MATERNITA’: di Giacomo Gusmeroli

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Dunque, come scrivevo, questo infinito sgomento – non
della morte, affatto- le grandi ali dei suoni.
Giovanni, si era arrampicato
su una roccia strappando un ramoscello pieno di belle bacche.
Le ha date alla Gemma. Oh! – disse- Io stavo a guardare tutto.
Ancora una volta mi metto a immaginare quel fatto
ma di quanti anni prima? dopo quanti anni?…

MATERNITA’

prima

Io le sentivo allora dalla spaccatura, intanto di soppiatto
…..fissavo
le loro garze inzuppate e gli stracci
buttati nel catino, su cui sfolgorava lucentissima la luce
…..del sole
dal vetro della finestrella; – e mi sentivo così solo e sopraffatto
come se in quel momento mi fosse stato dato a sorte
il miracolo stupefacente della vita. Avevo anche
…..timore
che la balia uscisse all’improvviso e mi trovasse dietro
…..la spaccatura
a sbirciare quell’evento a me proibito – soprattutto
scoprisse che avevo sentito le loro parole, scoprisse
la mia bravata maldestra.

segùnda

Dopo l’ultimo parto era smagrita;
le palpebre sempre inarcate; i seni
avevano perso la forma – lei lo vedeva e lo nascondeva
…..e era smarrita, silenziosa,
quasi per conto suo.
…..A volte, invece, si sedeva
immutabile, per attimi e attimi,
nella stessa posa, e assorta,
nel piccolo sgabello di betulla; si passava le mani
con un pezzo di sapone sbeccato – io lo intuivo
dall’odore entrando in stanza sua –
e mi piaceva, perché il sapone era sempre destinato
al giorno della festa e della domenica; – e ancora, adoperava
varie erbe officinali, raccolte di fretta la sera al scendere del sole,
erbe che rinfrescavano la pelle e davano alla faccia un carnato
lucido e pallido. Un giorno
mi guardò che la guardavo nello specchietto
forse aveva sentito la mia presenza alle spalle,
e sobbalzò tutta: fece una mossa
come se fosse scesa di colpo da un salto.
“ Così, hai notato anche tu che sono sciupata?”

e all’istante ridivenne lieta, consolata, bella
come un tempo, prima del suo mutamento
e prima dei grandi mutamenti incontrollabili del tempo.

“Una camminata fatto in quei
giorni che il freddo accorcia la pioggia… io
e lei, la Gemma, mia madre, di 95 anni”.

tèersa

Portami a camminare con te
appena lì avanti, fino al muro della contrada,
fin dove la valle si apre e appare
il campanile peraria e di sasso, calcinato dallo sprazzo
…..di luna,
così peraria e immateriale
così distaccato, quasi etereo
che puoi anche credere che non esiste
il vuoto con le sue lontananze.

Portami a camminare con te.

Ci abbandoneremo un momento sul sasso,
sul dosso,
e inumidendoci fra serti di brina
forse crederemo persino di volare,
perché a volte, come adesso, sento lo stropiccìo
…..dei miei panni
che sembra il fremito di due ali grandi,
e quando ti accosti a questo battito del volo
senti alleggerirsi le braccia, il corpo, la tua figura,
e così avvolto nella cornice di una brina azzurra,
negli tratti liberi dell’anima
non ha importanza che tu salpa o ritorni,
né importa che i nostri capelli siano imbiancati,
(è questo che mi dà tenerezza – e mi dà tenerezza
che s’imbianca anche lo sterrato).

Portami a camminare con te.

peraria: cavato su dal dialetto vecchio

Trovate QUI più informazioni su Giacomo Gusmeroli, il suo ultimo libro, “Quattro mesi e venti giorni” è uscito per LietoColle.

*     *     *     *     *

An English translation of this poem can be found below:

 

So, as I wrote, this infinite dismay – not
of death, at all – the broad wings of sounds.
Giovanni, had climbed
up on a rock tearing off a small twig full of beautiful berries.
He gave them to Gemma. Oh! –she said– I was watching everything.
Once again I re-immagine that moment
but how many years before? after how many years?…

MATERNITY

first

I could hear her then through the fissure, meanwhile furtively
…..I stared at
their sopping gauze and the rags
thrown into the basin, on which the polished sunlight
…..blazed
from the window’s glass; – and I felt so alone and overwhelmed
as if in that moment I had been given at random
the stupefying miracle of life. I was also
…..afraid
that the nurse would come out suddenly and find me behind
…..the fissure
peering in at that event forbidden to me – especially
discover that I had heard their words, discover
my clumsy escapade.

second

After the last birth she was gaunt;
eyelids always sagging; her breasts
had lost their shape – she saw it and hid it
…..she was lost, silent,
almost of her own accord.
…..Sometimes, instead, she would sit
unchangeable, for moments and moments,
in the same position, and lost in thought,
on the small birch stool; she passed a chipped
bar of soap over her hands – I intuited that
from the smell upon entering her room –
and it pleased me, because soap was always used
on holidays and Sundays; – and still, she employed
various medicinal herbs, quickly gathered in the evening when the sun went down,
herbs that refreshed the skin and gave the face a pale and glowing
flesh. One day
she saw that I saw her looking in the mirror
perhaps she felt my presence at her shoulder,
and she started: with a movement
as if suddenly landing hard from a jump.
“So, have you also noticed that I’m falling apart?”

and instantly she became happy again, consoled, beautiful
as she once was, before her change
and before the great, uncontrollable changes of time.

“A walk taken in those
days when the cold cut short the rain… She
and I, Gemma, my mother, 95 years old”.

third

Take me walking with you
just there ahead, up to the wall of the contrada,
up to where the valley opens up and it appears
the unearthly bell tower of stone, whitewashed by the flash
…..of moonlight,
so unearthly and immaterial
so detached, almost ethereal
that you can even believe it doesn’t exist
the void with its remoteness.

Take me walking with you.

We let ourselves go for a moment on the rock,
…..on our backs,
and dampened among garlands of hoarfrost
perhaps we believe we can even fly
because sometimes, like right now, I hear the rustling
…..of my clothes
that seems like the flapping of two broad wings,
and when this beat of flight accosts you
you feel your arms, your body, your features, lighten
and so wrapped up in the frame of azure hoarfrost,
in the liberated lines of the soul
it doesn’t matter if you’re taking off or returning,
nor does it matter that our hair has turned white,
(it’s this that moves me – and it moves me
to see that the path has also turned white).

Take me walking with you.

(translated by Bonnie McClellan)

for more poems by Giacomo Gusmeroli on this blog, click HERE.

Poiesis, The Art of Poetry: by Anna Mosca

Poiesis, The Art of Poetry

*

If I arrange myself
coherently

between white spaces

give me a rhythm
suspended
between bodies and souls

that will transfer
transfigure
that will transcribe

light on the soft
curve of waves
a second before

dark

(From the collection: Summer Colors).

To hear the poet’s reading of this poem, click on the player below:

Poiesis,L’arte di fare poesia

*

se mi dispongo
coerentemente

tra gli spazi bianchi

dammi un ritmo
che sia
tra i corpi e le anime

che trasporti
trasfiguri
che trascriva

la luce sulla curva
morbida delle onde
un attimo prima

buia

(dalla collezione: Colori estivi)

Clicca qui sotto per ascoltare l’audio:

You  can read more of Anna Mosca’s poetry by clicking HERE.
Leggi più delle poesie di Anna Mosca QUI.
 
Anna Mosca’s 2015 collection of poetry “California Notebooks 01” is available HERE.

shared emotion: by Ken Gierke

thought, emotion
in a relay race
through body and mind
each lap igniting sparks
firing across synapses
instantaneous
love
spoken, unspoken

thought, emotion
facing a tsunami of
words
inundating
slowly seeping away
leaving behind
sodden ash
heartbreak

thought, emotion
in a dull glow
re-firing to
recover
bridge a gap
reconnect
commune with
the outside world

To hear the poet’s reading of the poem, click on the player below:

Ken Gierke is a retired truck driver who started writing poetry at 40 as a way to sort through his thoughts. He’s been honing his writing skills over the last 3 years at his Wordpress blog and you can find more of his work HERE.

In Jane Austen’s House: by John Looker

This was her writing table, this her chair
(‘Please Do Not Sit’): two bijou items placed
here by the window where the light fell square
on her page from the horse-drawn world she faced.
In a cramped corner the public (that’s me
and you) peer through glass at her neat handwriting;
or we squeeze into the bedroom which she
and her sister shared – until she was dying.
We visitors are whispering, withdrawing
from each other. We feel too tall, too loud,
navigating all this china, imploring
children to be careful. We’re quite a crowd.
……We open a door (she would have opened it too,
……her skirts brushing the frame) and we pass through.

 

John Looker’s poetry collection, The Human Hive, was selected by the Poetry Library for the UK’s national collection. His poems have appeared in print and in online journals and will be included in three anthologies for publication in 2017. A selection of John’s poetry can also be found HERE.

Topografia nord / 3: di Luka Stojnic

Con un gesto lui cambiò il vento. Aprì il suo cuore al passante che l’accolse con gioia. L’occhio sinistro sbirciava tra le macerie di una casa abbandonata con la forza. L’altro invece rimaneva vigile, per salutare con grazia. Educazione. Pacato e fermo, il volto nel parlare una lingua lontana; suoni complessi, gutturali. Descriveva le cose attorno com’esse realmente sono; nella loro immobilità: in solitudine. Vuoto. Ogni singolo chiodo di queste travi sgretola dentro gli spazi. Chiuso. L’aria inumidisce l’iride verde di un occhio poco attento ai passanti, di sfuggita manifestano il sorriso. Una smorfia preziosa. E tutto sta nel cemento taciturno della casa diroccata, da una guerra che non c’è mai stata. Il fluire dell’umidità viva, s’infiltra nella calce bianca delle fughe, tra i mattoni. Rosso. La polvere colma lo spazio, pulviscolo oltre il quale altre stanze proseguono. Sono immagini o parole? Uno sguardo oppure un organo? Tra le imposte, una luce bianca trova il suo passaggio; attraverso una polvere densa va a trasformarsi di tono e muta. Volume. Fa respirare con pesantezza, si contraggono i polmoni golosi di quella luce. “Prendi una boccata d’aria, là fuori. Non all’interno ma fuori!” Un quotidiano sul tavolino di marmo coi piedi in ghisa non ti offre salvezza. Leggi le parole dello straniero attento ai movimenti, a un gesto che, per sua insolenza, trasforma questo vento. Con il tuo vigile occhio costruisci il suo cordiale sorriso, impresso su labbra scorticate da quel vento. Calore. In un tempo. In un luogo. Lontano ma … che ne conosci ormai i dettagli.

Topography north / 3

With a gesture he changed the wind. He opened his heart to the passerby joyously welcomed. His left eye peered through the rubble of a forcibly abandoned house. The other remained vigilant, ready to greet with grace. Manners. Calm and still his face, in speaking a distant language – complex, guttural sounds. He described the surrounding things as they really are; in their immobility: in solitude. Empty. Every single nail of these beams is crumbling away within the spaces. Closed. The air moistens the green iris of an eye that takes little note of passersby; fleetingly they embody a smile. A precious grimace. And everything is held within the taciturn cement of the house ruined, by a war that never was. The flow of living moisture, infiltrates the white lime of the junctures, between the bricks. Red. Dust overfills the space, particulate matter beyond which other rooms follow. Are they images or words? A glance or rather an organ of vision? Between the shutters, a white light finds the way; through dense dust it goes, transforming itself tone and mute. Volume. It makes you breathe heavily, lungs – greedy for that light – contract. “Get some fresh air, out there. Not in here but out there!” A newspaper on the marble side table with cast iron legs offers you no salvation. Read the words of the stranger attentive to movements, a gesture that, for its insolence, transforms this wind. With your vigilant eye build his cordial smile, impressed on lips flayed by that wind. Heat. In a time. In a place. Long ago but … of which you know already the details.

Being: by Liliane Richman

Instead of Giordano Bruno
Who chose flames
Rather than compromise
I elect sage Galileo
Who recanted and saw
The light of another day
And still knew for a fact
Indeed the earth moves

It is not death we fear
Rather the kind of death we get
And if we can
We deny mortality,
For beyond pain
In the helpless body, begging
More than death, the horror
Is no longer
Being

 

To hear a reading of this poem, click on the player below:

To find more poetry by Liliane Richman on this blog, click HERE.

Liliane Richman’s recently published memoir, “The Bones of Time” can be found HERE.

The Ultimate Train Crash…: by Edward M. Stanton

A kaleidoscope
of life collisions.
One by one
precision laser
happenstances,
unexpectedly bombard
without hesitation
and no remorse.
We endure a journey
sometimes peaceful
sometimes tumultuous
but always,
evolving.
Late night candelabras
flicker seemingly
out of control,
all the while staying
closely guarding the wick.
Seashores parade
personalities awash
with character,
yet ever-changing
her psychological landscape.
Whatever happened
to the predictable??
It blew away in the wind,
just as sand scatters
like a herd of cats.
The wonder of life comes
in little packages,
always keeping
us pondering,
and never betraying
her secrets.
Celestial illusions
mislead our common sense,
polluting our dreams
with impossible realities,
never to occur,
banished from becoming.
A harsh reality awaits
those who genuinely
understand,
our lives are
really just molecules
in an existence,
that we can only
pretend to imagine,
amongst galaxies
of the unfamiliar,
and an infinity
truly beyond comprehension.
What a glorious
misconception,
a return to
the unfathomable,
just beyond reach,
yet never further
than our next
fleeting thought,
or our next warm Guiness
full of wallowing sorrows,
and a million spilt suds,
waiting for us nervously
at the corner pub…

To listen to a reading of the poem by the poet, click on the player below:

 

Copyright Edward M. Stanton 2017

To hear a readings of other poems by Edward M. Stanton, click HERE.

SEKISHU: by Gilles-Marie Chenot

Caresse de soie torrentielle
Coup de foudre neuronal
Dans le silence abrupt
S’illumine la montagne endormie

Tonnerre de feu aquatique
Sur une terre dévastée
Et resplendissante

L’été étreint l’hiver torride
L’obscurité ensoleille la clarté

Une nuit meurt, un jour s’éveille

Equilibre

SEKISHU

Caress of floodly silk
Neuronal lightning strike
In the abrupt silence
The sleepy mountain lights up

Aquatic thunder of fire
On a devastated land
So bright

The summer embraces the torrid winter
Darkness sunlights clearness

A night is dying, a day awakes

Equilibrium

To read more work by Gilles-Marie Chenot (1963-2104), click HERE.
To find other poems by GMC on this blog click HERE.

Prologue to My Birth: by Stephanie Harper

This is neither a beginning
nor the prophecy of an ending
for beginnings & endings are lies
told to the once-living

it is not the exemplifying
of the aberrations the alchemists made
when they dethroned our Divine Queen
& transmuted her golden honey
into their iron pyrite philosophy
that left us to wither
inside our stunned husks

& so    this is the emptying
of our errant devotion
to the denial of bodily hunger

the sanctified unbelieving
in fairytales of heavenly salvation

& it is the vital refilling
of infants’ gaping mouths
with earthly fortitude

& here    now    is the weeping

for our birth-story    interred
with our long-dead mothers
who delivered us
& secured our velvety    aboriginal flesh
to their warm breasts—

the saline unleashing
to purify our Logos
our will to creation    our innate need
to manifest our god-selves

it is the recovering
of the Life that was severed from our psyches
when it was reduced to a Word
& uttered    bereft of melody—

the unrepressed singing
Artemis awake from her slumber
beneath her ruined Temple in Ephesus

at last    this is the extricating
of shame that made our tongues
untie us from our Mother’s holy earth
& swayed our ears to scorn her winged songs
even as she kept flying back to us
ever thick-limbed & fragrant
with nourishment from lavender blooms
solely that we should swell in our birthing cells
gorged on her royal jelly

This poem is my body
embryonic    translucent
distended with new hope

it is my luminous    black eyes
grown huge with their memory
of who I am

lavender-kiss_matthew-harper

To listen to a reading of this poem, click on the player below:

You can read more of Stephanie L. Harper’s poetry on her blog, HERE.

Topografia #20 (a D): di Luka Stojnic

Eppure hai pensato di aver visto tutto il visibile.
Dieci diversi profumi,
Venti colline,
Due fiumi.

Hai annotato tutto.
E la penna scivolava,
Scivolava in fretta.

Sulle mura delle caverne hai disegnato immagini.
Hai coperto di volti le umide rocce.

Il verde si espande, goccia per goccia…
Pennellate su superfici ferme, immobili.
Refoli di un’aria che viene da fuori,
Laddove ci si perde, ci si ritrova.

I luoghi….
Un filo s’allunga, passo per passo.
Ed è il calore della stufa a farci dire di aver sbagliato.
Offuscato, che muta da un freddo reale.

L’aria viene da fuori.
Hai acceso un fuoco dentro,
Bruciandovi il filo di bronzo.

Ammassi di segni sulle pareti,
Contorni di linee che vogliono spiegare.
Il perchè.

Non c’è errore, non c’è.
Si passa in luoghi diversi,
Dove s’impara a guardare.
Scoprire il già veduto.

Topografie #20 (aan D.)

En toch dacht jij al het zichtbare gezien te hebben.
Tien verschillende geuren,
Twintig heuvels,
Twee rivieren.

Je hebt alles opgeschreven.
En de pen gleed,
Gleed haastig.

Op de muren van de grotten heb je beelden getekend.
De vochtige muren heb je bedekt met gelaten.

Het groen breidt zich uit, druppel per druppel…
Penseelstreken op stille oppervlakken, onbeweeglijk.
Vlagen van lucht die van buiten komt,
Daar waar men zich verliest, waar men zich hervindt.

De plaatsen….
Een draad wordt langer, stap voor stap.
En het is de warmte van de kachel die ons doet zeggen dat we fouten hebben gemaakt.
Verduisterd, veranderd vanuit een werkelijke koude.

De lucht komt van buiten.
Binnen heb je een vuur aangestoken,
Waarin je de bronzen draad hebt verbrand.
Massa’s tekens op de wanden,
Contouren van lijnen die willen verklaren.
Het waarom.

Er is geen fout, er is er geen.
Men gaat naar andere plaatsen,
Waar men leert kijken.
Ontdekken wat al gezien is.

(vertaald door Tineke Pockele)

Topography #20 (for D)

And yet you had thought you’d seen all visible things.
Ten different scents,
Twenty hills,
Two rivers.

You had noticed everything.
And the pen slid,
Slid hurriedly.

On the walls of the cave you have drawn images.
You have covered the vaults of damp rocks.

The green expands, drop by drop…
Brushstrokes on surfaces firm, immobile.
Wisps of air that come from outside,
There what is lost, is here found again.

The places….
A wire lengthens, step by step.
And it is the stove’s heat that makes us say we’ve made a mistake.
Obfuscated, changed from a real cold.

The air comes from outside.
You’ve lit a fire inside,
Burning there the bronze wire.

Gatherings of marks on the walls,
Contours of lines that want to explain.
Why.

There is no error, there is none.
One goes to different places,
Where one learns to look.
To discover the already seen.

(translation by Bonnie McClellan-Broussard)