Caveat: Olvido

RUMBO AL OLVIDO

¡Oh pobres almas nuestras
que perdieron el nido
y que van arrastradas
en la falsa corriente del olvido!

Y pensar que extraviamos
la senda milagrosa
en que se hubiera abierto
nuestra ilusión, como perenne rosa.

Pudieron deslizarse,
sin sentir, nuestras vidas
con el compás romántico
que hay en las músicas desfallecidas.

Y pensar que pudimos
enlazar nuestras manos
y apurar en un beso
la comunión de fértiles veranos.

Y pensar que pudimos,
al acercarse el fin de la jornada,
alumbrar la vejez en una dulce
conjunción de existencias,
contemplando, en la noche ilusionada,
el cintilar perenne del Zodíaco
sobre la sombra de nuestras conciencias…

Mas en vano deliro y te recuerdo,
oh virgen esperanza,
oh ilusión que te quedas
en no sé qué lejanas arboledas
y en no sé qué remota venturanza.

Sigamos sumergiéndonos… Mas, antes
que la sorda corriente
nos precipite a lo desconocido,
hagamos un esfuerzo de agonía
para salir a flote
y ver, la última vez, nuestras cabezas
sobre las aguas turbias del olvido.

– Ramón López Velarde (poeta mexicano)

No he estado escribiendo lo usual, ni para este blog ni para los varios proyectos novelísticos. Me siento sumergido en un verano de cansancio y melancólico. Espero recuperar esfuerzos.

[Daily log: walking, 3 km]

Caveat: Macaronic

“Macaronic” means a text that mixes languages for comedic effect. It’s deliberate, pun-based code-switching, in linguistics terms. My students do it, when they hear English that “sounds funny” to them in their Korean ears, and they will suddenly start repeating some random word or phrase that I’ve said and laughing, no doubt because it sounds like something in Korean that’s funny. I can’t think of an example at the moment, but I have these moments constantly in my classes.

I ran across a macaronic poem mixing Latin and English while browsing the Language Log blog – a commenter had posted a poem by A.D. Godley entitled “Motor Bus” to an original posting about the syllabuses/syllabi debate. It’s a play on the fact that “motor” and “bus” are both words of Latin origin (although truncated and changed) and therefore they might be required to participate in the complex Latin morphology in a multilingual discussion of motor buses.

pictureWhat is this that roareth thus?
Can it be a Motor Bus?
Yes, the smell and hideous hum
Indicat Motorem Bum!
Implet in the Corn and High
Terror me Motoris Bi:
Bo Motori clamitabo
Ne Motore caedar a Bo—
Dative be or Ablative
So thou only let us live:—
Whither shall thy victims flee?
Spare us, spare us, Motor Be!
Thus I sang; and still anigh
Came in hordes Motores Bi,
Et complebat omne forum
Copia Motorum Borum.
How shall wretches live like us
Cincti Bis Motoribus?
Domine, defende nos
Contra hos Motores Bos!

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Caveat: Antipoeta Test

Test

Qué es un antipoeta:
un comerciante en urnas y ataúdes?
un sacerdote que no cree en nada?
un general que duda de sí mismo?
un vagabundo que se ríe de todo
hasta de la vejez y de la muerte?
un interlocutor de mal carácter?
un bailarín al borde del abismo?
un narciso que ama a todo el mundo?
un bromista sangriento
deliberadamente miserable?
un poeta que duerme en una silla?
un alquimista de los tiempos modernos?
un revolucionario de bolsillo?
un pequeño burgués?
un charlatán?

un dios?

un inocente?

un aldeano de Santiago de Chile?
Subraye la frase que considere correcta.

Qué es la antipoesía:
un temporal en una taza de té?
una mancha de nieve en una roca?
un azafate lleno de excrementos humanos
como lo cree el padre Salvatierra?
unespejo que dice la verdad?
un bofetón al rostro
del Presidente de la Sociedad de Escritores?
(Dios lo tenga en su santo reino)
una advertencia a los poetas jóvenes?
un ataúd a chorro?
un ataúd a fuerza centrífuga?
un ataúd a gas de parafina?
una capilla ardiente sin difunto?

Marque con una cruz
la definición que considere correcta.

– Nicanor Parra

Para si quisiera saber…

ay ¡estoy cansado! y apenas comienza el día. Voy a estudiar el coreano y después a trabajar.

Caveat: yon gray blank of sky

Cheerfulness Taught By Reason

I THINK we are too ready with complaint
In this fair world of God’s. Had we no hope
Indeed beyond the zenith and the slope
Of yon gray blank of sky, we might grow faint
To muse upon eternity’s constraint
Round our aspirant souls; but since the scope
Must widen early, is it well to droop,
For a few days consumed in loss and taint?
O pusillanimous Heart, be comforted
And, like a cheerful traveller, take the road
Singing beside the hedge. What if the bread
Be bitter in thine inn, and thou unshod
To meet the flints ? At least it may be said
‘Because the way is short, I thank thee, God.’
– Elizabeth Barrett Browning

Below is a scan of a photo I took in 1985. I believe it’s from the top of Notre Dame in Paris, looking north (?) – I suppose I could figure it out using googleearth if I worked at it. Note the yon gray blank of sky. That’s how I remember my time in Paris that year.

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Caveat: ya no siento el corazón

YO VOY SOÑANDO CAMINOS

Yo voy soñando caminos
de la tarde. ¡Las colinas
doradas, los verdes pinos,
las polvorientas encinas!…
¿Adónde el camino irá?
Yo voy cantando, viajero
a lo largo del sendero…
-la tarde cayendo está-.
“En el corazón tenía
la espina de una pasión;
logré arrancármela un día:
“ya no siento el corazón”.

Y todo el campo un momento
se queda, mudo y sombrío,
meditando. Suena el viento
en los álamos del río.

La tarde más se oscurece;
y el camino que serpea
y débilmente blanquea
se enturbia y desaparece.

Mi cantar vuelve a plañir:
“Aguda espina dorada,
quién te pudiera sentir
en el corazón clavada”.

– Antonio Machado

I hadn’t thought about Machado in quite a while, then out of nothing a line of his poetry popped into my head. I don’t think of him as one of my “main poets” – he doesn’t occupy those recurring thoughts of poetry like Jeffers or García Lorca or Neruda or Stevens. But I guess he must have made an impression at some point, or his line would not have appeared in my mind.

[Daily log: nevermind]

Caveat: E por que hei de negar?

“Caminho Monótono”

E por que hei de negar?…Ah! o encanto da estrada
abrindo em cada curva um leque de paisagem,
e o mistério da casa escondida e encantada
que mora sob a sombra amiga da folhagem

E por que hei de negar? Se isso é a vida passada;
se o fastio espantou o encanto da miragem
Hoje – o olhar distraído, e a alma já cansada
repetem todo dia e sempre a mesma viagem

E por que hei de negar? Ah! Aquelas ânsias loucas
dos beijos que cantavam sempre em nossas bocas
e das mãos, não sabendo nunca onde pousar…

Hoje… por mais que venhas, sempre estou sozinho…
E por que hei de negar? Se teu corpo é um caminho
onde de olhos fechados posso caminhar?…

– J. G. de Araujo Jorge

I love the Portuguese language. Maybe someday I will study it more deeply.

Caveat: otra fuerza de que tu cuerpo es hoy cárcel

    El viento y el alma

Con tal vehemencia el viento
viene del mar, que sus sones
elementales contagian
el silencio de la noche.

Solo en tu cama le escuchas
insistente en los cristales
tocar, llorando y llamando
como perdido sin nadie.

Mas no es él quien en desvelo
te tiene, sino otra fuerza
de que tu cuerpo es hoy cárcel,
fue viento libre, y recuerda.

– Luis Cernuda

Es posible que algun libro de poemas de Cernuda fue el primer libro de poesía que leí en español. Algo comprado en las calles del DF en 86 or 87. No es mi poeta favorito, pero por eso si ocupa un lugar único en mi desarrollo literario.

Caveat: Como una pintura nos iremos borrando

Poesía náhuatl (azteca).

Nezahualcóyotl era poeta y príncipe del estado azteca, de etnia Acolhua, del siglo 15 – murió antes de la invasión cortesiana, pero le conocemos por su poesía y las memorias de sus descendientes. Su pensamiento parece bastante espiritual.

Moyocoyatzin es un nombre (más bien un epiteto) de un “diós” o poder espiritual, que significa “el que se crea a sí mismo.”

Canto de Moyocoyatzin

Nezahualcóyotl
Romance de los Señores de la Nueva España

Zan nik kaki itopyo ipetlacayo
X. Ah in tepilwan:
ma tiyoke timikini
ti mazewaltin nawi nawi
in timochi tonyazke
timochi tonalkizke  Owaya Owaya
in tlaltikpak.
XI. Ayak chalchiwitl
ayak teokuitlatl mokuepaz
in tlaltikpak tlatielo
timochiotonyazke
in canin ye yuhkan: ayak mokawaz zan zen tlapupuliwiz
ti yawi ye yuhkan […] ichan
Owaya Owaya.
XII. Zan yahki tlakuilolli  Aya
ah tonpupuliwi
Zan yuhki xochitl  Aya
in zan tonkuetlawi
ya in tlaltikpak  Owaya
ya ketzalli ya zakuan
xiuhkecholli itlakechwan
tonpupuliwi tiyawi in […] ichan Owaya Owaya.
XIII. Oaziko ye nikan
ye ololo  Ayyawe
a in tlaokol Aya
ye in itek on nemi
ma men chkililo
in kuauta ozelotl   Owaya
nikan zan tipopuliwizke
ayak mokawaz    Iyyo.
XIV. Xik yokoyakan in antepilwan
kuauht amozelo
ma nel chalchiwitl
ma nel teokuitlatl
no ye ompa yazke
onkan on Ximowa   yewaya
zan tipupuliwizke
ayak mokawaz    Iyyo.
X. Percibo su secreto,
oh vosotros, príncipes:
De igual modo somos, somos mortales,
los hombres, cuatro a cuatro, […]
todos nos iremos,
todos moriremos en la tierra.
XI. Nadie esmeralda
nadie oro se volverá
ni será en la tierra algo que se guarda:
todos nos iremos
hacia allá igualmente:
nadie quedará, todos han de desaparecer:
de modo igual iremos a su casa.
XII. Como una pintura
nos iremos borrando.
Como flor
hemos de secarnos
sobre la tierra.
Cual ropaje de plumas
del quetzal, del zacuan,
del azulejo, iremos pereciendo.
Iremos a su casa.
XIII. Llegó hasta acá,
anda ondulando la tristeza
de los que viven ya en el interior de ella…
No se les llore en vano
a águilas y tigres…
¡Aquí iremos desapareciendo:
nadie ha de quedar!
XIV. Príncipes, pensadlo,
oh águilas y tigres:
pudiera ser jade,
pudiera ser oro
también allá irán
donde están los descorporizados.
Iremos desapareciendo:
nadie ha de quedar!

Me interesa mucho el idioma y cultura nahuatl, desde hace mucho. Ya que me he visto frustrado tanto en mis esfuerzos para aprender el coreano, he estado pasando tiempo estudiando otros idiomas (de forma no muy enfocada).

(imagen: el rey-poeta Nezahualcóyotl)

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Caveat: Theory of Truth

Theory of Truth

(Reference to The Women at Point Sur)

I stand near Soberanes Creek, on the knoll over the sea, west of
the road. I remember
This is the very place where Arthur Barclay, a priest in revolt,
proposed three questions to himself:
First, is there a God and of what nature? Second, whether there's
anything after we die but worm's meat?
Third, how should men live? Large time-worn questions no
doubt; yet he touched his answers, they are not unattainable;
But presently lost them again in the glimmer of insanity.
                                                         How
many minds have worn these questions; old coins
Rubbed faceless, dateless. The most have despaired and accepted
doctrine; the greatest have achieved answers, but always
With aching strands of insanity in them.
I think of Lao-tze; and the dear beauty of the Jew whom they
crucified but he lived, he was greater than Rome;
And godless Buddha under the boh-tree, straining through his
mind the delusions and miseries of human life.

Why does insanity always twist the great answers?
                                                 Because only
tormented persons want truth.
Man is an animal like other animals, wants food and success and
women, not truth. Only if the mind
Tortured by some interior tension has despaired of happiness:
then it hates its life-cage and seeks further,
And finds, if it is powerful enough. But instantly the private
agony that made the search
Muddles the finding.
                     Here was a man who envied the chiefs of
the provinces of China their power and pride,
And envied Confucius his fame for wisdom. Tortured by hardly
conscious envy he hunted the truth of things,
Caught it, and stained it through with his private impurity. He
praised inaction, silence, vacancy: why?
Because the princes and officers were full of business, and wise
Confucius of words.

Here was a man who was born a bastard, and among the people
That more than any in the world valued race-purity, chastity, the
prophetic splendors of the race of David.
Oh intolerable wound, dimly perceived. Too loving to curse his
mother, desert-driven, devil-haunted,
The beautiful young poet found truth in the desert, but found also
Fantastic solution of hopeless anguish. The carpenter was not his
father? Because God was his father,
Not a man sinning, but the pure holiness and power of God.
His personal anguish and insane solution
Have stained an age; nearly two thousand years are one vast poem
drunk with the wine of his blood.

And here was another Saviour, a prince in India,
A man who loved and pitied with such intense comprehension of
pain that he was willing to annihilate
Nature and the earth and stars, life and mankind, to annul the
suffering. He also sought and found truth,
And mixed it with his private impurity, the pity, the denials.
Then
search for truth is foredoomed and frustrate?
Only stained fragments?

                       Until the mind has turned its love from
itself and man, from parts to the whole.

- Robinson Jeffers, 1937.

The greatest American poet, IMHO.

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I took the picture above in November, 2009, not far from Point Sur, California.

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Caveat: 개성

A poem by Kim Gwang-seop:

개성
빈천한 묏골에서
하나의 돌맹이로 태어 나서커
다란 바위가 되지 못할지라도
또한
하나의 시내로서 흘러서
넓은 바다에 이르지 못할지라도
그대는 무한에 비상하는 순간을 가지라

My feeble effort at translation, with lots of doubts and confusions and caveats:

Individuality
from poor dead bones
born and raised as a lone pebble
unable to become the great rock
also
flowing as a lone stream
unable to arrive at the wide sea
you hold an extraordinary moment to reach infinity

A more professional translation, by someone who goes by the name “Doc Rock” online (but who is apparently a PhD in Korean Lit):

Individuality
Though from an impoverished mountain valley,
Born as a pebble
Never to be a great boulder
Or
Flowing like a stream
Never to be wide as a sea
You will have moments to soar limitlessly

Why am I attempting this kind of thing, when I still can’t put together a coherent sentence most of the time? I just feel like doing it, I guess.

개성

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Caveat: I consoled myself with rudimentary thoughts

I have just recently discovered the musical oeuvre of Bill Callahan (also formerly performing under the name Smog). Recently released album: Apocalypse. Track: “Drover.”

Lyrics (poetry).

The real people went away
But I’ll find a better word, someday
Leaving only me and my dreams
My cattle and a resonator

I drove all the beast down right under your nose
The lumbering footloose power
The bull and the rose
Don’t touch them don’t try to hurt them
My cattle

I drove them by the crops and thought the crops were lost
I consoled myself with rudimentary thoughts
And I set my watch against the city clock
It was way off

Yeah one thing about this wild, wild country
It takes a strong, strong
It breaks a strong, strong mind
Yeah one thing about this wild, wild country
It takes a strong, strong
It breaks a strong, strong mind

And anything less, anything less
Makes me feel like I’m wasting my time

But the pain and frustration, is not mine
It belongs to the cattle, through the valley

And when my cattle turns on me
I was knocked back flat
I was knocked out cold for one clack of the train track
Then I rose a colossal hand buried, buried in sand
I rose like a drover
For I am in the end a drover
A drover by trade
When my cattle turns on me
I am a drover, double fold

My cattle bears it all away for me and everyone
One, one, one, one, one, one …

Yeah one thing about this wild, wild country
It takes a strong, strong
It breaks a strong, strong mind
And anything less, anything less
Makes me feel like I’m wasting my time

The song:

Bill Callahan, “Drover.”

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Caveat: centro de asfalto, yo impertérrito

Cada fin de semana, me he dedicado a leer un poema.  Hice una vuelta a Miguel Labordeta, poeta vagamente surrealista aragonés de posguerra, sobre quien hice un par de ensayos durante mi época en estudios graduados en U Penn, con el mejor profesor que tuve ahí, Ignacio López.  Creo que entre los poetas específicamente españoles del s. XX, éste ha sido el que más me ha influido, después del infinito Federico García Lorca, por supuesto – y dejando al lado el más voluminoso número de poetas iberoamericanos.

“Letanía del imperfecto”

Sed antigua abrasa mi corazón de lentitudes.
En música y llanto mi ubre roída de pastor.
Tumbas de aguas y sueño,
soledad, nube, mar.
Doncellas en flor, cementerio de estrellas,
cuadrúpedos hambrientos de paloma y de espiga,
en náusea y en fuga de amargos pobladores oscuros,
mineros desertores de la luz insaciable.
Cráteres de lluvia. Volcanes de tristeza y de hueso,
despojos de pupilas y hechizos desgajados.
«Me gustas como una muerte dulce…»
Arrebatado. Sido. Aurora y espanto de mí mismo.
Viejos valses con calavera de violín
en la cintura de capullo con sol ciego de ti.
«Pero me iré…
debo irme… pues el jardín no es leopardo aún
y tu caricia una onda vaga tan sola
en los suelos secretos del atardecer…»
Canes misteriosos devoran mi perdón.
Mi distancia se pierde en las columnas de tu abril jovencito.
Cero. Vorágine. Desistimiento.
Nueva generación de hormigas dulces cada agosto.
Viento y otoños por los puentes romanos derruidos.
Golpeo a puñetazos besos de miel y desesperanza
en pavesas radiantes de futuras abejas.
Veintisiete años agonizantes
sonríen largamente a lo lejos.
Buceo. Soles y órbitas indagando los cubos del olvido.
El misterio. Eso siempre.
El misterio a las doce en punto del día
y en su centro de asfalto
yo
impertérrito.

— Miguel Labordeta Violento idílico (1949)

 

“Violento idílico” (1949)

Caveat: “나의 이미지”

A student of mine writes about her self image.

My image is white. White means glitter, truth, objectivity…  I am very strange. I am do not planning. I just do inclined self or ask other people.  I have truth for other people.  I’m greeting to other adults.  And I’m extremely obstinate.  I am elementary school grade 4th.  We eat dinner with relation. I said “I want sit here.”  but, mother said, “No.” Finally, I am sit there. This is, I want to do, I do until end. I am uneasiness. I am coward. At saturday, I talk with church sister and friend about scary stories. I don’t like scary. I listen scary stories to other people, so, I don’t close window. My sister day, “You are fool and coward. It’s not scary!” As a result, I hit my sister. But, I’m really thank My sister.

I didn’t give her high marks for organization, but I told her it was a very vivid essay that had almost poetic properties. Which is what I think.
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Caveat: End of Tomorrow

Today was kind of the last official day for School of Tomorrow (language hagwon); as of next week, we become part of LinguaForum officially. We had a long staff meeting that wasn’t entirely pleasant, as we confronted the changes that we face – more classes to teach, completely changed curricula, etc.

Meanwhile, it was hard to get motivated to teach out of the “old” books for one last day – so I had the kids reading a simple little poem by Wallace Stevens, called “The Snow Man.”

The Snow Man

One must have a mind of winter
To regard the frost and the boughs
Of the pine-trees crusted with snow;

And have been cold a long time
To behold the junipers shagged with ice,
The spruces rough in the distant glitter

Of the January sun; and not to think
Of any misery in the sound of the wind,
In the sound of a few leaves,

Which is the sound of the land
Full of the same wind
That is blowing in the same bare place

For the listener, who listens in the snow,
And, nothing himself, beholds
Nothing that is not there and the nothing that is.

 
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