Swedish Trees – a conceptual floræ. / Extracts of fruit:

Freke Räihä

To Olof Eneroth.

Preface:

The Swedish trees form; a primary, physical grandeur and air; to glucose: chains, complexes, lignin and resined substances. The tree contains for example: 6% hydrogen, a pinch of nitrogen and mineralsubstances. (50% coal and 43% oxygen). Like it was made for fire. I use the metaphase on myself, I'm on fire and I'm hearing the echoes of the centuries around us. The I is the key: ctrl:ed. You and we form appendix with them. The referencelist is formed of 8 Mb/s and an adult life's collected. Here we are actually, about that I am not alone, even though the words are mine alone and private;

Chap. 2 § 18, so, by Constitution, is the foot and eye/ear, but not the hand allowed in nature, regardless of the perceived private ownership. As an individual you may, for example, not get lost over somebody else's wealth. However, ownership gives the right hand right. Right-by-law. Anyone who prevents the owner's hand, thus its economic interests, industry, will be struck down with an axe. Here, there is talk of criminal liability and prohibited conduct. It is not entirely relevant if property per se exists. Ownership is not an arbitrary act. But it has happened. "Isolated leaves from trees, [ ... ] wild berries, acorns, resin and other worthless fruits [ is allowed ]". But "standing trees and other plants" is part of the ownership. Fruit is free and belongs to those who took it; like power, like Sápmi or other circumpolar property. But the law says: you can be as disruptive and/or how uncomfortable you want on someone else's take. But do not disturb and do not destroy. The I follows this direction.





Apple.


Malus domestica – toughened/hard;

tempting resining:

young-, wise- & harvestimage.

app/apple:

a false fruit, like:
the imperialist globe.

Apple, its culture, a mock –

a carving; only (x).
(55 pcs. w/ ssp.).





Sweet cherry.


Prunus avium – the birds.

like a chopboard;

autumnjuice, in arbour shade

in the hammock, in the swing of

and built: like fæces/sweetness
or the strength of  human hand

are you the koan of bane.





Bird cherry.


Prunus padus – hydrocyanic acidish

whose branches take root, bushy:
will be stick

she is healing/soothing:

against Dan Andersson, as well as urine
and fever

active: in the Third Reich – as deathmarch.

forms today, mostly liqueurs

and is treasured for her fragrance
and her pipe.





Plum.


Prunus domestica – A seed.

In Equinox sanctify:

monastery-cultivated;

white/flower to:
gauze-wrapped/purple to: cooked with cinnamon.

to: šljivovica.





Pear.


Pyrus communis –

the (delta): hard to juicy;

Wildthorn.

and with Gorgonzola/walnotes;

whole-brimmed/red-kerneled; in cluster:
pentapetalum.

erratic: in leaf-meadows, in brow &
southerly beach-thickets.

in sugarpots or magic boxes:

Pear is.





Sour Cherry.


Prunus cerasus – spring: the pure ideal.

white-star-flower:

to lipstick-red sarcasm.

Preserves: sure, juices wine:

Morellos on the tongue;

\in your mouth:

became cherries: Lucullus, in everyone.

She shares its well-rock.





European Wild Apple.


Malus sylvestris – gives yellow:

hard/beautiful;

-forest -grow:

"Surapeln ser föraktad ner i vattnet, ser dess gula blad."
H. Martinson (1953 e.v).

leaves: crafting.

leaves: cider.

Shares scents with your grandmother's roses.






Endgame:

"We are after the molecules." The I is just after the molecules. It is only the molecules I'm after, in the you, all of the you:s, in the context -pany; refusal of context; -ual treatment in direct underline. Why, you ask why? Why you ask.

You sit there at your table in your [take]-apartment and keep pressing it in to you, you stand there naked in your bathroom and anoint yourself all over your body. Clogging yourself. The consumption of that is a mess. The myth if the tree is treated with Hägerström. The decomposing frame of today's life, is built from trees. There is wood in everything/everything in wood; woodviscose, woodtoothpaste, woodvarnish/nail-, furniture-, explosives-/pain-/concrete bindings-/colour dividing- fonds, sugars, ethanol, the carbonation; for animal fodder and additives in your food; The industrialization of the inmost private.

The evolutionization. The privatization of industry. We inherit nothing. The absence of vaginas, that the trees grow out of, is palpable, like the marginalization of women. I do not deny that I am inadequate. It is a call-out. A renewable source. Meanwhile the world is burning, language.

translated from the Swedish by Freke Räihä



Read the original in Swedish

Read translator’s note

Freke Räihä has previously published himself in three Swedish collections, some which has been translated into English, and a select number of Swedish magazines; he has also been published in Catalonian and in on-line presses Moria and REDOCHRELiT as well as being the editor of a democratic masspoem project realized in three issues. He has studied creative writing in Skurups Writing school and is now doing the same at Lunds University. He also writes literary criticism in Tidningen Kulturen and runs the personal blog Anatematisk. Freke Räihä is the angriest poet of his generation.


The conceptual flora Swedish Trees was a problem to write in the first place, having to find and learn the usage of old floras, lists, related fiction and nature itself to conjure a translation of the dense language used by dendologists into poetry; the book was then published 2010 with illustrations done by artist Pia Anliot. (Not included but could be, if interest succumbs you.) The author was labeled, by the most influential literary magazine in Sweden, as an innovator of contemporary conceptual poetry. The book's full intention is explained in the prose-poems "Preface" and "Endgame" included in the except. This specific excerpt is a quality (!) of fruit-trees growing in Sweden; as the collection is a poetic list of all of the trees growing in Sweden, their use in modern day life as well as historically and in the traditional myths of pagans and other religions alike. After that I made a translation, with more respect to the poetic form and rhythm than finding the exact word for word; but then again, I wrote the original text – so any transgression against it, I'm to blame, and I don't care to argue with myself.


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