Neruda LXXXVIII

[LXXXVIII]
El mes de marzo vuelve con su luz escondida
The month of March is back with its absconded light
y se deslizan peces inmensos por el cielo,
and immense fish slide through the sky,
vago vapor terrestre progresa sigiloso,
vague earth-bound mist advances furtively,
una por una caen al silencio las cosas.
one by one things succumb to silence.

Por suerte en esta crisis de atmósfera errabunda
What luck, in this crisis of straying atmosphere
reuniste las vidas del mar con las del fuego,
you rolled into one the lives of sea with those of fire,
el movimiento gris de la nave de invierno,
the gray movement of the ship of winter,
la forma que el amor imprimió a la guitarra.
the shape that love imprinted on the guitar.

Oh amor, rosa mojada por sirenas y espumas,
O love, rose moistened by sirens and sea sprays,
fuego que baila y sube la invisible escalera
dancing fire that scales the invisible ladder
y despierta en el túnel del insomnio a la sangre
and wakens blood in the tunnel of insomnia

para que se consuman las olas en el cielo,
so that waves consume themselves in sky,
olvide el mar sus bienes y leones
sea forgets its properties and lions
y caiga el mundo adentro de las redes oscuras.
and world tumbles inside the darkened nets.

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

[English translation by JMN.]

(c) 2020 JMN. All rights reserved

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‘The Painting Just Falls Off the Brush’

… Ms. Shinoda worked primarily in sumi ink, a solid form of ink, made from soot pressed into sticks… “It is… necessary to finish one’s work very quickly. So the composition must be determined in my mind before I pick up the brush. Then, as they say, the painting just falls off the brush.”

… Ms. Shinoda shunned representation. “If I have a definite idea, why paint it?,” she asked in an interview with United Press International in 1980. “It’s already understood and accepted. A stand of bamboo is more beautiful than a painting could be. Mount Fuji is more striking than any possible imitation.”

(Margalit Fox, “Toko Shinoda Dies at 107; Fused Calligraphy With Abstract Expressionism,” NYTimes, 3-3-21)

The 1980 interview cited in this article says Ms. Shinoda’s paintings express “her sensations, her feelings about nature rather than nature itself.” Shinoda’s take on “representation” is imperceptive, but her feathery renderings distilled from the “serene” Japanese calligraphic tradition are elegant.

(c) 2021 JMN

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Travesía del Ferry Brooklyn (2)

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

The poem has 9 parts of differing lengths. Half of part 2 follows here:

2)
The impalpable sustenance of me from all things at all hours of the day,
El sustento mío impalpable procedente de toda cosa a toda hora del día,
The simple, compact, well-join’d scheme, myself disintegrated, every one disintegrated yet part of the scheme,
El esquema sencillo, compacto, bien ensamblado, desintegrado yo, todos desintegrados aún siendo componentes del esquema,
The similitudes of the past and those of the future,
Las similitudes del pasado y las del futuro,
The glories strung like beads on my smallest sights and hearings, on the walk in the street and the passage over the river,
Las glorias ensartadas como cuentas en las mínimas cosas vistas y oídas, en el paseo en la calle y el pasaje sobre el río,
The current rushing so swiftly and swimming with me far away,
La corriente que se precipita tan velozmente nadando conmigo hasta muy lejos,
The others that are to follow me, the ties between me and them,
Otros que han de seguirme, los vínculos entre yo y ellos,
The certainty of others, the life, love, sight, hearing of others.
La certeza de que haya otros, la vida, el amor, la vista, el oído de otros.

(Seguirá más “si Dios quiere.”)

(c) 2021 JMN. All rights reserved

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Travesía del Ferry Brooklyn

Versión castellana del poema “Crossing Brooklyn Ferry” (1856) de Walt Whitman. Texto inglés — www.poetryfoundation.org.

Years ago, Pepe Portillo, a classmate at the University of Barcelona, loaned me a volume of Dylan Thomas’s poetry translated into Spanish — or “Castellano” in the idiom of my fellow undergraduates at the Facultad de Filosofía y Letras. I remember thinking, “What a doomed undertaking that of romancing the Welshman’s English.”

Back to the present, and this project: romancing Whitman’s American. One doomed undertaking deserves another. What could go wrong in a pandemic? At a minimum it opens me further to a thrilling gust of poetry — winded long and strong — and to grapple with lending to sweet voice an acquired tongue. As to which, comment on where my Spanish runs off the rails is welcome. Hauntingly for me, a cosmologist once said of a colleague’s learned paper: “This isn’t right; this isn’t even wrong.” Yikes.

The poem has 9 parts of differing lengths. All of part 1 follows here.

(1)
Flood-tide below me! I see you face to face!
¡Pleamar allá abajo! ¡Te veo cara a cara!
Clouds of the west — sun there half an hour high — I see you also face to face.
Nubes del oeste — allá salido el sol desde hace media hora — os veo también cara a cara.

Crowds of men and women attired in the usual costumes, how curious you are to me!
Muchedumbres, hombres y mujeres, vestidos de traje usual, ¡qué curiosos sois para mí!
On the ferry-boats the hundreds and hundreds that cross, returning home, are more curious to me than you suppose,
Abordo de las lanchas los centenares sucesivos que cruzáis, rumbo a casa, sois más curiosos para mí de lo que suponéis,
And you that shall cross from shore to shore years hence are more to me, and more in my meditations, than you might suppose.
Y los que cruzaréis de orilla a orilla en años venideros, más para mí sois, y mayormente en mis meditaciones, de lo que acaso supongáis.

[Y más vendrá, estimado lector, “si Dios quiere.” JMN]

(c) 2021 JMN. All rights reserved

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Neruda LXXXIX

[LXXXIX]
Cuando yo muera quiero tus manos en mis ojos:
When I die I want your hands in my eyes:
quiero la luz y el trigo de tus manos amadas
I want the light and the wheat of your dear hands
pasar una vez más sobre mí su frescura:
their coolness to pass once again over me:
sentir la suavidad que cambió me destino.
to feel the softness that changed my destiny.

Quiero que vivas mientras yo, dormido, te espero,
I want you living while I, sleeping, wait for you,
quiero que tus oídos sigan oyendo el viento,
I want your ears to keep on hearing wind,
que huelas el aroma del mar que amamos juntos
you to smell the sea scent that we loved together
y que sigas pisando la arena que pisamos.
to keep treading the sand where we set foot.

Quiero que lo que amo siga vivo
I want that which I love to stay alive
y a ti te amé y canté sobre todas las cosas,
and you I loved and sang above all things,
por eso sigue tú floreciendo, florida,
therefore carry on, you, flourishing, in flower,

para que alcances todo lo que mi amor te ordena,
so you attain all that my love commands for you,
para que se pasee mi sombra por tu pelo,
so my shade will promenade about your hair,
para que así conozcan la razón de mi canto.
so in this way they know the reason for my song.

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

[English translation by JMN.]

(c) 2020 JMN

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Prey for Miracles

… What we saw in Texas is… a doom loop of climate polarization, where climate crises lead, paradoxically, to a politics that’s more desperate for fossil fuels, more dismissive of international or even interstate cooperation.

Cooperation is humanity’s superpower, and the way we have enlarged our circle — from kin, to tribes, to religions, to countries, to the world — is miraculous.

(Ezra Klein, “Texas is a Rich State in a Rich Country, and Look What Happened,” NYTimes, 2-25-21)

(c) 2021 JMN

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A Whiff of Wittgenstein

“For a healthy politics to flourish it needs reference points outside itself — reference points of truth and a conception of the common good… When everything becomes political, that is the end of politics.” Making everything politics “totally distorts your ability to read reality.”
(Moshe Halbertal, Hebrew University religious philosopher)

(Thomas L. Friedman, “Can You Believe This Is Happening in America?” NYTimes, 2-23-21)

At first blush it seems like a paradox to say that when everything is politics, politics disappears.

The comment may provide a clue, however, to understanding a point of Ludwig Wittgenstein’s thought (which I am struggling to grasp):

The world is determined by the facts, and by these being all the facts (TLP 1.11)
For the totality of facts determines both what is the case, and also all that is not the case. (TLP 1.12)

In his gnomic fashion Wittgenstein seems to imply that in order to perceive what something is, we must also perceive what it is not.

Deprived of their “is-not-ness,” things lose their definition; by flooding our logical and linguistic space, they cease to be.

We then lose our way.

(c) 2021 JMN

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Au Revoir, Dr. Ferlinghetti

“In some ways what I really did was mind the store,” he told The Guardian in 2006. “When I arrived in San Francisco in 1951 I was wearing a beret. If anything I was the last of the bohemians rather than the first of the Beats.”

Lawrence Ferlinghetti died on February 22, 2021, age 101. Certain details of his fruitful life seize me:

— Fetched off to Strasbourg, France in early childhood, where he learned French, which he spoke before English.
— Degree in journalism from the University of North Carolina at Chapel Hill (my alma mater), attracted there by his taste for Thomas Wolfe.
— Master’s thesis on Ruskin and Turner at Columbia University, which fostered a lifelong love of painting. Then a doctorate in comparative literature from the Sorbonne.

Ferlinghetti called “Little Boy,” the species of memoir that he published In 2019, “an experimental novel” about “an imaginary me.”

(Jesse McKinley, “Lawrence Ferlinghetti, Poet Who Nurtured the Beats, Dies at 101,” NYTimes, 2-23-21)

He minded the store!

(c) 2021 JMN

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Lone Star State of Mind

… Millions of Texans whose health and finances were already battered by a year of Covid-19 now face a grinding recovery from a storm estimated to cost upward of $20 billion, the costliest in state history…

Texas is roughly the size of France combined with Switzerland. At one point, during the week of February 15, every one of the state’s 254 counties was under a freeze warning.

A week later, on February 22 (yesterday), this was the status:

… Gas stations were without fuel, grocery store shelves were empty and long lines formed in the early-morning darkness at food distribution sites. About 8.6 million people were still being told to boil their drinking water, and about 120,000 others had no water at all as plumbers and water utilities battled an epidemic of leaky, broken pipes.

(Jack Healy, “‘Like We’re Being Cursed’: First Covid and Now Waterlogged Homes,” NYTimes, 2-22-21)

(c) 2021 JMN

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Cambiando la perspectiva.

Imaginando.

Cambiando la perspectiva.

A mi colega que estudia español en Gran Bretaña: te va a gustar esta foto de iglesia con su ángulo dinámico.

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