Wednesday, August 18, 2010

music, sound, silence...

the five bowers are bowing. i go home through warm woods
where the earth is springy under my feet
curl up like someone still unborn, sleep, roll on
so weightlessly into the future, suddenly understand
that plants are thinking.

tomas transtomer,
excerpt from the poem schubertiana,
from parabola magazine, 1980

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Tuesday, November 03, 2009

when poets were like baseball players too...

gabrieldannunzio

a few weeks ago, i posted the artwork for a frank lloyd wright bubble gum card that was part of a set of famous americans from the early 1960's. a few days ago i remembered another bubble gum card anomaly... this 1934 "sky birds" bubble gum card of gabriel d'annunzio, pictured as a famous aviator, but on the back also referred to as the "poet flyer".

to the best of my knowledge, like wright the architect, d'annunzio was the only poet to appear on a bubble gum card.

when i discovered the card, years ago, i thought the poet simply shared a name with a famous WWI italian fighter, but d'annunzio seems to have led quite a complex life. the back of his short story collection "nocturne and five tales of love and death", tells the reader he was "flamboyant, unquestionably brave, eloquent, seductive - an inspirer and leader of men, astonishingly successful with women" (not exactly the usual bio of a poet born in 1863 and published by academic and university presses...).

i first came upon his work in the mid-1980's through the marlboro press, who published the short story collection mentioned above, as well as many great works in translation. it was through marlboro that i discovered writers like hermann broch and hans fallada. d'annunzio's short stories were great, but i remember having a deeper relationship with his dark novel of failed love, "the triumph of death".

according to the backs of both books, d'annunzio's work was championed by a number of great writers, including james joyce, eugenio montale, andre malraux, and paul valery, which probably means one could also add the phrase "writer's writer" to his already swollen biography.

here's a large fragment of a one of d'annunzio's longer poems, that i particularly like because of its relationship to listening and nature sounds...:

hush. on the edges
of the woods i can't
hear words
you say, human words;
but i hear newer words,
that drops of water and leaves speak
far away.
listen. it's raining
from the scattering clouds.
it's raining on the
brackish, burnt-up tamarisks,
it's raining on the
scaly, bristling pines,
it's raining on the divine
myrtles,
on the broom trees gleaming
with their clumps of flowers,
on the matty junipers
and their sweet-smelling pips,
it's raining on our sylvan
faces,
it's raining on our bare
hands,
on our thin
clothes,
on the fresh thoughts
which the mind uncovers
in her new freshness,
on the lovely fable
that yesterday
enchanted you, and today enchants me,

can you hear? the rain is falling
on the solitary
greenness
with a crackling that hangs
and varies in the air
with the thickness and the sparseness
of the greening.
listen. in reply
to the crying, the song of
cicadas
which the south-wind crying
cannot frighten;
nor can the ashy sky.
and the pine tree
has its sound, and the myrtle
has its sound, the juniper has
still another, diverse
instruments
under fingers without number.
and we
are immersed in forest
spirit,
living of wood livingness;
and your longing face
is wet with rain
like a leaf,
and your hair
smells like
shining broom flowers,
o earthly creature
name
hermione.

listen, listen. the chord
of airy cicadas
little by little
hushes
under the growing cry;
but now a song mixes in,
more raucous
than what rises from below,
from wet, distant shade.
hollower and hoarser
it grows weak, it dies.
alone one note
still trembles, dies,
rises, trembles, dies.
the voice of the sea cannot be heard.
and now on all the leafy branches
is heard to stream in torrents
the silver rain
that cleans,
the vast outpouring that varies
the thickness
and the sparseness
of the greening.
listen.
air's daughter
is silent; but the distant daughter
of the mud,
the frog,
is singing from the deepest shadows,
who knows where, who knows where!
and it's raining on your lashes,
hermione.

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Friday, August 07, 2009

the stars...

when night falls
i stand on the steps and listen;
the stars romance in the garden
and i stand in darkness.
listen, a star fell with a ring!
do not walk on the grass in your bare feet;
my garden is filled with star splinters.

edith södergran, 1916

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Thursday, January 01, 2009

to begin anew...

odilon redon, la budha, 1906-07

initiation:

Whoever you are, go out into the evening,
leaving your room, of which you know each bit;
your house the last before the infinite,
whoever you are.
Then with your eyes that wearily
scarce lift themselves from the worn-out doorstone
slowly you raise a shadowy black tree
and fix it on the sky: slender, alone.
And you have made the world (and it shall grow
and ripen as a word, unspoken, still).
when you have grasped its meaning with your will,
then tenderly your eyes will let it go...

for some unknown reason i never realized that my single favorite work of art and my single favorite poem fit so nicely together. strange that someone who tends to so easily find connections between things that seldom make sense together, has taken so long to connect these two very connected trees that i mentally walk past every day.

the drawing is a pastel by odilon redon from 1906-07 called "la budha", the text is a poem by rilke called "eingang", here the translation by c.f. macintyre, and curiously rilke's poem is from nearly the same period as redon's drawing - the poem from a group written between 1900 and 1908. on rilke's poem macintyre says "it is with the eyes of the mind that the more real world of the seer is observed." a line that could easily serve both the poem and the drawing...

on this new years day, i would suggest everyone follow rilke and redon's cues, and go outside and ponder the form of a tree or two and begin to build a world inside yourself, "(and it shall grow and ripen as a word, unspoken, still)." begin the year with open eyes, open ears, and gentle hands... to accept all that 2009 will offer you.

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Friday, December 19, 2008

two halves of life...

holderlin's halfte des lebensholderlin's the half of life

the original german and english translation of friedrich holderlin's poem - halfte des lebens / the half of life, from "some poems by friedrich holderlin, published by new directions in 1943, and translation by frederic prokosch. this copy belonged to a poet who underlined and re-translated or corrected several of the poems, such as this one.

in the german original he circled the word "wo", which i'm guessing from the translation means "where". the strange thing is that the word "und" which means "and" is actually missing from the english, but that word is not circled.

as the english poem begins with the word laden, the english version of this particular poem is also laden, but with corrections rather than pears. in the third line the word "lies" is crossed out, and indeed it seems it does not exist in the german original, but was added by the translator.

in the fourth line the word "beautiful" is crossed out, but in german it says "ihr holden schwane", which google translate tells me means:"sweet her swans". next he moves the word "you" down from line five to six, and the words "in the" down from line six to line seven. in line seven, he also crosses out the words "saintly sobering", and ignores the german "ins heilignuchterne" completely.(which google translates as "into heilignuchterne").

in the bottom half he also makes a number of changes, most interesting is the repairing of the line "the light of the sun" back to the original form in german of "sonnenschein" which i assume means sunlight or sunshine; and lastly the deletion of the word "banners" and replacing it with the words "weather vanes" - which clatter more than banners anyways.

in all of this it's quite wonderful to see the original german, and to be able to compare it to the final printed translation, and then to see the poet reading and thinking and shifting things one more level to bring them closer to the german orginal's intentions - as if things had gotten lost in the first translation and found in the second...

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