These poems by Quebecois luminary Normand de Bellefeuille take the swelling rhythm of the sea as their guide. Translator Hilary Clark skillfully brings out the crash of waves beneath the verse, and this pulse of continuity is used to mirror the throbs of pain—and the bursts of poetry that spring from it. The tension between pain in life and the recording of pain is brought to the surface—a surface that is both the broil of the sea and the page, which covers and gives evidence to the drownedness of silence and the forgotten excesses of speech and sexuality that the poem can only trace. The impossibility of poetry to reify the body in pain is a hopeful one, though: as the poems give evidence of the subject, distilled, the inability to ever truly capture the depths of the body becomes the poem’s “inadmissibility.” The reader is tasked with trying to uncover the shining positive of that deficit.
There are other pains
even on the rivers
one thinks of Dante’s boat
or of the little crabs
in Ophelia’s hair
of the blind one’s swim
against the heavy wave
there are other pains
even under the sea
the seahorses’ grotesque gallop
the drowned women amorous
dead, still amorous
with breasts opened by the narrow teeth
of fat monkfish
for there are other pains
without screams, under the sea
one thinks of the children under the sea
lead at the ankles
mouth full of seaweed
anus full of seaweed
for there are also pains
that are unspeakable.
To write seems a common salve for grief, and in this week’s Translation Tuesday, we’re reminded of why, in times of darkness, we turn to the written word for solace. Francisco Layna Ranz’s words are rife with the sharpness of new sorrow, clean and stark, yet with a keen eye he turns toward the motion that is an inevitable consequence of living. With language we may continue, and the action of admittance in poetry is a good thing, a good thing that results from continuing.
A Friend’s Son Died
A friend’s son died.
I pay my respects.
It’s Tuesday, cold between the stones, and I come back by Daroca Avenue.
The bricks always look old. I don’t know: I think I’d start smoking again if I could.
It’s also too soon for sound. The proof is in the frost on the weeds and garbage.
It’s a question of innocence in the reading of what happens: soon and late
are words of now.
And all I can do is babble excuses for what’s left of my life, and everybody else’s life.
Of course a written letter is a sign that you’re getting old. For paper and for you it’s already much too late.
I know it makes no sense, but maybe I should go back to that crematorium and stay for what’s left of the morning.
Sitting on those benches, thinking of nothing.
Hear the traffic and think of nothing, the way the cold does.
Poetry is a never-ending lesson in precision. The distillation of thirst, the evocation of experience, the cauterization of an open wound. Between the poets of the world and their various works there is a common acknowledgement of restraint—there is only so much we can do with words, and only so much words can mean. Claude Lévi-Strauss originated the term “floating signifier” to describe language that has only vague or contextual denotation, and in our contact with literature we gradually come to understand that such abstraction is the enemy of poetry. So we step gingerly around the words we know contain too much to unpack. Words like “hurt,” or “death,” or “love.”
Floating signifiers are especially insecure in translation, in which one often has to choose between music and intention, double meanings or single ones, visual effect or faithful retellings. They present a particular dilemma because a floating signifier in one language may not be one in the other. The Chinese language, painting with a full palette of the pictorial, the symbolic, the historical, and the literal, has a tangibility that does not lapse into the vague as easily as English does. Ernest Fenollosa, in his (flawed but admirable) studies, characterized Chinese characters as a medium for poetry. It is not that Chinese is inherently more possessive of the elusive idea of poetics, but rather that the facets of Chinese language that enchanted Fenollosa with their invocation of poetry are also what result in headaches for translators. We do not count our losses in translation. Instead, we admire the growth a poem may undergo as it leaves its writer’s hand and wanders onto the page, how it may cross oceans and national borders, how it lives, how it is alive, the way we know language to be.
Welcome to the seventh and final installment of A World with a Thousand Doors—a multi-part collaboration with the Ubud Writers & Readers Festival to showcase previously untranslated contemporary Indonesian writing. This week, we feature three poems by award-winning Indonesian writer Cyntha Hariadi, translated by Asymptote’s Editor-at-Large for Indonesia, Norman Erikson Pasaribu.
We suggest reading installments one, two, three, four, five, and six of the series if you haven’t already. We also recommend the final reflection by Festival attendees Norman Erikson Pasaribu and Tiffany Tsao, Asymptote‘s Editor-at-Large for Australia.
they used to paw the sky, squeeze the clouds
they fought the wild crows, bargained with the gatekeeper of heaven
these hands—they took down the moon, put it here to light this bedroom
they tickled the sun, so it shone longer, brighter
now, they cave in every time I raise them up
they squeal in pain at the mere task of tying up my hair
sewn-up to this chest, they can only wait
for the saviour to stop its never-ending sob READ MORE…
Excerpted from the novel Nayla by award-winning Indonesian writer Djenar Maesa Ayu, this piece continues our series, A World with a Thousand Doors—a showcase of contemporary Indonesian writing. This showcase is brought to you in partnership with this year’s Ubud Writers and Readers Festival, where Djenar will be appearing as a guest. For more on the ethos behind A World with a Thousand Doors, read our preface to the series, and stay tuned for further installments.
Choosing the Perfect Safety Pin
Nayla looked closely at the safety pins neatly arranged on the table in front of her.
In the past, whenever Nayla saw these sharp objects, her body would tremble in fear. She would remain quiet for a long time until her mother eventually forced her to pick one. Her frequent hesitations led her mother to reach out and slap her hard across the face to force her to choose.
In the past, whenever Nayla saw her mother strike a match, her body would shake in terror. Her mother would take Nayla’s chosen safety pin—obviously the smallest one—and burn it long enough to rid it of bacteria. Once Mother was satisfied that the pin was sufficiently sterilized, she would plunge it into Nayla’s groin. Nayla would squirm and squeeze her thighs as tightly as she could, attempting to minimize the pain. She would cry. She would struggle against her mother’s actions, which made Mother even more furious.