Neruda LXXXV

[LXXXV]
Del mar hacia las calles corre la vaga niebla
A seaward-springing hint of fog runs through the streets
como el vapor de un buey enterrado en el frĂ­o,
like steam from an ox interred in the cold,
y largas lenguas de agua se acumulan cubriendo
and long tongues of water rise to inundate
el mes que a nuestras vidas prometiĂł ser celeste.
the month that promised to our lives to be sky-blue.

Adelantado otoño, panal silbante de hojas,
Autumnal leading edge, sibilant honeycomb of leaves,
cuando sobre los pueblos palpita tu estandarte
when your standard flutters over towns
cantan mujeres locas despidiendo a los rĂ­os,
madwomen sing goodbyes to the rivers,
los caballos relinchan hacia la Patagonia.
horses neigh in Patagonia’s direction.

Hay una enredadera vespertina en tu rostro
There is a climbing evening vine upon your face
que crece silenciosa por el amor llevada
which grows in silence transported by love
hasta las herraduras crepitantes del cielo.
to the very sky’s clatter of shod hooves.

Me inclino sobre el fuego de tu cuerpo nocturno
I lean over the fire of your nocturnal body
y no sólo tus senos amo sino el otoño
and love not just your breasts but autumn, too,
que esparce por la niebla su sangre ultramarina.
that smears its ultramarine blood through the mist.

Veinte poemas de amor y una canciĂłn desesperada. Cien sonetos de amor
1924, Pablo Neruda y Herederos de Pablo Neruda
1994, Random House Mondadori
Cuarta ediciĂłn en U.S.A: febrero 2004

[English translation by JMN.]

(c) 2020 JMN. All rights reserved

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Animales/Animals

Learn Spanish Knowing Mexican Culture/Blanca Caballero

Animales/Animals
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‘El Borracho’ de JoaquĂ­n Sorolla

“As if in preparation, with this deeply human painting he returned to his engagement with the Spanish peasant and, perhaps as important, to making brilliant use once more of the indispensable Spanish colour – black.”

(Mark Brown, “National Gallery buys ‘dazzling’ Joaquín Sorolla painting,” theguardian.com, 6-9-20)

Comentario docente españolista a favor de la persona que sabe quién ella es, o sea, que se autoidentifica en leyendo esto. ¿Estå claro?

— Oye, ****, me gusta este cuadro de Sorolla. ÂżA ti te gusta? Hay un colorido sobrio pero rico — negros y grises, sĂ­, pero veo tambiĂ©n amarillos, morados, verdes y azules. Y blancos, desde luego. Son matices. ÂżTe acuerdas de la palabra ‘matiz’ junto con ‘lĂĄpiz” que vimos el lunes? Hay un poco de ‘bosquejo’ en este cuadro. El pintor maneja el pincel con mucha confianza y soltura. Es un estilo que admiro. Pincelazos fuertes.
ÂĄHasta pronto!
Jaime

(c) 2021 JMN

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TravesĂ­a (6)

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: I’m uncomfortably aware that I border on paraphrase and not translation in the last line particularly. The line casts flicker down into the clefts of streets, which sounds glorious to me in English — street clefts! — but I could not pull out anything down into “las hendiduras de calles” or alternatives that didn’t grind the gears in Spanish.]

End of part 3. Be mindful there are 9 parts.

(
3)
The sailors at work in the rigging or out astride the spars,
Los marineros al trabajo en la jarcia o bien a horcajadas sobre los palos,
The round masts, the swinging motion of the hulls, the slender serpentine pennants,
Los mĂĄstiles redondos, el balanceo de los cascos, los delgados banderines serpentinos,
The large and small steamers in motion, the pilots in their pilot-houses,
Los buques de vapor grandes y pequeños en marcha, los timoneles en sus cåmaras,
The white wake left by the passage, the quick tremulous whirl of the wheels,
La estela blanca que deja el pasaje, el remolino råpido y trémolo de las ruedas,
The flags of all nations, the falling of them at sunset,
Las banderas de todas las naciones, su caĂ­da al ponerse el sol,
The scallop-edged waves in the twilight, the ladled cups, the frolicsome crests and glistening,
Las olas de borde festoneado en el crepĂșsculo, las copas servidas de cucharĂłn, las crestas juguetonas y relucientes,
The stretch afar growing dimmer and dimmer, the gray walls of the granite storehouses by the docks,
El tramo lejano volviéndose cada vez mås tenue, las muros grises de los almacenes graníticos lindando los muelles,
On the river the shadowy group, the big steam-tug closely flank’d on each side by the barges, the hay-boat, the belated lighter,
En el rĂ­o el grupo sombrĂ­o, el gran remolcador de vapor flanqueado de las barcazas, el barco de heno, la gabarra tardĂ­a,
On the neighboring shore the fires from the foundry chimneys burning high and glaringly into the night,
En la orilla colindante los fuegos de las chimeneas fundidoras ardiendo altos y deslumbrantes hasta entrada la noche,
Casting their flicker of black contrasted with wild red and yellow light over the tops of houses, and down into the clefts of streets.
Destellando su contraste de negro con el delirio de luz roja y amarilla arrojada sobre los techos, y penetrando los recovecos callejeros.

(c) 2021 JMN. All rights reserved

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Still Life

(c) 2021 JMN

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Neruda LXXXVI

http://www.outsideauthor.wordpress.com

[LXXXVI]
Oh Cruz del Sur, oh trébol de fósforo fragante,
O Southern Cross, O cloverleaf of fragrant phosphorous,
con cuatro besos hoy penetrĂł tu hermosura
today your beauty pierced with four kisses
y atravesĂł la sombra y mi sombrero:
and crossed over the shadow and my hat:
la luna iba redonda por el frĂ­o.
the moon was going roundly through the cold.

Entonces con mi amor, con mi amada, oh diamantes
Then with my love, with my loved one, O diamonds
de escarcha azul, serenidad del cielo,
of blue frost, serenity of sky,
espejo, apareciste y se llenĂł la noche
mirror, you came out and the night brimmed
con tus cuatro bodegas temblorosas de vino.
with your four quivering cellars of wine.

Oh palpitante plata de pez pulido y puro,
O throbbing piscatory silver polished and pure,
cruz verde, perejil de la sombra radiante,
green cross, adornment of the radiant shade,
luciérnaga a la unidad del cielo condenada,
firefly consigned to the oneness of the sky,

descansa en mĂ­, cerremos tus ojos y los mĂ­os.
rest in me, let us, you and I, close our eyes.
Por un minuto duerme con la noche del hombre.
For one minute sleep with mankind’s night.
Enciende en mĂ­ tus cuatro nĂșmeros constelados.
Light inside me your four starry numerals.

Veinte poemas de amor y una canciĂłn desesperada. Cien sonetos de amor
1924, Pablo Neruda y Herederos de Pablo Neruda
1994, Random House Mondadori
Cuarta ediciĂłn en U.S.A: febrero 2004

[English translation by JMN.]

(c) 2021 JMN. All rights reserved

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Story Power

There is one form of power that has fascinated me ever since I was a girl
 the power of storytelling.

In this May, 2019 essay, novelist Elena Ferrante writes that the “Decameron” by Giovanni Boccaccio (1313-1375) made a great impression on her in her youth.

In this work, which is at the origin of the grand Italian and European narrative traditions, 10 youths — seven women and three men — take turns telling stories for 10 days.

The young Ferrante liked that seven of Boccaccio’s ten narrators were women. (In the framework that Boccaccio contrives for his tales the storytellers are passing the time while shielding from the Black Death in a country villa. It was seven centuries before Netflix.)

Ferrante’s conclusion seems as vital today as it was in the 14th century and last May:

The female story, told with increasing skill, increasingly widespread and unapologetic, is what must now assume power.

Elena Ferrante is the author of the four Neapolitan novels: “My Brilliant Friend,” “The Story of a New Name,” “Those Who Leave and Those Who Stay” and “The Story of the Lost Child.” This essay was translated by Ann Goldstein from the Italian.

(Elena Ferrante, “A Power of Our Own,” NYTimes, 5-17-19. The photograph is from Moya Lothian-McLean, “She Was Just Walking Home,” NYTimes, 3-17-21))

(c) 2021 JMN

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TravesĂ­a (5)

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: Though officially Spanish has imported the word “ferry,” I haven’t been happy with using it in the title of my rendering of Whitman’s poem. Conjoined with “Brooklyn” it just jangles with too much English. So I’ve shortened my title to “Travesía.” It’s pure, and I like the fluid semantic range of a “crossing” or “crossing over,” with its latency of skepticism for narrowly prescriptive boundaries.]

A middle third, give or take, of part 3, follows. Don’t forget, there are 9 parts.


(…3…)
I too many and many a time cross’d the river of old,
Yo también tantísimas veces atravesé el río antaño,
Watched the Twelfth-month sea-gulls, saw them high in the air floating with motionless wings, oscillating their bodies,
Observé las gaviotas del duodécimo mes, las vi flotar en el aire a gran altura con alas inmóviles, oscilando sus cuerpos,
Saw how the glistening yellow lit up parts of their bodies and left the rest in strong shadow,
Vi cĂłmo el amarillo reluciente iluminaba porciones de sus cuerpos, dejando lo demĂĄs en sombra fuerte,
Saw the slow-wheeling circles and the gradual edging toward the south,
Vi los cĂ­rculos que giraban lentamente y el avance poco a poco hacia el sur,
Saw the reflection of the summer sky in the water,
Vi el reflejo del cielo estival en el agua,
Had my eyes dazzled by the shimmering track of beams,
Quedé con ojos deslumbrados por el sendero encendido de rayos,
Look’d at the fine centrifugal spokes of light round the shape of my head in the sunlit water,
Observé los finos radios centrífugos de luz que rodeaban la imagen de mi cabeza en el agua soleada,
Look’d on the haze on the hills southward and south-westward,
Observé la neblina sobre las colinas hacia el sur y el suroeste,
Look’d on the vapor as it flew in fleeces tinged with violet,
Observé el vapor mientras volaba en hilos lanudos teñidos de violeta,
Look’d toward the lower bay to notice the vessels arriving,
Miré hacia la bahía inferior para fijarme en las embarcaciones que llegaban,
Saw their approach, saw aboard those that were near me,
Las vi acercarse, vi abordo a aquéllos que estaban cerca de mí,
Saw the white sails of schooners and sloops, saw the ships at anchor,
Vi las velas blancas de goletas y balandras, vi los barcos anclados,…

[
 a continuarse]

(c) 2021 JMN. All rights reserved

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The Humble Art

I support the premise, aspirationally, that translation “involves being a writer,” to quote this article. The premise piggybacks on something I took on board long ago — that the first asset of a capable translator is to write well in his or her native tongue; then comes fluency in the “foreign” one.

Ann Goldstein translates Elena Ferrante’s novels. She worked at The New Yorker copy desk for over 40 years, and learned Italian in the mid-1980s by attending an evening class with several colleagues. She wanted to read Dante in the original. The class spent a year each on “Inferno,” “Purgatory,” and “Paradise.”

”Before retiring in 2017, Goldstein did all her translations at night or over weekends and vacations.”

Goldstein describes herself as a highly literal translator. Being so is no mean feat. Discernment and judgment are involved; a translator must be a good reader as well as writer. The editor-in-chief of Ferrante’s U.S. publisher says: “It takes a great deal of humility and a great deal of courage to represent so closely what an author wrote in the original language.”

I admire Goldstein’s venturesome spirit respecting her craft. “I’m willing to try anything,” she said of the work she’s drawn to. “I don’t think it’s necessary to have an affinity for the writer
.” It’s a stance that seems to gravitate against cultural silos.

Goldstein has remained in New York City through the pandemic, keeping busy with translation work. She still meets with her fellow Italian students, after all these years, over Zoom. “The idea was to read Dante,” she said, “and here we are, reading Dante again.”

(Joumana Khatib, “Reading Elena Ferrante in English? You’re Also Reading Ann Goldstein,” NYTimes, 8-21-20)

(c) 2021 JMN

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‘Ethics of Translation’ (?)

As a presumptive translator I’m nagged by a sense of straying where I don’t belong. Where is my writ to translate into a non-native language, for example? I didn’t suck Spanish from mother’s teat. How can I possibly match what a native could do? Likely I can’t, but catch me not trying if I choose.

A poorly written and superficial article by the BBC stirs the putrid pot of who is entitled, or not, to translate whom and what.

Poet Amanda Gorman, who is Black, recited her poem “The Hill We Climb” at President Biden’s inauguration. (I saw it live.) Her performance was a resounding success and widely acclaimed.

Dutch writer Marieke Lucas Rijneveld, who is White, was commissioned by a Dutch publisher, with Gorman’s sign-off, to translate Gorman’s poem into Dutch.

Janice Deul, Dutch journalist and diversity campaigner who is Black, raised objection over the choice of a White woman to translate the poem. The decision, she said, “perpetuated the marginalisation of black voices in the Netherlands.”

Among the many examples of black Dutch poets are Zaire Krieger, whose work encapsulates the challenges of being a woman of colour in a white country, Rachel Rumai who recently featured in an Afro Lit anthology and spoken word artist Babs Gons, whose Polyglot was chosen as the poem for 2021 Dutch Book Week.

Marieke Lucas Rijneveld withdrew from the project to make way for someone closer to Gorman’s ethnicity and culture.

(Anna Holligan, “Why a white poet did not translate Amanda Gorman,” bbc.com, 3-10-21)

Much opportunity for venturesome translators lies beneath this controversy. Craft, in my view, should lead. Who crosses lines sought to be drawn, and how, will be of keen interest.

(c) 2021 JMN

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