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Pubblicato Venerdì, 03 Agosto 2012 10:40
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da The Disappeared (pordenonelegge, 2016)
Mosses Pave the Way for Spring
It was dark that evening – darkness being
rather sluggish and tranquil – and from it emerged
an old woman wearing a shawl and a long
black skirt. She said if you want to save
your little girl, let her fast
days and nights; you can only
speak of the distance
between here and Paradise.
All that’s left of the woman is the slip of the tongue
between my daughter and my life.
translated by Anatoly Kudryavitsky
da SERIE FOSSILE (Crocetti, 2015)
© – fossil
put one hand here like a white blindfold, close my eyes,
flood the threshold with blessings, after
passing through
the green gold of the iris
like a queenly bee
and – mote
by mote,
of gold and winnowed wheat –
turning me
into your hive of light
a bee constellation wheels around the linden
with inhuman wisdom, a gyration of minds sticking fast
to the honey tree
– it would be reductive to call it love
this necessity of nature –
while a foregone emptiness heals over
without a trace between flower and flower:
use your mouth, ease the golden
stinger from my heart,
the memory of a flash of light that burnt my human form
in some prehistory
where madmen caress stones as if they were children’s heads:
come closer, like the first
among lost things
and that face rises up from stone to smile again
5.24.13
x – metamorphosis
I have saddled my mount, the disc of the sun
rings out like bronze over the countryside,
inspired
by a magnificent ram
– transhumance, time out of time
a chorus of corollas unfurls at dawn, your flower-eye
cracks open, lets its gaze
settle into the golden vein
of the earth, into the world’s joy at being
alive, trodden
by beasts at pasture, which are living
up to life
really I...
as your whole body
worshipped, said yes
as the bronze of your eyes
worshipped, said yes
breach-bloom of wisteria appearing
out of the bitterness of iron
make her happy, black thorn
of wild robinia
make her happy, make her happy, field
of mallow, spread out like a laud
under the blue calm of the mountain:
I serve the animal that worships the sun
*
take care of her, I was told. yes, said I. love her, I was told. yes, said I. never leave her alone, because through your love she loves herself. and I, could no longer answer
imaginary letter
where I was flesh she was ivory
(Pier Paolo Pasolini)
dawn
of tender
flesh, caught
in the exoskeleton of the Law
in the tragic
month of November
everything was weeping
hold me tight, outside
of human bounds
hold me like a mother
in her dreamed embrace
12.22.13
forever forever forever...
I wish you would put on that dress
you bought on a day in July
after saying I love you too
I wish you would put on that dress
for me, one last time,
then, I wish I could melt into the earth
and rest where she rests
8.1.14
the nightingale
a nightingale was here. it shouldn’t have been here, but it was here. and sang so long. I made my little silent song and he made his. who knows who he was singing for, maybe just for the sweetness of singing. no purpose, no victory. with life living up to his song.
that’s it, sweet Alba, I want life to live up to the song. that’s the trouble and that is the good thing.
I dressed you all up in my song of love
I raised you all up, like March grass piercing through
the winter earth, like the bray of a jenny among the fuller’s
teasels, the yellow wing bar
of birds in the sky. your life
answered. your body
answered
my song. then, it went back within the bounds. but the nightingale, out
of time and out of his warm
African land, here, from the heart of the western winter
sings, sings on, sings
1.4.14
garden of original joy
your flesh blossoming like a flame in the green flame of the country
I don’t believe my eyes
I see the golden bronze
of your body coming closer
I don’t believe my eyes
you pull volatile gold
out of your chest that can feel love and you tell me between kisses it’s a miracle
I don’t believe my eyes
all the grass and the whole scent of the countryside are awe
this bread left in the grass is awe and awe is the bottle foaming over the flowers
don’t wipe your mouth
your beauty has no barriers
my blood contains space without dominion, and from the center of all life spills an embrace big as the world
I already told you
back in the city, remember? look, the world is so big, it’s your love that has made room for itself
half-naked, towel over your shoulder
you walk
with flesh reborn out of my kisses
with the feet of a child
you climb the stairs,
you climb up to feel where the soul of a living creature begins
in the crucial place
there is a vast silence
and a buzzing of mosquitos
the gold of your lips
the white fluttering of your blood
out of the beloved body rises
a glow that pours out,
your whole body making a sound of sea
how your heart beats
and in my blood the same light shines
now and then we laugh at my anguish
that no bigger words exist
if I could open my chest, remember?
I can make up the words
I can make up the whole world
to make you happy
then, I let you go like you wanted
don’t go, I said, I miss
what I am with you, this ample
thing, this sun-filled space that becomes what’s good for you
it wasn’t the muscle alone that suffered, the whole area
around it ached
and the silence scraped like a rasp and completed the spontaneous work of pain
which echo, what moon, what soil, what crater, which
among the high stars of the night that lit up your mouth still
happy with love, what pitying planet
was moved to compassion? what was merciful?
your ancestral body has released its astral body
dawn hovering over mortal things when they awake
as if they did not have to die
this is what i know of love: the wounds that take years to turn back
into flesh that still wants to be blessed with kisses, never leave her alone
9.7.14
from GARDEN OF JOY (in ELLE, performance by Sonia Bergamasco)
I wanted to write about joy
the scent of your breath in the heart
of summer
the mere nip
of your teeth right at the edge
the moonlight
casts the white glow of stars
into the puddles
*
in the morning above all
you blazed up in the light
like water cast on embers
your voice was naked as water
*
you let
everything
into the living
dough of your body
the vault full of stars and the muzzles
of beasts echoed
in your mother-yeast
you were happy
*
look at me
I am the path for the gold of galaxies
I am bread set down
at your feet
after the first harvest of creation
*
I sing of the slight wind we do not feel that blows
in the distance between stars
I sing of our banner
snapping in the thick of the Roman mint
I sing of the leaf bed
and the glossed shell of the water lily
and I sing of the raw gold of your eyes
simple and transparent as a yes
*
the simple shadow of the body in love
the swaying
pendants at the throat
and the enamel of teeth
sparkles, naked
your tongue
planting itself pale between dark lips
*
with hair as black as wheat, straining
towards inflorescence
like the agave, you stood so much taller
than yourself, taller
than your own life
*
we have mulched the earth with the salt of bodies
the cinnabar of the sky mixed with the oil in the puddles and the gold of the light on your lip
your body on the fluorescent grass of morning
the bedroom flooded by a phloem of light
and the vortex in the drapery, bright green over pale wood
drink this gold that has no way to die
29 July 2014
traduzione di Johanna Bishop
da La macchina responsabile (Crocetti, 2007)
FROM THE EXPOSED WORLD
Love is the health of the monkey.
The eyes of the saint donkey marked by seeing
the quiet rust of the cisterns.
Wind that sharpens the grass, the ultraviolet chalice,
of the evening as a radiant latitude.
Or the sea and the afternoons
composed by the nymphal sheath of the cicada.
Prove me your happiness
in the carcass of the everyday
that you gnaw until there is light, light...
IN THE CRAWLING MONTH
The tremble in the lairs at sunrise
assumes a new macerate majesty
to look into the beauty of the trees
in the sweet days of late October.
The primary ultrasound of the bells in the swoon’s hour
spangled by luminous knots.
We are an extreme azure-blue race
- new appearances erected
towers
receptions
exploded towers
that slowly collapse.
The precipice of a body in time,
purged of houses
in the imminence of a secular paradise.
Inside monstrances of snow
I found the faces of the soldiers, black hosts
- scales
- hearts
of grubs,
poor hearts soaked with matter.
A dark ruminating under layers of snow.
THE WIND IN THE SEA IS A BEING MADE OF SCALES ARRANGED TO MASSACRE
The wind – a being of scales that assaults us,
straightens the bares of the hill body
harvested;
a balance of placid verdigris, a lament, the scented mills of underground
sources
the firm peace of the auburn water, the victim of the
heat
that declares his love for enigmas and condition us.
The volatile rank of the cars of iron and flesh
Is a breeding ground of latent returns
water removed from the terrace and from the wheat fields
drowned
sanctuaries
inebriated of wind and glory
of the solstice
bare and thundering
observatory full of euphoria and chill.
FROM THE RAVINE OF BABI-YAR
But suddenly I wanted
to live to live
in the human infection. How?
escaping if she remains here – but I went back
erased in me
erased in the specific human characteristic
of laughing. They
burned forced
to watch newborn babies becoming ash (the own
musculature and the other, the saliva and the breath
of the others) and the salty smell of disheveled hair swept away
by the burn. Look at the torch of his forehead where you
laid down the other half of your kisses. So
they could not separate the body of my brother from her arms
as tight as
she held it, I keep on thinking from which vice my salvation
will come.
A sea of people and sorrow.
Even the trees laid on the ground for the sorrow.
In the phosphorous grey of the heap of stones two
as compromised dummies.
It was not
the bullets
of the drunken soldiers to kill
ha ieled shelì, it was the weight
of my hug under the weight of the bodies.
And then the shots again. And the golden teeth were torn away
from the mouth of the dead.
The glance of my mother
was frightening – under her was a sea of bodies covered
in the soul – I
remained silent
as black mud. What
could emerge from the bottom of the ravine but this
unhealable
fault.
SAID BY SIMBOLS
The dear guide
lost in country of Northern
Europe. The language
of the passer-bys is extremely
strange. So I don’t mourn enough in the dream
my mother:
snow that I have never seen is her death and the house
is flooded and incurable, the pots
are no longer hers, they are
others: not
mine, therefore, because I’m the universal
heir and the house is a great place
full of strangers
who enter the body
that has not yet
ended up between those shiny doors of pale blue glass,
but hospitable
only.
MAYBE IT WAS THE AGE, THE CIRCOMSTANCE
My hands are covered by white stains as the bark
of the tree bent by a strange sadness.
It’s a pale blue round
the radiance of the fourmotors on the void
of the face placed like a stone
with the rifle on its side, the body like a big
seed cracked by the tree
in the swallowing of the ground.
The position of the bodies interest us
when they are no longer responsible:
as we are grub fished out
picked up with pieces of newspaper
from the tracks – and the body regrets
towering over
at the mercy of cloudy elements with the rosary
put in the pocket
by the mothers on the earth
fairly attached at the bone
in intermittent contact
with another big
body and the sweet agony of not being human beings.
Don’t worry, take care of your money, forgive
this earth with its language, with the happiness
of an angel like a scale at the centre of the breast that
nullifies the characteristics and the grass
slides from the palms.
The body is at the same time springboard and rag
of the invisible
relationship
of proportion between crime and punishment. It remains in memory of
this sorrow
between the excess of the woods
the rapid meridian ellipsis
of mineral magma
with clasped hands. The shoes wax of the soldier
marks the arsenal of nature
it’s sadness that he bears, the desperate
human load of this frightening and mute earth.
I DID NOT GO IN THE WATER WITH DIFFICULTY
The indifference of the mimosas similar to a project of the swallows and sea
in the mullioned window of the under port – the steel
of the containers at the beginning of the aerial bridge
on bodies as the arch of the new moon. I felt
alone
at the most a man, so I wanted your body without resistance
as the bread broken by Christ.
The milestone experience of the pines
- the drills, the brooms at the base of the trellis
isolated in the glass
and covered by lime.
The countryside that touches the sky and the sea as an infinite
gratitude
as your steps before the sin.
Inhale the air and the fading particles,
for all eternity with explosion of light
ammoniacal:
the toxic mold
of Tuthankamon, the egg shape of the skull filled with not resin,
golden rings on the knees where the bone begins
to react to the dorsal bend without ever resisting.
His voice was calm and truthful,
a love shed
the hemorrhagic reaction of a human material.
The bones show sign of healing now
they appear
sick with gratitude.
traduzione di Barry Callaghan
FIVE MOTHERS
The lymph system of the dead is traced on roses
the flames still corkscrewed around
the cinch of nerves and flitting helixes
of hair: Homeric poses of matter
half-alive. Buried deep
above the earth (chorus: the earth), if they have
any mercy they will seem fallen
into a simple-minded sleep
like a huge repast
of human flesh, they will seem to mingle in a dazed
resignation (chorus:- their flesh
- their gaze
with the smoldering mud of Gernika)
Slumbering mud, a document left blank – objects
devoid
of boundaries with the ground.
Her whole self
is a gorge of blood that sags
from the mouth of her son (chorus: Son!), your name
was the glory of my mouth, it sprang from the white gleam
of incisors, at dusk it would go rolling through the arches
each of its vowels like pearls scattered into the peace of dawn
so that with the first breath of the morning
a smile would bud up
from my breast in saying you.
Her mouth was twisted open like
the silence of a star.
This is what you people have done.
(chorus: this is what you people have done)
Like a bridal veil, the garland
of larvae
laid by flies on a head so utterly made
for life that quivers
in the wind mimicking the leaves like yellow traffic lights
along Calle San Miguel.
And every body stoops down to the earth, every body bends
just so
towards them and thrusts – thrusts
their arms down under
the earth, with the pitiful swarm of the living. Come Rosa,
come Pablo, Maria, Alejandro, Carmen, I
see
your white columns of meditation, I see your white dreams
I see the bicycles the lanterns the framework of it all
I remember and remember
tomorrow, the date
of your wedding,
and the brazen ribbons like dragons’ tongues snapping and fluttering
as the car carried you south: tomorrow.
Hasta luego.
A forestgrown wood and your tongue
is like a great sea creature too drained
to fight the current. You linger
like a maceration
like a stain of the invisible
in the calm disaster of this round world
and among celestial muscles like a baited hook you dangle
the acrobat’s rope, the green cable, the posthumous flamethrower
of this earthbound tongue.
I thought it was his breath
that came foaming out of his mouth, but maybe
he was not at peace with his soul he was
tattered from a stern reprimand
of disenchantment
like fire at the foot of the cross.
I see them
smiling and saying come on
Maria, come and get us, I hear
all this rustling
of children and feel the stab of knowing they aren’t home, I see them
like ropes of fire
or they caress my lashes
wordless, for lack of themselves as language.
Do not tread on the face of my son for he
has yet to know the world.
I was shrouded in the bleakness of a tree with no control
over the splintering of its limbs, that never mends
after the bloody pruning
and does not move on. I feel it in my heart, so deeply stained
with the raw wine of his body and know that from the cross of his body
the birds will flit down one by one.
To me you are an angel and a rose.
On earth hoed and contemplated
with the phenomenal slowness of natural labour
here are my first kisses from the shores of after.
traduzione di Johanna Bishop
THE EMPTY ISLAND
I – the sea
The Tyrrhenian is a cage of salt
an infirm cadaver
to trace
with the impassive sleep of an animal.
The deformation of boulders
broken loins of enormous fleeting phenomena
on the coasts
animals disposed toward calm.
The saints stood like cormorants
- with their beaks tied
to the joints of the sea
they lead the way for caravans.
The watershed of the savories
the inclined aviary of the mistral – withered
one by one the tufts of the wings, just short of a forest of saline origin.
The Aeolian peace of the cliffs, widespread
horns of war
on top of the clay in peace and quiet like sanctuaries
and mines of saline silver
merchant ships in the bunker of the ploughing
II – the earth
An immense shroud on the bass drum of the sea
where the inanimate
operates
and the sea flares up toward the unleavened white
of the human herd that imitates the burning heat of seagulls and the flock
Cows
the color of wheat
in the melancholy sun – a wild field
of the sweetest milk.
Beaches opened up by an age-old mourning, broken down
on the earth
not completed by the deserted tolling of the sun and full of bellows.
She can only be a saint because the island is empty
the earth without sight
without a candle of animals
and in the globe of dawn vibrates the unhappy ax
of the pulse
down to the bone of the tree. A cross
of silence bursts forth
in the sacred choir
- in the profit
of extinct herbs that taste of craters
MARIA, THE APPARITIONS
I dream of them, they call me, I see them
smiling at me and saying come
Maria, come and get us, I feel all this movement of children and I feel bad that instead I am not
at home, I see them at home like cords of fire with the fillings of the dead
in the coagulations of blood
or they caress my eyelashes
mute, lacking themselves as language
TEN THOUSAND CIVILIANS (*)
I. Sant’Anna, August 12, 1944
We knew the young man
with the cross pendant
and the picture of a saint
it was put ahead
in the light like before closing your eyes after the descent
of the sun that leaves the soil with grass and flesh
frying and the beasts everywhere
divided
by hands still bolted to protect
his face from the machine-gun and the person writhed
in all the directions of the slaughter
They would round up children like grains of sand and like sand that obeys the wind they were mute. They
did not defend themselves: they composed inanimate dunes, they composed things
bent toward the wind
on the churchyard, they only clutched their photos to themselves so that later
someone could give the right name
to the body that each one had used while alive. We buried Maria
inside the box her doll came in.
Some of those who gave orders
spoke in the dialect of our part of the country and in fact
they wore colored bandages on their faces out of shame
that their faces would be visible to the amazement of the dead.
Then there’s the fetus placed
on the table under the eyes
of the sitting mother
she spreads a final silence
from her open belly
she stares in a stupor
at the tiny trajectory of the bullet
from one side to the other between the tiny temples.
II. Marzabotto, September 29, 1944
We went out after the silence came
from the woods under the peak of Monte Sole and we learned
that pigs eat our flesh: my nephew
was under the tent and my father
a poor thing badly placed on others
set in two
sides straddling
a windowsill, black
dolphins beached
on a cliff and of the last one
there remained the bonnet under his mouth, of fire.
At the first explosion we learned still
that they had mined the bodies
so that the dead would kill the living
who came out of the forests to reassemble them, to undo
clinging hands
one to the other like little moorings in the dark inlet of death
so that each one among the dead would return alone
and each one of the living
could name that loneliness
like the loneliness of a far away relative,
could press on that loneliness his mouth, on those hands
of powder and outstretched coral
as in the days of sunshine
when everything was near resemblance.
And so they all bent down, they kept
their heads down
over a number bigger than each body.
(*) During the retreat the Nazi-Fascists massacred about ten thousand civilians, including the elderly, women and children.
GHAZAL OF SHIRAZ'S WOMAN
(transcriptions of Hafez)
1.
For her yes – if she
were to deign to welcome
in the cool cavity of her palms the
black pearl of combustion of my heart
for the black trifle
on her cheek I
would hand over the tombs
of the fathers at Samarcand and the mosques of Bukhara.
2.
Empty out the clay loins of the amphoras
in the supported cups, dear
friend, sit
near me and let’s watch
until dazing
the oasis, the falling of all the leaves
to the gunshots of the wind and still like
from the streaming of these
earthly waters, from the white gravel the birds rise up
toward the night because for everything
that falls another
lifts up but nothing
of this beauty
no more justice
will follow her
in the incomprehensible enormity of the heavens.
3.
Oh, how many!
sweet and playful and vagabond kids
make tempests in the live waters
of my heart and reap like barbarians
king of light the harvest of the banquet tables
of the capital
that holds out his medieval gold among the cedars and the olive trees.
traduzione di Berenice Cocciolillo
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