quarta-feira, 8 de agosto de 2007

"When was love ever so lucky" (RA)... novo mundo 23



Rafael Alberti The Return of Love up on the Roof
Translated from the Spanish by Carolyn L. Tipton


I am a man of many rooftops.

The whitest ones are set above the sea,

ready to cast off for the sun,

bearinglike sails their sheets hung out to dry.

Others open onto fields, but one,

though it looks out to mountains, opens only onto love.

It's this roof that returns to me the most.


There love tied back the tendrils of geraniums,

trailed the jasmine and the rose along the rail,

and in the burning night might come undone

in a sudden pouring shower of cooling rain.


Far off, the peaks that bore the weight

of the great stars watched over it.

When was love ever so lucky,

and when, amidst just-sprinkled

petals, possessed

with such force by the blood?


Train whistles floated up. Tremblings

of Chinese lanterns from the fairs, live

music, and the glow of lighted trees; these all

rose up, while comets came cascading down,

filling love's eyes in a flash

of fleeting splendour.


It was the sweetest epoch of my heart.

It all returns to me today, so distant

from where I am now, dreaming on this stump

beside a road that opens onto nothing.


Categories: Spanish, Poetry, Cities, Europe, From 1950 to 2000, Spain, Article, Rafael Alberti, Carolyn L. Tipton (read in: words without borders)

domingo, 5 de agosto de 2007

Herdeira de Marco Polo... novo mundo 22



Se tivesse nascido no tempo do célebre genovês, aquele que foi Mestre do comércio, seria homem, de preferência, e um dos potenciais descendentes masculinos, do célebre chefe das caravanas mais romanescas da História.


Pensando bem, dizia para si própria, um homem deambula por todos os caminhos sem o mínimo dos constrangimentos. Confraterniza com todos os seres do planeta com o à vontade de um Deus. A mulher, fragilizada ou não pela maternidade, não se pode dar ao prazer do nomadismo. Mantém raízes profundas com os seus progenitores, irmãos, filhos, netos, como uma erva daninha encravada nas profundezas da Terra.


Qual dos dois é o maldito e o abençoado, interrogava-se Gilda, olhando a noite cair, através da janela do seu quarto. O céu estrelado em nada contribuía, naquele preciso momento para decifrar o enigma, nem sequer o abandono ou a magnificência, despertadas pela escuridão. Não era dor, não sentia alegria. O ar inodoro inflamava-lhe duramente as narinas como as brasas de uma lareira em chamas. O corpo poderia ser de pedra, mas o coração crescia-lhe como uma bola em permanente expansão.


Tiksey bateu levemente à porta, por duas vezes, chamando-a para descer para o jantar. Pela porta entreaberta conseguia ouvir o fervilhar dos convidados dispersos pelo salão, reunidos para ali celebrar o aniversário do avô paterno, o senhor Moren. Um homem rígido, educado na maior disciplina, de cuja magnanimidade dependia o futuro da sua neta Gilda.

Antes de descer, ainda deu uma nova olhada pela janela, observando ao longe o desfilar dos faróis dos veículos, que, ferozes, circulavam pela via rápida. A longa estrada distava cerca de cinco quilómetros da casa grande, mas a limpidez da noite permitia ainda assim imaginar algumas das aventuras nocturnas dos condutores.


Norton e Gema cantarolavam “Sna juja, Sna juja”… excertos de uma exótica música, de tonalidades asiáticas, passava na rádio, enquanto no seu convertível vermelho cor de cereja, os dois percorriam o caminho em direcção à casa do senhor Moren. Gilda, a irmã mais nova, e o avô eram os únicos indivíduos da festa que conheciam, mas anuíram ao convite para estar presentes na festa.


Talvez conseguissem diminuir a ansiedade de Gilda, que, dentro de dois dias partiria numa viagem sem regresso….Não sabemos onde iria desembocar no final do trajecto.



O senhor Moren, o patriarca da casa, deixara bem claro, que, como qualquer mulher sozinha, e de meia-idade, já não dispunha de muitas alternativas. Ela não era rainha, nem secretária, nem médica, nem casada, nem coisa nenhuma, argumentara o avô. Quando ouvira estas palavras, Gilda fechara os olhos muito.


Sentada num banco do jardim, imaginando-se um jovem, e não a tal mulher de meia-idade, por momentos, ainda acreditou ter o privilégio de ser mais um dos membros da prole, não do senhor Moren


mas de Marco Pólo.

"There is another world parallel to this blunt reality" (CX)...novo mundo 21



Can Xue

Can Xue was born in 1953 and brought up by her somewhat squeamish grandma who also had some strange habits. The unusual life experiences left Can Xue with special characteristics.

Formerly a tailor by trade, Can Xue (whose real name is Deng Xiao-hua) only began writing fiction seriously in 1983. Can Xue (translated as "the dirty snow that refuses to melt") prolifically writes avant-garde short stories, novellas, novels, and critical commentaries on writers who have influenced her Gothic magic, such as Jorge Luis Borges, Franz Kafka, and Dante.

Her first Chinese work was published in 1985 while the English translation of Dialogues in Paradise, Can Xue's first collection of lyrical stories, appeared in 1989, followed by two novellas, Old Floating Cloud in 1991 and The Embroidered Shoes Collection of stories in 1997.



Can Xue's Soul Literature

Can Xue says her literature is soul literature that focuses on the human soul, not the outside superficial world. She has readily admitted to not being very concerned with national or even superficial political problems. Rather, she is interested in the psyche, which has revolutionary implications given China's previous artistic climate of socialist realism. She strongly aligns herself with Kafka and Borges, both of whom are part of the magical realist tradition.

She says she writes with the most feeling in contemporary Chinese literature, as she releases her reason and senses into unconscious writing. "When I write, I always imagine a person behind me, editing my words. This person controls my writing, so I think all of my work is from this conscience. There is always one very abstract person in my head. I battle with myself and the characters in my works."

She emphatically subscribes to the belief that "there is another world parallel to this blunt reality, and this dream world is much bigger and deeper. The soul world is much more important than this realistic world. Chinese people connect to the spirit of the self. Self-realization has been an important concept from ancient times until today."

Rejecting the real world, she expels all outside forces to write of the internal soul world. "I believe if you want to change the world, you have to change your soul first," Can Xue added enthusiastically. Expressing distaste for contemporary American literature, she added, "What I write dances from my heart. The writer fights with the self, but you can't control yourself to write." (read in: words without borders http://www.china.org.cn/english/NM-e/150961.htm)



"I try to imagine what to see" (MW-O)... novo mundo 20



Magnus William-Olsson (Analogia)
Translated from the Swedish by Rika Lesser


This poem could be a face

Not the right one, but the true one. Analogies deal with relationships that hold. It


Speaks. The poem's similarity to the face consists, among other things, in the poet's capacity to see it from inside and struggle to regard it as an outsider. Without


ever entirely succeeding. A mirror might be helpful.

In Pindar's seventh Nemean Ode he compares song to a mirror. Memory's. The face A sounding mirror. The poem. A mirror of sound. Can we call this an analogy?

I try to imagine what you see. How I look when I think of this topos of from inside or outside. To revealis to conceal. To oscillate between things which cannot be made one

As a metaphor for theoretical knowledge transparency is comically opaque, at least with respect to poetry. High clear space. Gaze deeply into the well of the poem, where the moon glitters in the black

water. I saw a long line of antique mirrors in the museum. Archeological goods, a dime a dozen. Burnished metal. Dark inside. But isn't song always transparent? Words never. Yes maybe

it is only when the poem longs for simplicity

that it can actually become like

like a face

From Ögonblicket är för Pindaros ett litet rum i tiden [The Moment for Pindar Is a Small Space in Time] (Stockholm: Wahlström & Widstrand, 2006). Copyright Magnus William-Olsson. Translation copyright 2007 by Rika Lesser. All rights reserved.
Read Magnus William-Olsson’s (Parousía) Categories: Poetry, Europe, From 2000 to Present, Sweden, Swedish, Literature, Memory, Language (read in: words without borders)