Mostrando entradas con la etiqueta marilyn hacker. Mostrar todas las entradas
Mostrando entradas con la etiqueta marilyn hacker. Mostrar todas las entradas

23 de junio de 2020

Rachida Madani, Primer cuento


Fotografía de Thomas Kakareko
PRIMER CUENTO

I

Qué ciudad y qué noche
cómo se hace de noche sobre la ciudad
cuando una mujer y una estación de tren se disputan
una misma mitad de hombre que se va.
Él es joven, bello,
se va para conseguir un poco de pan blanco.
Ella es joven, bella como un racimo
de primavera
que intenta florecer una última vez
para su hombre que se va.
Pero el tren arriba.
pero la rama se quiebra,
pero de pronto llueve en la estación
en plena primavera.Y el tren surge por todas partes,
silba y atraviesa a la mujer
a lo largo de todo su cuerpo.
Donde la mujer sangra, no habrá más
primavera.
A la noche, en su cabeza, bajo la almohada,
pasan trenes cargados de hombres,
cargados de barro
y todos la atraviesan
a lo largo de todo su cuerpo.
Cuántos inviernos todavía, cuánta nieve,
antes de la primera carta que sangra,
antes del primer bocado de pan blanco?

Traducción de Adam Gai

PREMIER CONTE

I

Quelle ville et quelle nuit
comme il fait nuit sur la ville
quand une femme et une gare se disputent
une même moitié d’homme qui s’en va.
Il est jeune, beau
il s’en va pour un peu de pain blanc.
Elle est jeune, belle comme une grappe
de printemps
qui essaie de fleurir une dernière fois
pour son homme qui s’en va.
Mais le train arrive
mais la branche casse
mais soudain il pleut dans la gare
en plein printemps.
Et il surgit de partout
il siffle puis traverse la femme
de toute sa longueur.
Où la femme saigne, il n’y aura plus jamais
de printemps.
La nuit, dans sa tête, sous l’oreiller
il passe des trains chargés d’hommes
chargés de boue
et tous la traversent dans
toute sa longueur.
Combien d’hivers encore, combien de neiges
avant la première lettre qui saigne,
avant la première bouchée de pain blanc?

de Contes d'une tête tranchée, Les Editions Al-Forkane, 2001
Editions La Différence, 2005


THE FIRST TALE

I

What city and what night
since it’s night in the city
when a woman and a train-station argue over
the same half of a man who is leaving?
He is young, handsome
he is leaving for a piece of white bread.
She is young, beautiful as a springtime
cluster
trying to flower for the last time
for her man who is leaving.
But the train arrives
but the branch breaks
but suddenly it’s raining in the station
in the midst of spring.
And the train emerges from all directions
It whistles and goes right through the woman
the whole length of her.
Where the woman bleeds, there will never be spring
Again.
in the night, in her head, under the pillow
trains pass filled with men
filled with mud
and they all go through her
the whole length of her.
How many winters will pass, how many snowfalls
before the first bleeding letter
before the first mouthful of white bread?

Traducción al inglés de Marilyn Hacker 




Rachida Madani 
(Tangiers, Marruecos, 1951)
POETA/PINTORA/DOCENTE
para leer + en JADALIYYA




22 de noviembre de 2019

Amina Saïd, 2 poemas 2


Fotografía de Yulia Gorodinski
COMO EN OTRA LENGUA

se oculta el secreto de las vocales
signos invisibles que el ojo recrea
yo inauguro la pérdida de un rostro

el ojo es una estrella entre un cielo negro
una lágrima de luz traza su surco
entre la claridad que hará el día
la hoja de los cuerpos cortará el espacio

llevamos el recuerdo de una ribera antigua
la antorcha del tiempo se consume
el ser refugiado en el ser busca su sombra
lenguaje perfecto del silencio

yo me empeño en hacer revivir
el pasado entre mi ojo izquierdo
el ojo derecho que el sol ilumina
se inventa un futuro incierto

yo no concibo la tierra sin el cielo
la luz sin el sacrificio de las tinieblas
el agua sin la sed de las piedras
el poema sin el ser el lugar sin la búsqueda

soy el absoluto del círculo y su tensión
la noche y la iluminación la sombra
y el umbral el fuego y el símbolo del fuego
yo soy mil yo soy una

yo comienzo y me recomienzo
entre el infinito de las metamorfosis
entre el calendario inagotable del tiempo
yo accedo a tu séptimo día
(...)
Je commence et me recommence
dans l'infini des métamorphoses
dans le calendrier inépuisable du temps
j'accède au septième jour de toi

de Métamorphose de l'île et de la vague, Arcantère Editions, París, 1985



AS IN MY OTHER LANGUAGE

the secret vowels hide themselves
invisible signs an eye recaptures
I prepare for the loss of a face
the eye is a star in a black sky
a tear of light traces its furrow
in the brightening that will be day
bodies’ blades slice into space

we bear the memory of an ancient shore
time’s torch consumes itself
one being sheltered in another seeks its shadow
silence’s perfect speech

I apply myself to make the past
live again in my my left eye
the sunlit right eye
invents a dubious future

I don’t imagine earth without sky
light without the sacrifice of darkness
water without the stones’ thirst
an uninhabited poem a place without a quest

I know the circle’s wholeness and its tension
night and illumination the shadow
and the threshold fire and the symbol of fire
I am a thousand I am one

I begin and I begin myself again
an infinity of metamorphoses
on time’s inexhaustible calendar
I mark a seventh day of you

Traducción al inglés de Marilyn Hacker
Black Widow Press, 2011




Fotografía de Yulia Gorodinski
AZALAÏ

hacia ti vengo con el corazón vacío y pleno
de lo que en mi tanto espera
de los infinitos rostros de nuestra tierra
su sol vertical la mañana sobre el mar
sus hombres sus mujeres sus pesadas piedras
sus islas negras sus fuentes sus jardines vivientes desiertos
sus pistas ocre que no se terminan
sus corrientes donde se miran los caballos
su palpitación de arteria sus piraguas
liras curvas sobre la frente de las aguas
amigos hacia nosotros ustedes vinieron
nosotros no lo olvidaremos





Amina Saïd  
(Tunis, Túnez, 1953)
Reside en París desde 1979
POETA/ESCRITORA/PERIODISTA/TRADUCTORA
Traducción al español de Rafael Patiño
para leer + en MUJER DEL MEDITERRÁNEO
y + en BATALLA DE PAPEL


28 de febrero de 2013

Marilyn Hacker, ¿Amaste bien lo que tan rápido dejaste?


Fotografía de Annette Pehrsson


¿AMASTE BIEN LO QUE TAN RÁPIDO DEJASTE?

¿Amaste bien lo que tan rápido dejaste?
Volvé a casa y abrazame y sacame
este dolor de estómago, de cabeza, de corazón.
Nunca alcanza. Nunca fui despojada
completamente. Las noches de invierno a la deriva
oscurecen la ventana. Ni una sola palabra hará
que vos, donde sea que estés, te entregues al día o te despiertes
de tu noche hacia mí. El único regalo
que tuve fue mantener o dar lo llorado,
compuertas para el luto de los muertos
posibilidades, para el fin de ser joven, 
para todo lo que amé y realmente murió
Bebí nuestro único año con sal en vez
de miel de las estaciones de tu lengua.




DID YOU LOVE WELL WHAT VERY SOON YOU LEFT?

Did you love well what very soon you left?
Come home and take me in your arms and take
away this stomach ache, headache, heartache.
Never so full, I never was bereft
so utterly. The winter evenings drift
dark to the window. Not one word will make
you, where you are, turn in your day, or wake
from your night toward me. The only gift
I got to keep or give is what I’ve cried,
floodgates let down to mourning for the dead
chances, for the end of being young,
for everyone I loved who really died.
I drank our one year out in brine instead
of honey from the seasons of your tongue.




Marilyn Hacker 
(Bronx, New York, EE.UU., 1942)
POETA/TRADUCTORA/CRÍTICA LITERARIA
de Love, Death, and the Changing of the Seasons
W. W. Norton Company, 1986
Traducción de Noelia Palma
Propuesta de traducción de Emma Gunst
para leer MÁS

11 de octubre de 2011

Marilyn Hacker, Cinco comidas


Fotografía de Marc Lagrange, extraída del blog Found in the Attic



CINCO COMIDAS

“A table means does it not my dear it means a whole steadiness”
GERTRUDE STEIN: Tender Buttons

Fetas de jamón, paté, salchicha, sobre hojas de lechuga;
coliflor, trozo de pato en salsa de vino
amarronada; lechuga, repollo crudo, vinagre y aceite;
un cuadrado de torta de nuez con escarcha de moca;
Camembert en una hoja verde, pancito duro, manteca;
media botella de champagne, café negro.

Medialunas, manteca, jugo de naranja, café.
Beaujolais versus St. Emilion. Hojas ganchudas
con queso de oveja rallado; caracoles en manteca de ajo;
lechoncito rostizado crujiendo en jugo; vino tinto
en una jarra de vidrio; mousse de chocolate. Aliento que empaña
el vaso en tu mano. Brandy en la cama. El aceite

costó caro, en botellones. Sin aceite
comimos endivias, queso de cabra. No hay café-para-llevar
en París. La crème fraîche, en picos como escarcha;
hojas verdes como plumas, ahuecadas, te sirvieron de cuchara
con las piernas cruzadas en la cama. Descorchamos un vino
con mi navaja Suiza. Entre crema ácida y manteca:

chupo dedos de crema. El cubo de manteca dorado a la hoja
que diseñaste, entre etiquetas de mermelada, en óleo
pastel. Las lenguas se suavizan en el vino tinto, joven y áspero.
El borde marrón del dibujo es un arroyo de café.
Guardás una mandarina con dos largas hojas curvas
que la engloban. Chocolate oscuro, como escarcha que rebalsa
fuera del bol. A la mañana, el rocío empaña
los cristales planos. Medialunas, tostadas y manteca.
Todavía tenemos sueño, pero no dejamos
ni una miga. Aprieto tu cachete aduraznado; aceite caliente
mana de la fuente mientras el primer café con leche
se vierte copioso. No tenés crayones para los colores

del vino. Podríamos beber sólo vino blanco
pero es demasiado frío. Los charcos de lluvia se escarchan,
congelados. Planeamos excursiones con más café.
Doblás las etiquetas de la jalea de grosella y de la
manteca. En Florencia habrá aceite de oliva
barato, en latas barrocas. Nuestro tren parte

a las siete. Dejo nuestro vino de Año Nuevo
escarcharse en la cocina. Arcoiris de aceite
se arremolinan en aromas cálidos: pan fresco con manteca, café fuerte.



FIVE MEALS

“A table means does it not my dear it means a whole steadiness”
GERTRUDE STEIN: Tender Buttons

Slices of ham, pâté, sausage, on lettuce leaves;
cauliflower, wedge of duck in a browned wine
sauce; lettuce, raw cabbage, vinegar and oil;
a square of walnut cake with mocha frosting;
Camembert in green foil, hard roll, butter;
a half-bottle of champagne, black coffee.

Croissants, butter, orange juice, coffee.
Beaujolais versus St. Emilion. Bibb leaves
with grated sheep’s cheese; snails in garlic butter;
roast suckling pig crackling in juice; red wine
in a glass pitcher; chocolate mousse. Breath frosting
the glass in your hand. Brandy in bed. Oil

cost a lot, in huge bottles. Without oil
we ate endive, goat cheese. No coffee
take-outs in Paris. The crème fraîche, peaked like frosting,
you scooped up with moon-green feather-shaped leaves
cross-legged on the bed. We uncorked wine
with my Swiss knife. Between sour cream and butter:

I lick fingers of cream. The gold-foiled butter
cube you’ve shaped, between jam labels, in oil
crayons. Tongues are smoothed by rough young red wine.
The drawing’s edge is a brown stream of coffee.
You save one tangerine with two long leaves
curling the globe. Dark chocolate, like torte frosting
out of the bowl. Morning, cold rain frosting
the cubed panes. Croissants, tartines and butter.
We’re still sleepy, but neither of us leaves
a crust. I stroke your peach-furred cheek; hot oil
wells from the source as the first milk coffee
pours down. You have no crayons for the wine

colors. We could only drink white wine
but it’s too cold. The rain puddles are frosting
over. We plan excursions with more coffee.
You fold the currant jelly and the butter
labels. In Florence there’ll be olive oil
cheap, in baroque tins. Our train leaves

at seven. I leave our New Year’s wine
frosting in the kitchen. Rainbows of oil
swirl on warm smells: buttered fresh bead, strong coffee.






Marilyn Hacker 
(Bronx, New York, EE.UU., 1942)
POETA/TRADUCTORA/CRÍTICA LITERARIA
Traducción de Florencia Fragasso
para leer más en: OTRO PÁRAMO
y MÁS
extraído de ARAUCARIAS EN LA CIUDAD 

17 de julio de 2011

Marilyn Hacker, Coda (fragmento)


Fotografía de Egor Shapovalov

CODA

(...) ¿Amaste de verdad lo que tan pronto has dejado?
Vuelve a casa, abrázame y disipa
este dolor de estómago, de cabeza, de corazón.
Nunca tanto, nunca había estado
tan desconsolada. Las noches de invierno oscurecen
la ventana. Ningún trabajo hará
que, donde estés, te acuestes de día o te despiertes
de noche por mí. El único regalo
que conservo o puedo dar es lo que he llorado,
las esclusas han liberado el llanto por las oportunidades
perdidas, por el fin de la juventud,
por todos los que amé y que en verdad han muerto.
Bebí nuestro año convertido en salmuera en vez
de miel de las estaciones de tu lengua.



CODA

Maybe it was jet lag, maybe not,
but I was smoking in the kitchen: six,
barely, still dark: beyond the panes, a mix
of summer storm and autumn wind. I got
back to you; have I got you back? What
warmed me wasn’t coffee, it was our
revivified combustion. In an hour,
gray morning, but I’d gone back to my spot
beside you, sleeping, where we’d stayed awake
past exhaustion, talking, after, through
the weeks apart, divergent times and faces.
I fell asleep, skin to warm skin, at daybreak.
Your breasts, thighs, shoulders, mouth, voice, are the places
I live, whether or not I live with you.

Fog hid the road. The wipers shoved back torrents
across the windshield. You, on knife-edge, kept
driving. Iva, in the back seat, wept
histrionically. The crosscurrents
shivered like heat-lightning into the parent’s
shotgun seat. I shut up, inadept
at deflecting them. A Buick crept
ahead at twenty-five an hour. “Why aren’t
we passing him? My Coke spilled. The seat’s wet.
You guys keep whispering so I can’t hear.”
“Sit in the front with us, then.”
“No! I’ll get
too hot. Is the fan on? What time is it?
What time will it be when we get there?”
Time to be somewhere else than where we are.

“What do we have? I guess we still don’t know.”
I was afraid to say, you made me feel
my sectioned heart, quiescent loins, and spill
past boundaries the way blackberry-brambles grow
up those tenacious hills I left for you.
Their gritty fruit’s ripe now, but oceans still
separate us, waves opaque as oatmeal,
miles of fog roiling between your pillow
and mine while you say your best: sometimes, she’s where
your compass points, despite you, though a meal
with me, or talk, is good . . . Where our starfire
translated depths, low fog won’t let you steer
by sight. The needle fingers one desire,
and no other direction can compel.

If no other direction can compel
me upward from the dark-before-the-dawn
descending spiral, I drop like a stone
flung into some scummed-over stagnant well.
The same momentum with which once we fell
across each other’s skies, meteors drawn
by lodestones taproots clutched in unmapped ground
propels me toward some amphibious hell
where kissing’s finished, and I tell, tell, tell
reasons as thick and sticky as frogspawn:
had I done this, that wouldn’t have come undone.
The wolf of wolf’s hour cried at once too often
picks out enfeebled stragglers by the smell
of pond scum drying on them in the sun.

I miss you more than when I was in France
and thought I’d soon be done with missing you.
I miss what we’d have made past making do,
haft meshing weft as autumn days advance,
transliterating variegated strands
of silk, hemp, ribbon, flax, into some new
texture. I missed out on misconstrued
misgivings; did I miss my cue; boat? Chanc-
es are, the answer’s missing too. At risk
again, sleep and digestion, while I seize on
pricklier strands, crushed to exude the reason
I can’t expect you’ll ring up from your desk,
calling me Emer, like Cuchulain’s queen,
to say, we need bread and some salad greens.

On your birthday, I reread Meredith,
whose life’s mean truths inform, tonight, his text
so generously framed. There’ll be the next
night, and the next, cold gaps. I’d have been with
you now, lover and friend, across the width
of some candle-lit table as we mixed
habit and hope in toasts. Instead, perplexed
by separation like a monolith
bulked in the rooms and hours I thought would be
ours, I practice insensibility.
We crossed four miles, three thousand. You diminish
now, on a fogged horizon, far away.
Your twenty-fifth was our first class Tuesday
—will one year bracket us from start to finish?

Will one year bracket us from start to finish,
who, in an evening’s gallant banter, made
plans for new voyages to span decades
of love and work around a world we’d win? Wish
was overgrown with fears; voyages vanish
with empty wine bottles and summer’s paid
bills. Lengthens the legendary blade
between us: silence; hope I hope to banish;
doubt, till I almost doubt what happened, did.
Chicken from Zabar’s warms, and frozen spinach
simmers, while Iva writes a school essay:
“Both Sides: Everything has an opposite . . .”
sucking her inky fingers and her braid,
and I read Meredith, on your birthday.

“Why did Ray leave her pipe tobacco here
in the fridge?” Iva asks me while we’re
rummaging for mustard and soy sauce
to mix with wine and baste the lamb. “Because
cold keeps it fresh.” That isn’t what she means
we both know. I’ve explained, there were no scenes
or fights, really. We needed time to clear
the air, and think. What she was asking, was,
“Why did Ray leave
her stuff if she’s not coming back?” She leans
to extremes, as I might well. String beans
to be sautéed with garlic; then I’ll toss
the salad; then we’ll eat. (Like menopause
it comes in flashes, more or less severe:
why did you leave?)

“Now that you know you can, the city’s full
of girls—just notice them! It’s not like pull-
ing teeth to flirt,” she said, “or make a date.”
It’s quite like pulling teeth to masturbate
(I didn’t say), and so I don’t. My nice
dreams are worse than nightmares. As my eyes
open, I know I am; that instant, feel
you with me, on me, in me, and you’re not.
Now that you know
you don’t know, fantasies are more like lies.
They don’t fit when I try them on for size.
I guess I can, but can’t imagine what
I’d do, with whom, tonight. It’s much too late
or soon, so what’s yours stays yours. It has until
now. That, you know.

Who would divorce her lover with a phone
call? You did. Like that, it’s finished, done—
or is for you. I’m left with closets of
grief (you moved out your things next day). I love
you. I want to make the phone call this
time, say, pack your axe, cab uptown, kiss
me, lots. I’ll run a bubble bath; we’ll sing
in the tub. We worked for love, loved it. Don’t sling
that out with Friday’s beer cans, or file-card it
in a drawer of anecdotes: “My Last
Six Girlfriends: How a Girl Acquires a Past.”
I’ve got “What Becomes of the Broken-Hearted”
run on a loop, unwanted leitmotif.
Lust, light, love, life all tumbled into grief.
You closed us off like a parenthesis
and left me knowing just enough to miss.

“Anyone who (I did) ran down Broadway
screaming, or dropped in Bryant Park in a faint
similarly provoked, will sniff a taint
of self-aggrandizement in the assured way
you say: so be it; then she cut the cord; hey,
the young are like that. Put yourself on main-
tenance, stoically, without more complaint?
Grown-ups, at least, will not rush to applaud. They
won’t believe you.” And he downed his Negroni.
Who wants to know how loss and sorrow hit
me daily in the chest, how like a stone
this bread tastes? Even though lunch is on me,
he doesn’t. Home alone is home, alone.
(I’d reach for Nightwood, but she “borrowed” it.)

Did you love well what very soon you left?
Come home and take me in your arms and take
away this stomach ache, headache, heartache.
Never so full, I never was bereft
so utterly. The winter evenings drift
dark to the window. Not one word will make
you, where you are, turn in your day, or wake
from your night toward me. The only gift
I got to keep or give is what I’ve cried,
floodgates let down to mourning for the dead
chances, for the end of being young,
for everyone I loved who really died.
I drank our one year out in brine instead
of honey from the seasons of your tongue.



Marilyn Hacker 
(Bronx, New York, EE.UU., 1942)
POETA/TRADUCTORA/CRÍTICA LITERARIA
de  Love, Death, and the Changing of the Seasons, 
New York, Arbor House, 1986
para leer MÁS
Related Posts Plugin for WordPress, Blogger...