa. Se las apaña para hacer las rimas más facilonas y aún así sonar natural. No sé por qué, pero creo que el mensaje de este poema no podría funcionar si no rimara.

Andamios.

En una obra, los albañiles al principio
miman los andamios del futuro edificio.

Clavan y fijan tornillos y barras,
aprietan y montan las tuercas y amarras.

No importa que al final quitemos todo eso,
queremos ver los muros de ladrillo y yeso.

Por eso, mi vida, si a veces sientes
que rompo las cuerdas que hacia mí tiendes

No te asustes. Cae el andamio, solamente.
Para que tranquila, cruces el puente.

El rayo que no cesa

I can't help remembering something that Raven said once in his blog, but he said it in Spanish so I have to summaise for you; basically, that we're spoiled little brats, that we love to prented being victims, especially in public, and that what we called depression is actually deadly boredom. Maybe it is so.

Some days, some poets would rather not leave the house. Actually they'd rather not leave their beds. Some days a poet feels she finds fault in the light and the air. Those days a poet can either struggle against the flood (don't give in without a fight, in the wise words of Pink Floyd) or wallow in the feeling. Whatever the poet's wishes are, some things must be done even though the poet would like to stay at home and weep for no particular reason. After facing the real world for a few hours, the poet goes home and finds comfort in some other poet's metaphors for the same feeling. Please excuse the lousy translation.

Will this ray within me ever stop
plaguing my heart with desperate beasts
and with raving iron forges
in which the freshest metal could wither?

Will this stubborn stalactite ever stop
cultivating its hard tangles
towards my crying, screaming heart?

This ray, neverending, never tired,
takes from me its origin
takes in me its furor.

This stubborn stone born from me
on me releases the insistence
of its destroying, rainy rays.

^^^^^^^^^^^^^^^^^^^^^^^^^^

No puedo evitar recordar una cosa que dijo Raven en su blog hace poco: estamos todos malcriados, nos encanta hacernos las víctimas, sobre todo en público, y lo que llamamos depresión es en verdad aburrimiento. Puede que tuviera razón.

Algunos días, algunos poetas quisieran no tener que salir de casa. De hecho, quisieran no salir de la cama. Algunos días, algunos poetas podrían sacarle defectos al aire y la luz. Esos días se puede elegir entre luchar contra la corriente (no te rindas sin haber luchado, decían las sabias palabras de Pink Floyd), o bucear en ese sentimiento. Da igual lo que quiera el poeta en cuestión, hay cosas que uno tiene que ir y hacerlas aunque más quisiéramos echarnos a llorar sin ningún motivo. Después de enfrentarnos al mundo real algunas horas, la poetisa se ha ganado el derecho a volver a casa y ponerse cómoda en la compañía de las metáforas que otro hizo sobre el mismo tema.

¿No cesará este rayo que me habita
el corazón de exasperadas fieras
y de fraguas coléricas y herreras
donde el metal más fresco se marchita?

¿No cesará esta terca estalactita
de cultivar sus duras cabelleras
como espadas y rígidas hogueras
hacia mi corazón que muge y grita?

Este rayo ni cesa ni se agota:
de mí mismo tomó su procedencia
y ejercita en mí mismo sus furores.

Esta obstinada piedra de mí brota
y sobre mí dirige la insistencia
de sus lluviosos rayos destructores.

The poetry of the Universe

I'm sorry if it sounds like a cliché, but I have to say it. The Universe makes poetry that no words can surpass. See, today I have learnt what dark matter is. 

The 22% of the Universe mass is composed of matter that pretends not to be there. It is not detectable in any way. What we do detect is that it has gravity because it attracts barionic matter, also known to non-cosmologists as "stuff". "Real solid stuff" makes a a mere 1 to 4 per cent of the Universe's mass. The remaining 73% is dark energy, which is a concept that you can understand if you read the article in wikipedia but that I can't summarise. 

Wow. Think about it. Matter that doesn't give out any radiations or energy but which is able to attract other matter (in other words, to affect it). It's lyrical. 

^^^^^^^^^^^^^^^^^^^^^^^^^^^^

Lo siento si esto suena demasiado topicazo, pero tengo que decirlo. El Universo compone poesía que las palabras no pueden superar. Hoy he aprendido lo que es la materia oscura gracias a este blog.

El 22% por ciento del universo está compuesto de materia que parece que no está ahí. No se puede detectar de ninguna forma. Lo que sí se puede detectar es que tiene gravedad porque atrae a la masa bariónica, más conocida como "cosas" por los que no somos cosmólogos. Las cosas sólidas y normales (tú, yo, Alpha Centauri) apenas es entre un 1 y un 4 por ciento de la masa total del universo. El 73% que queda es energía oscura, un concepto que es más fácil de entender que si no os habéis quedado dormidos todavía, os recomiendo el artículo de la wikipedia. 

Qué barbaridad, la materia oscura. Materia que no emite energía pero es capaz de atraer a otras materias (en otras palabras, de afectarla). Es lírico. 

 

Brutally honest. And rhymed too.

The whole point of hip-hop is rhyme for its own sake. The risks of this are the rape of syntax and the abandonment of content. I like Spanish hip-hop when it's good and I hate it when it's mediocre or simply bad. For example, rhymes involving grammatical endings, or swearwords. This little bit below is the ending of a song from the latest album from my favourite rapper. "Mentiras", "Lies", is that rare thing: a Spanish hip-hop song which holds the same topic from beginning to end without ever adding a line exclusively for the sake of rhyme.

I don't have any change on me,
buy this for me and I'll pay you back next time,
I swear it's a second, I'll check email and log out,
It's going to take just a moment,
I promise this time it's true,
we'll talk things over tomorrow and sort things out,
lies in every colour and shape,
specialists,
artists,
we're taken in, we repeat them and we know,
we're trapped,
and even when we know we never will, we say "I'll call you one of these days ".

^^^^^^^^^^^^^^ 

Sinceridad brutal, y encima, rimada.  

Toda la razón de ser del rap es la rima por amor a sí misma. El risgo de esto es descuartizar la sintaxis y exterminar el contenido. Me gusta el rap en español cuando es bueno y no lo soporto cuando me parece mediocre o simplemente malo. por ejemplo, cuando las canciones no son acerca de ningún tema sino puro encademiento de rima sin sentido, o cuando se riman participios. Este cachito de aquí es el final de una canción del último CD de mi rapero favorito. "Mentiras" es ese raro hallazgo del rap español: una canción que sí habla sobre un tema, y además de principio al fin sin que sobre ni una sola línea metida sólo para meter rimas. En general el disco entero es formalmente tan perfecto como este fragmentito, pero me ha llamado especialmente la atención.

No llevo suelto encima, anda págame tú esto,
te lo juro sólo veo si tengo correo y me desconecto,
un rato más y nos vamos,
te prometo que esta vez es verdad,
mañana quedamos pa hablar y lo dejamos,
mentiras de to los colores,
especialistas,
artistas,
algunos las llaman faroles,
caemos, repetimos, y lo sabemos,
estamos presos,
y aunque sepamos que no, decimos: "ya nos llamamos si eso."

The best haiku in the English language

The best haiku in the English language

No, not really. It's probably not the best one. It doesn't scan: instead of 5-7-5 it's 10-7, or rather, 11-7 (even 12-7 if we consider that apparition has four syllables). Yes, it's a two-line haiku. It cheats because you absolutely need the title to understand what the poem is about, and haikus are not supposed to have a title. But it is one of the earliest, if not the earliest one, and it was the lighthouse that guided me safely when I first started writing poetry. My first haikus were either 10-7 or 5-5-7 rather than the correct, Japanese 5-7-5 because Ezra Pound made me think that he knew better than a few centuries of Japanese tradition.

By the way, is it just me or is Gary Oldman his secret son? Don't they look identical?

In a Station of the Metro.

The apparition of those faces in the crowd;
Petals on a wet, black bough.

^^^^^^^^^^^^^^^^^^^^^^

El mejor haiku de la lengua inglesa? Bueno, no del todo, posiblemente no. Para empezar la cuenta silábica es incorrecta: en lugar de 5-7-5 es 10-7, o más bien 12-7. Un haiku de dos versos. Además hace trampa porque el título es necesario para entender el poema y se supone que un haiku no necesita título. Pero es uno de los primeros, si no el primer haiku en lengua inglesa, y fue el faro que me llevó a buen puerto cuando empecé a componer. Mis primeros haikus eran 10-7 o 5-5-7 en lugar de la forma correcta japonesa 5-7-5 porque Ezra Pound me convenció de que él sabía lo que se estaba haciendo mejor que unos cuantos siglos de tradición japonesa. A su estilo me sonaba mejor.

Por cierto, ¿Gary Oldman es su hijo secreto, o es casualidad que se le pareca tanto?

En una estación de Metro.

La aparición de esos rostros en la multitud;
pétalos en negra rama húmeda.

Blues with a soul disguise

I adore this song. It's probably because I'm not a big fan of blues as music but I do like it as a poetic form; on the other hand, I love soul music. And thematically, this feels like Blues but, oh, it sounds a lot like soul. In Spain, it has been spolied by overuse in commercials. The whole song rotates around the line "I've had nothing to live for", which I find very difficult to translate literally. 

Sittin' in the mornin' sun
I'll be sittin' when the evenin' come
Watching the ships roll in
And then I watch 'em roll away again, yeah

'm sittin' on the dock of the bay
Watching the tide roll away
Ooo, I'm just sittin' on the dock of the bay
Wastin' time

I left my home in Georgia
Headed for the 'Frisco bay
'Cause I've had nothing to live for
And look like nothin's gonna come my way

So I'm just gonna sit on the dock of the bay
Watching the tide roll away
Ooo, I'm sittin' on the dock of the bay
Wastin' time

Look like nothing's gonna change
Everything still remains the same
I can't do what ten people tell me to do
So I guess I'll remain the same, yes
Sittin' here resting my bones
And this loneliness won't leave me alone
It's two thousand miles I roamed
Just to make this dock my home

Now, I'm just gonna sit at the dock of the bay
Watching the tide roll away
Oooo-wee, sittin' on the dock of the bay
Wastin' time.

Sentado en el muelle de la bahía.

Sentado por la mañana,
seguiré aquí sentado cuando anochezca.
Viendo entrar a los barcos
y viendo cómo salen otra vez.

Estoy sentado en el muelle de la Bahía,
viendo cómo baja la marea.
Sentado en el muelle de la Bahía
perdiendo el tiempo.

Dejé mi hogar en Georgia
por la Bahía de San Francisco,
porque no tenía nada por lo que vivir
y me parece que a mí no me pasa nunca nada.

Parece que nada cambie
Todo sigue igual
No puedo hacer lo que me digan diez personas diferentes
así que creo que voy a seguir igual, sí.

Sentado aquí descansando
y esta soledad no va a dejarme tranquilo
He viajado tres mil kilómetros
para venirme a vivir a este muelle.

Me voy a quedar en el muelle de la Bahía
a ver bajar la marea
Sentado en el muelle de la Bahía
perdiendo el tiempo.

 

The long tail

I have heard Zifra and others talk about "the long tail", meaning "the thousands of blogs very few people read", and of ways to allow very small bloggers find more readers. I'm one of those very small bloggers, on a double basis: there's the oriental dance blog, and there's this one, although the dance one is about three times bigger than this one (in links and in traffic). It's only natural: the only blog about belly dance in the Spanish-speaking world should have more readers than yet another "artistic musings" one, in English. Even so, I still think the subtitle in this blog is still valid. The blogosphere, la blogocosa, does need haikus as much as it needs rants on Bill Gates. This would be a sad and grey place if everyone spoke about the same things. We need as many highly specialised blogs as we can find. And if they're arty, so much the better. 

From now on I'm going to try to link to other blogs more often. Preferably small and arty. Under the "other people's poetry" category, of course, which I have always taken to mean "other people's art". After all, poetry comes from a work that means "to make". 

Yesterday I discovered an artist who, as far as I know, doesn't have a blog, but she should. Lyr uses Flickr as a gallery for her gorgeous photos. Start from the self-portrait gallery, and if you leave a comment, say hello from Nia. 

Happy birthday, Bono

Phew, talk about a sense of loss. Today is the birthday of one of the heroes of my adolescence, Bono, the U2 singer. The thing is, I had a very late adolescence. U2 appeared when I was three years-old. They started to be very good when I was about ten. I would have loved them had someone introduced them to me, but since my musical tastes were dictated by my father and TV, and none of them was a U2 fan, I didn't even knew they existed. What with one thing and another, I survived for 17 years or so without U2. I became obsessed with them in the way only people in their early teens should be allowed to, and somewhere between me overcoming my crush on three of the band members, and Bono losing his voice (some time near his 40th birthday he woke up sounding as if he had a cold and it hasn't improved ever since), and the band losing track of why there were good in the first place, it's not that I don't like them any more, but that I don't like anything they've done in ten years. I do listen to the old songs. 

Probably the most significant thing I can say is that as I take a look to an online discography, I can't find a song, that I really feel like posting here as if it was poetry. Most of them don't work when read, they suffer from the "brilliant-line-lost-in-mediocre-song" syndrome, and all the best lines are overused. As I read I find the lyrics of a song I didn't like very much, back then. Now that I read the lyrics they seem to be spoken by one of those very cruel lovers that get tired of you but don't say so, leaving you waiting for a reassurance or a break-up that never come. Enjoy.  

Haven't seen you in quite a while
I was down the hall, just passing time.
Last time we met it was a low-lit room
We were as close together as a bride and groom.
We ate the food, we drank the wine
Everybody having a good time except you.
You were talking about the end of the world.

I took the money, I spiked your drink
You miss too much these days if you stop to think.
You led me on with those innocent eyes
And you know I love the element of surprise.
In the garden I was playing the tart
I kissed your lips and broke your heart.
You, you were acting like it was the end of the world.

In my dream, I was drowning my sorrows
But my sorrows they'd learned to swim
Surrounding me, going down on me
Spilling over the brim
Waves of regret and waves of joy.
I reached out for the one I tried to destroy.
You, you said you'd wait till the end of the world.

 

And that's a beginning

Uruguayan poet Mario Benedetti occasionally includes aphorisms among the poems in his books. Since he coms from a country that suffered a coup d’état and subsequent miliary dictatorship, quite a few of his works are on torture. I remember reading this as a teenager:

Un torturador no se redime suicidándose. Pero algo es algo.

A torturer cannot redeem himself through suicide. But it’s a beginning.

I remember that little epigram, if you can call it such, every time the news say that another bastard has killed himself, or tried to, after killing a woman that used to love him. 28 dead women in Spain so far in 2006. That’s an average of one every four days and twelve hours. Half the aggressors attempted suicide. Four have succeeded, one of them last night. I’m sorry I can’t direct you to a link. Blind rage is a lot faster than Google.

Back catalogue

One of the saddest characteristics of modern literature is that we are always in search of novelty and trends, turning books into a commodity very similar to fashion. I don't refer just to best-sellers: books are allowed a very brief time on bookshop's shelves, especially in big chain stores.

I'm happy to see that one huge chain store is doing something about it. Waterstones is adapting its best-of, the-house-recommends, three-for-two method to the interests of readers and publishing houses, because they have selected 30 little-know, relatively old books to highlight their back catalogue. The selection was done by asking the company's sellers, and therefore it is unavoidably biased towards books originally in English. Here it is:

1 Revenge Of The Lawn by Richard Brautigan
2 What We Talk About When We Talk About Love by Raymond Carver
3 Death and The Penguin by Andrey Kurkov
4 The Deptford Trilogy by Robertson Davies
5 The Dark Is Rising Sequence by Susan Cooper
6 Christie Malry's Own Double-Entry by BS Johnson
7 Hunger by Knut Hamsun
8 Slaughterhouse 5 by Kurt Vonnegut
9 Dry Bones by Richard Beard
10 Mirror Lake by Thomas Christopher Greene
11 Blackbird House by Alice Hoffman
12 Journey By Moonlight by Antal Szerb
13 Too Loud A Solitude by Bohumil Hrabal
14 Trip To The Stars by Nicholas Christopher
15 Daughter Of The Forest by Juliet Marillier
16 Perdido Street Station by China Mieville
17 Woman On The Edge Of Time by Marge Piercy
18 Ella Minnow Pea by Mark Dunn
19 The Pursuit Of Alice Thrift by Elinor Lipman
20 Drama City by George Pelecanos
21 Wooden Sea by Jonathan Carroll
22 The Stone Carvers by Jane Urquhart
23 Empire Falls by Richard Russo
24 Ridley Walker by Russell Hoban
25 Radetzky March by Joseph Roth
26 Double by José Saramago
27 Don't Look Back by Karin Fossum
28 Mists Of Avalon by Marion Zimmer Bradley
29 Revolutionary Road by Richard Yates

I don't know if these books are good (I have only read one of them), and I don't much like the best-of method. But in my experience, people will buy anything that's recommended in big enough and bright enough lettering, and anything done to publicise books is a good thing.  

 

John Donne

I can’t believe I haven’t written anything about John Donne since I started to blog from this location. A friend of mine has recently discovered him and that's an excuse as good as any other to post this translation.

Like some Spanish writers of Post-Renaissance literature, Donne wrote both love poetry and religious poetry. I prefer his love poetry, although there is a sonnet (ah, the religious sonnet, what a wonderful oxymoron) that compares his heart to a walled city and God to the army that has a siege on it, and faith with the ram that breaks the city walls. Have you seen The Return of the King, the third movie of the Lord of the Rings trilogy? Can you see the leap of imagination needed to imagine that the love of God is like the Orcs and their catapults trying to conquer the city… for the city’s own good? His love poetry can share that same intensity.

John Donne is not well known in Spain; it’s unavoidable, perhaps. His violent metaphors are hard to understand in English, so translation is nightmarish at times. I cannot do John Donne justice, mostly because I have no ability to rhyme, so I’ve made an adaptation into free verse. No rhyme at all is better than bad rhyme. I have picked this poem because it is sentimental, and the same time restrained, so it appeals to me a lot (surprise, surprise). You can read it in English here.

El Funeral.
Vienes a amortajarme. No rompas,
no cuestiones
la pulsera de pelo que corona mi mano.
No toques el misterio,
el signo,
no lo toques.
Es mi alma, un alma externa,
para sustituir la que se ha ido.
Ahora controla mi cuerpo.
Ahora ya tiene un imperio.
Ahora me salvará.

Mi mente ya no existe,
los músculos no han muerto.
Los pelos será nervios
entrelazadamente
pues no en vano crecían en mejor cabeza.
Y me recompondrán.
Eso, si ella no buscaba
dejarme aún más claro su no,
mi dolor encadenado,
los grilletes de pelo de mi amor prisionero.

Qué importa su intención.
Qué más da ella. Enterradlo.
Si me hizo mártir de amor,
cualquiera que lo vea se hará hereje,
idólatra de estas reliquias.
Y si me dio la humildad
para darle el mérito de todo lo que hice,
tendré el coraje.
Nunca la poseí. Algo suyo poseerá mi tumba.

A fairy tale of sorts

Maruja has left this in the comments. Just this once, I'm speechless. Let her words (and my translation) speak for themselves.

Había una vez una preciosidad. Sus ricitos morenos guardaban un secreto: cada mechón de su pelo conocía una palabra, y por tanto, su abundante cabellera era toda un diccionario. Ello hacia que fuera dicharachera, y que los demás, lejos de reconocer el poder del verbo, se sintieran abrumados con sus disertaciones. A muchos les daba miedo, y era por ello criticada, pero si alguien se paraba a escuchar despacito quedaba encandilado.

El gran poder de sus pociones con las palabras residia en la creación de maravillosas mezclas, que ella mezclaba de forma pausada, tranquila, poco a poco, ...nunca antes el sudor había sido una joya, pero ella conseguía aunarlos, mecerlos y elevarlos a la categoría de poema:
Ninguna joya más hermosa que el sudor.

Es única en el mundo, un pequeño objeto precioso, eterna luchadora, con una visión tan particular del mundo, y está aún por descubrir por sus seres más cercanos.

Posiblemente una cabellera tan excepcional no deja ver una sonrisa tan dulce, posiblemente no entienden el moldeado de sus rizos, y porque se entrelazan generando figuras únicas y ambiguas, o quizás, sienten vergüenza de no saber expresar los golpes de la vida con notas musicales, y han de usar el verbo. Ninguna música más hermosa que el impacto.

Once upon a time there was a beauty. Her little dark curls kept a secret: each ringlet knew a word, and because of this, her abundant hair was quite a dictionary. That made her talkative, and others, far from recognising the power of the Word, were overwhelmed by her speeches. Many were scared of her, and criticised her for this reason, but if anyone ever stopped to listen, they were enthralled.

The great power of her word potions was in the creation of wonderful mixtures, that she stirred slowly, gently, little by little... never had sweat been a jewel before, but she could put them together, cradle them and lift them to the categpry of poem:
no jewels like beads of sweat.

She's unique, a little, beautiful object, eternal fighter, with such a special worldview, still undiscovered by those closest to her.

It is very likely that such exceptional hair doesn't let others notice the sweetest smile, they probably don't understand the shape of her curls, because they entwine creating ambiguous, unique patterns, or maybe, they are ashamed because they cannot express life's troubles with musical notation, and must use words.
No music like a body against a mat.