Write Infrequently, If Possible?

Illustration by Andrea Ventura. [As a student of the painted face I find the faceted rendering by Andrea Ventura worth studying.]

… Unlike many great twentieth-century writers, who saw truth in despair, Milosz’s experiences convinced him that poetry must not darken the world but illuminate it: “Poems should be written rarely and reluctantly, / under unbearable duress and only with the hope / that good spirits, not evil ones, choose us for their instrument.” That decision for goodness is what makes Milosz a figure of such rare literary and moral authority. As we enter what looks like our own time of troubles, his poetry and his life offer a reminder of what it meant, and what it took, to survive the twentieth century.

(Adam Kirsch, “Czeslaw Milosz’s Battle for Truth,” The New Yorker, 5-29-17)

The stricture on poeticizing comes from a man who wrote prolifically up until dying at age 93. The prescription must mean other and beyond what it purports to say, as poetry will do. And the spirit of either persuasion will choose whom it does, often as not. Surviving such illumination is part of the trick of reading poetry, my evil one tells me.

(c) 2021 JMN — EthicalDative. All rights reserved

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Travesía (14)

Whitman 1819 – 1892 [Image from www.allenginsberg.org]
Fulton Ferry Boat (Brooklyn, New York), July 1890 via The Library of Congress, Washington DC. [Image from www.allenginsberg.org]

Versión castellana del poema “Crossing Brooklyn Ferry” (1856) de Walt Whitman
English text at http://www.poetryfoundation.org
Spanish Interpretation by JMN

[Translator’s note: This is the second segment of the ninth and last part of “Crossing Brooklyn Ferry.” Two segments remain.]
(9)
Sound out, voices of young men! loudly and musically call me by my nighest name!
¡Resonad, voces de jóvenes! ¡Alta y musicalmente llamadme por mi nombre más cercano!
Live, old life! play the part that looks back on the actor or actress!
¡Vive, vida vieja! ¡Haz el papel que mira en retrospectiva al actor o a la actriz!
Play the old role, the role that is great or small according as one makes it!
¡Haz el papel, el papel que es grande o pequeño según como uno lo interprete!
Consider, you who peruse me, whether I may not in unknown ways be looking upon you;
Considera, tú que me ojeas, si yo de forma inaudita pudiera estar contemplándote a ti;
Be firm, rail over the river, to support those who lean idly, yet haste with the hasting current;
Sé firme, barra sobre el río, para soportar a los que que se apoyan ociosamente, aún cuando se apresuran con la corriente presurosa;
Fly on, sea-birds! fly sideways, or wheel in large circles high in the air;
¡Seguid volando, aves marinas! Volad lateralmente, o haced amplios círculos en el aire a gran altura;
Receive the summer sky, you water, and faithfully hold it till all downcast eyes have time to take it from you!
¡Recibe tú el cielo de verano, agua, y consérvalo fielmente hasta que todo ojo dirigido hacia abajo tenga tiempo de quitártelo!
Diverge, fine spokes of light, from the shape of my head, or any one’s head, in the sunlit water!
¡Divergid, finos radios de luz, de la figura de mi cabeza, o la cabeza de cualquiera, en el agua soleada!
Come on, ships from the lower bay! pass up or down, white-sail’d schooners, sloops, lighters!
¡Adelante, buques de la bahía inferior! ¡Pasad arriba o abajo, goletas de vela blanca, balandras, gabarras!
Flaunt away, flags of all nations! be duly lower’d at sunset!
¡Ostentaos, banderas de todas las naciones! ¡Sed bajadas debidamente al ponerse el sol!
Burn high your fires, foundry chimneys! cast black shadows at nightfall! cast red and yellow light over the tops of the houses!
¡Flamead con llamas altísimas, chimeneas fundidoras! ¡Arrojad negras sombras al anochecer! ¡Despedid rayos rojos y amarillos por encima de las casas!

(c) 2021 JMN — EthicalDative. All rights reserved

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How to Act

“You talk and I listen; then I talk and you listen. That’s how it works.”

(90-year-old actor Robert Duvall on the art of acting, interviewed by Stephen Colbert, June 2021)

Duvall’s peer Clint Eastwood is credited with expressing his technique as “Don’t just do something; stand there.”

The deadpan passivity and submissiveness of great acting hinted at by these veterans can be cloaked by the cliché that it’s a gestural, role-flaunting art.

(c) 2021 JMN — EthicalDative. All rights reserved

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Slant-Wise Talk

The poet Stephen Dunn in 1999. He specialized in poems about surviving, coping with and looking for meaning in the ordinary passages of life. Credit…Bernard Meyers. [NYTimes caption]

Saying things that are graspably cockeyed is my kind of self-expression. Doing so skirts peekaboo obscurity and affectation constantly, but sometimes it feels like it’s working and those moments make me feel interesting.

“Even your most serious problem,” [Stephen Dunn] said, “very few people are going to be interested in unless you yourself, in the act of writing the poem, make some discoveries about it.”

I like knowing that Stephen Dunn’s three major influences were Robert Frost, Wallace Stevens and Theodore Roethke. Two of those have been mine.

“In a nutshell, Frost for his strategies of composition and his quotidian yet philosophical investigations,” Mr. Dunn wrote. “Stevens for teaching me that, if the music was right, I could love poems I didn’t understand. Roethke for his sensual playfulness, but finally for his lyrical meditations, and his phrasing; yes, Roethke most of all.”

Stephen Dunn, aging lover of basketball, wrote this:

… your legs hanging from your waist
like misplaced sloths in a country
known for its cheetahs and its sunsets.

And this, on turning 60 in 1999:

The millennium,
my dear, is sure to disappoint us.
I think I’ll keep on describing things
to ensure that they really happened.

(Neil Genzlinger, “Stephen Dunn, Poet Who Celebrated the Ordinary, Dies at 82,” NYTimes, 6-25-21)

(c) 2021 JMN — EthicalDative. All rights reserved

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¡Salve, Profesor!

I connected me and a dot out of the blue last night. A bouncy man I remember only as “Dr. Rubio” who taught the Latin class of my cohort at the University of Barcelona cropped up in a scholarly note:

En la compulsación del texto de la primera edición me han ayudado don Gabriel Oliver y don Francisco Rico Manrique; para la interpretación de los versos latinos de los capítulos XI y XXXVI he recurrido a la valiosa ayuda de los profesores don Lisardo Rubio, don Sebastián Mariner y don Juan Bastardas. A todos ellos mi cordial agradecimiento.

(Martín de Riquer, “Miguel de Cervantes, Obras Completas, I, Don Quijote de la Mancha, seguido del Quijote de Avellaneda, Edición, introducción y notas de Martín de Riquer, Editorial Planeta, Barcelona, 1962, pág. CI)

“In the collation of the text of the first edition [of the Avellaneda “Quijote”] don Gabriel Oliver and don Francisco Rico Manrique have assisted me; for the interpretation of the Latin verses of chapters XI and XXXVI I’ve had recourse to the invaluable assistance of professors don Lisardo Rubio, don Sebastián Mariner and don Juan Bastardas. My cordial thanks to all of them.” (My translation)

Lisardo Rubio Fernández, redoubtable Latinist, lived from 1915 to 2006. He was born in Narayola, district of Camponaraya, in El Bierzo, province of León. He held the chair of Latin philology at the University of Barcelona and afterwards at the Complutense University of Madrid until retiring in 1985. Eminent among his translations are “The Golden Ass” of Apuleius and “The Satyricon” of Petronius. (Wikipedia)

¡Salve, Doctor! Much respect from the sole gringo in your class. Descanse en paz.

(c) 2021 JMN — EthicalDative. All rights reserved

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On Edges and Errors

Cézanne’s “Still Life with Carafe, Bottle, and Fruit,” from 1906. Thingness magnetized the artist. Art work courtesy the Henry and Rose Pearlman Collection / Art Resource, NY. [New Yorker caption]

Two descriptions in this article about Cézanne are helpful for me.

One concerns Camille Pissarro’s treatment of edges:

Pissarro was the subtlest of the leading Impressionists, devising ways of giving distinctive presence to each part of a painting, by, for example, defining the edges of objects with the paint that surrounded them. For him, an edge was a place where paint didn’t stop but only changed color.

This supports a leeriness I picked up somewhere at using hard outlining in painting — no more defensible a stance, of course, than any other hideboundedness respecting style or technique.

The second concerns Cézanne’s approach to drawing:

Cézanne was fearless of error. You see that in his figure drawings from sculpture. If a contour isn’t quite right, he doesn’t correct it (the one drafting tool that he seems never to have employed is the eraser): he multiplies it, with lines on top of lines. (There’s accuracy in there somewhere.)

The approach woos me away from some of the terror of error in drawing, though I’m led to wonder if “accuracy” is precisely, or all of, what Cézanne strove for. (?)

(Peter Schjeldahl, “My Struggle With Cézanne,” The New Yorker, 6-21-21)

(c) 2021 JMN — EthicalDative. All rights reserved

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Corrigendum and Addendum

Image from theguardian.com in an article about the Chinese translation of “Don Quijote.”

Referencing https://ethicaldative.com/2021/06/20/the-quixote-funny-and-sad, in translating Martín de Riquer’s phrase “… Una diatriba para acabar con algo que hace mucho que se acabó…” I left out “hace mucho.” I should have written: “… A diatribe devoted to ending something which ended long ago…”

If Riquer had written hacía mucho, the translation would change to: “… A diatribe devoted to ending something which “had ended long ago…”

The pluperfect highlights a key point: Don Quijote is an anachronism in his own time. Everything about the crackpot knight on his shambling nag (rocín) is perceived by those he encounters as archaic. He exudes a whiff of olden times which are remote from their contemporary, 17th-century lives.

Cervantes legitimized writing that was meant to entertain, rather than instruct and edify. His beef with the stories that drove Alonso Quijano off the rails was that they were wretchedly told. He blew them out of the water with a new way of telling well nigh invented by him on the fly.

(c) 2021 JMN — EthicalDative. All rights reserved

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The Quixote: Funny and Sad

Image from theguardian.com in an article about the Chinese translation of “Don Quijote.”

Lo extraordinario del “Quijote” es que es una parodia que interesa al que desconoce lo parodiado, un libro con una circunstancia muy concreta que llega a los más alejados en el tiempo y el espacio, una diatriba para acabar con algo que hace mucho que se acabó, y que cada día nos abre mayores perspectivas y posibilidades de reflexión y de auténtico regocijo, pues el que no se da cuenta que el “Quijote” es un libro divertido lo ha entendido tan poco como el que no ha reparado en su tristeza.

(Martín de Riquer, “Miguel de Cervantes, Obras Completas, I, Don Quijote de la Mancha, seguido del Quijote de Avellaneda, Edición, introducción y notas de Martín de Riquer, Editorial Planeta, Barcelona, 1962)

The extraordinary thing about the “Quixote” is that it’s a parody of interest even to the person who is unfamiliar with what’s parodied, a book with a very concrete circumstance which yet reaches those most removed in time and space, a diatribe devoted to ending something which is ended, and which each day opens up to us greater perspectives and possibilities for reflection and genuine pleasure, for (indeed) the person who doesn’t realize that the “Quixote” is an entertaining book has grasped it as poorly as the person who hasn’t noticed its sadness. (My translation)

[Alba, I misspoke when I told you this would give you a glimpse of Cervantes’s 17th-century Spanish. That quotation is for another day. This is 20th-century scholar Martín de Riquer reflecting on the work in the introduction to his edition. Jaime]

(c) 2021 JMN — EthicalDative. All rights reserved

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Robert Hollander: Scholar-Translator

Robert Hollander with his wife, Jean Hollander, in his Princeton University office in 2001. On the desk is their translation of “Inferno,” the first volume of Dante’s “Divine Comedy.” In the foreground is a bust of the writer to whom Professor Hollander devoted much of his life. Credit… Laura Pedrick.

Robert Hollander, Princeton Dante scholar and translator, died in April, 2021. The translation of “The Divine Comedy” which he produced in close collaboration with wife Jean Hollander (d. 2019), herself a poet, is said to be among the “smoothest” and most accessible of the English versions.

Jean Hollander provided the spark for the translation project in 1997. Peering over her husband’s shoulder as he studied a 1939 translation of “The Divine Comedy,” she pronounced the text to be “awful.” Challenged by Mr. Hollander to do better, she returned two days later with a “free-verse rendering of the text in current English idiom.” “That’s not bad,” he said.

Their role-based collaboration is evoked in a tableau of tropical bliss:

On trips to the beach during a family vacation on the Caribbean island of Tortola, Professor Hollander would don his clip-on sunglasses, Ms. Hollander would put on a sun hat and bring a picnic — and then the two would spend all afternoon debating cantos. They adjudicated microscopically fine distinctions, like whether sinners were hurled “down” or “below.”

(Alex Traub, “Robert Hollander, Who Led Readers Into ‘The Inferno,’ Dies at 87,” NYTimes, 6-8-21)

(c) 2021 JMN — EthicalDative. All rights reserved

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Travesía (13)

Whitman 1819 – 1892 [Image from www.allenginsberg.org]
Fulton Ferry Boat (Brooklyn, New York), July 1890 via The Library of Congress, Washington DC. [Image from www.allenginsberg.org]

Versión castellana del poema “Crossing Brooklyn Ferry” (1856) de Walt Whitman
English text at http://www.poetryfoundation.org
Spanish Interpretation by JMN

[Translator’s note: This is the 9th and last part of “Crossing Brooklyn Ferry.” I will put it up in 4 sections.]

(9) Section 1 of 4
Flow on, river! flow with the flood-tide, and ebb with the ebb-tide!
¡Prosigue tu flujo, río! ¡Fluye con la pleamar, y bájate con la bajamar!
Frolic on, crested and scallop-edg’d waves!
¡Seguid vuestro jugueteo, oleaje crestado de borde festoneado!
Gorgeous clouds of the sunset! drench with your splendor me, or the men and women generations after me!
¡Nubarrones vistosos del ocaso! ¡Empapad con vuestro esplendor a mí, o a los hombres y mujeres que me sucedan por generaciones!
Cross from shore to shore, countless crowds of passengers!
¡Atravesad de orilla a orilla, muchedumbres incontables de pasajeros!
Stand up, tall masts of Mannahatta! stand up, beautiful hills of Brooklyn!
¡Levantaos, altos mástiles de Mannahatta! ¡Levantaos, bellas colinas de Brooklyn!
Throb, baffled and curious brain! throw out questions and answers!
¡Late, cerebro perplejo y curioso! ¡Arroja preguntas y respuestas!
Suspend here and everywhere, eternal float of solution!
¡Suspéndete aquí y por todas partes, eterno flotador de solución!
Gaze, loving and thirsting eyes, in the house or street or public assembly!
¡Contemplad, ojos afectuosos y anhelantes, en el domicilio o la calle o la asamblea pública!

(c) 2021 JMN — EthicalDative. All rights reserved

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