Tuesday, 18 July 2017

Hokusai at the British Museum

The Great Wave of Kanagawa. Hokusai, 1831

About ten days ago, I went to the British Museum's exhibition Hokusai: Beyond the Great Wave (until 13 August, but check ticket availability if you're interested in going).

Hokusai (1760-1849), one of the greatest Japanese artists of the creatively rich Edo period (1603-1868), is best known for The Great Wave of Kanagawa, one of a beautiful series of Thirty-Six Views of Mount Fuji. The exhibition featured many of these famous prints but it also highlighted the unusual European influence in many of his works and the extraordinary range of his art. I saw cherry blossoms whose petals were so soft and multifoliate that I wanted to touch them, birds that seemed photographic but with a hyper-real beauty, swirling dragons, sharply defined bridges and lakes like something out of Tolkien, wry and delicate self-portraits.

Hokusai was also very close to the poetry world. He provided illustrations for poems, and depicted poets, in the series A True Mirror of Chinese and Japanese Poetry and One Hundred Poems Explained By the Nurse. In this particularly beautiful example, Poet traveling in the snow, the rider may be the Chinese poet Du Fu (or Tu Fu; 712-70), one of the greatest figures of Chinese literature. It's suggested that he could also be the poet Su Shi (1037-1101), who was famous for writing poems about snow.

Hokusai's work became more and more extraordinary in the last years of his life. In the final room, looking at the paintings on silk from the two years before he died, I found myself struggling to breathe, then in tears. I saw a dragon with desperate human eyes emerging from rain clouds, diving ducks transforming beneath the surface, a joyous tiger bounding upwards through the snow. Shortly before his death, Hokusai reportedly said "If only Heaven will give me just another ten years... Just another five years, then I could become a real painter."

Thursday, 13 July 2017

U2 and Poetry: The Joshua Tree 2017 Tour

U2's current world tour is, unusually, not to promote a new album - it's for the 30th anniversary of The Joshua Tree and they are playing this album in its entirety, along with other songs before and after. I saw them last Sunday at Twickenham Stadium in London. It was a remarkable show for many reasons, not least of which was the screening of poems on the stage backdrop just before the show actually started.

I have a long history with U2, which sort of started close to 30 years ago when my brother bought The Joshua Tree. But it really started a few years later when I bought War, Under a Blood Red Sky, The Unforgettable Fire and later their other albums, when I was about 14. Those albums feature very prominently in my mental and emotional timeline from my early teens. I discovered those albums for myself, and the obsession was like falling in love. My relationship with The Joshua Tree is probably a bit harder to define, as I first encountered it through my brother and through the radio when I was younger. I was always impressed, but I also regarded the album with a slightly detached sense of awe which I've never quite shaken. I think it's their best record, but I'm not quite as closely bonded to it as I am to albums like War and Unforgettable Fire. I'm perhaps closer to its individual songs than I am to The Joshua Tree as a whole.

Before seeing U2 play on Sunday, I was already aware that they were scrolling poems on the big screen during the intermission between the opening act and the start of the main show. There was a fair amount of media coverage in Canada when one of the poems chosen was by Canadian poet laureate George Elliott Clarke. However, most (if not all) of the other poems chosen are by Americans, and it seems that different poems have been used at different shows. The poems that I saw were:

Elizabeth Alexander - 'Praise Song for the Day'. This poem was read at Barack Obama's inauguration.

Walt Whitman - a selection from Leaves of Grass

Sherman Alexie - 'The Powwow at the End of the World' 

Robinson Jeffers - 'Juan Higera Creek' 

James Dickey - 'The Strength of Fields'

Shirley Geok-lin Lim - 'Learning to Love America'  (this is actually the poem's full title, although it said 'Learning to Love' on the screen).

Pedro Pietri - 'Puerto Rican Obituary' (I didn't get a picture of this one, as the show was starting just as the poem finished...)

This U2 website has detailed more of the poems which were included on other shows (or perhaps I missed others when my friend and I were wandering around after the opening act.) Many of these poems will also be available to read online: http://www.u2songs.com/news/the_joshua_tree_tour_poetry

Personally, I was especially surprised and happy to see the Robinson Jeffers poem 'Juan Higera Creek'. Jeffers has been a bit of a well-kept secret for a long time, but in the current socio-political-environmental climate he seems to be enjoying something of a renaissance. I also love the James Dickey poem, 'The Strength of Fields'.

I don't know who was involved in selecting the poems, but to accompany (or precede) The Joshua Tree, they seemed to me exceptionally well chosen. In them, I saw the following which I also find in The Joshua Tree:

A variety of voices and experiences, including those of minorities and immigrants. The poems are by Native Americans, African Americans, Asian Americans and Hispanic Americans, among others. U2 composed The Joshua Tree in part because they'd fallen in love with America, and as Irish musicians they were well aware of their country's close links to America and of the huge numbers of Americans who are descended from Irish immigrants.

American landscapes. The landscapes of The Joshua Tree are dual (at least), as in poetry's landscapes. When U2 played 'Where the Streets Have No Name' ("I'll show you a place high on a desert plain, where the streets have no name"), the huge backdrop screen sent us flying along an American desert highway. The song was also partly inspired by Bono's humanitarian work in Ethiopia and by the divisions in Northern Ireland when he was growing up; finally, it seems to be about the speaker's spiritual quest (continued in 'I Still Haven't Found What I'm Looking For'. There seems to be something of this in 'The Strength of Fields'.) But the imagery of the album's lyrics often evoke idealised American landscapes, especially in the song 'In God's Country'. These poems also travel all over a real and figurative America.

Stories of oppression. 'Puerto Rican Obituary' came out of Pedro Pietri's experiences in advocating for civil rights along with fellow Puerto Ricans in America, and it tells a series of tragic stories. The songs 'Bullet the Blue Sky' and 'Mothers of the Disappeared', in particular, are about US military intervention in Latin America and about los desaparecidos in countries such as Argentina, Chile and El Salvador. There is a strong duality in The Joshua Tree between a mythical America and a violent one, whether internationally or closer to home (the song 'Exit' is about gun violence, and apparently the line "The hands that build can also pull down" also comments on the dual nature of US interference abroad).

The language of the poems may at times be prosaic, but the impression is often prophetic and spiritual, even shamanistic. This is also very reminiscent of U2's (Bono's) lyrical approach. Bono often includes literary references in his songs, and this was definitely a factor in my affection for U2, especially given that I was falling in love with U2 and with the poetry of WB Yeats at the same time in my early teens. Here are some of the notable poetry references in U2 songs:

  • "Into the half-light" - from 'Bad' (The Unforgettable Fire), also a reference to 'He Wishes for the Cloths of Heaven' by Yeats
  • 'A Sort of Homecoming' (The Unforgettable Fire). The title of one of my favourite U2 songs is taken from the quotation "Poetry is a sort of homecoming" from Paul Celan's 'Meridian' speech. When I learned that Bono had been influenced by Celan's writings in this song, I went to find Celan in the library, meaning that U2 are directly responsible for introducing me to his work. Also in 'A Sort of Homecoming', Bono sings 'O come away, o come away' which is a likely reference to 'The Stolen Child' by Yeats.
  • "In the world a heart of darkness, a fire zone/where poets speak their heart then bleed for it/Jara sang his song, a weapon in the hands of love/You know his blood still cries from the ground" - from 'One Tree Hill' (The Joshua Tree). Victor Jara was a Chilean songwriter, poet and political activist who was murdered under the rule of Pinochet. His last lyric was 'Estadio Chile' and it was written just before his violent death in the Chile Stadium (which has been renamed after him.)
  • "See the stone set in your eyes" - from 'With Or Without You' (The Joshua Tree). This reminds me of "The stone's in the midst of all", from Yeats's 'Easter 1916', but I admit this may be a long shot on my part.
  • "In dreams begin responsibilities" - from 'Acrobat' (Achtung Baby). This is adapted from the epigraph to the Yeats collection Responsibilities.
  • "Hope and history don't rhyme" - from 'Peace on Earth' (All That You Can't Leave Behind), a song partly based on the Omagh bombing of 1998 by the so-called Real IRA. This line is adapted from a famous quotation in Seamus Heaney's The Cure at Troy, a version of Philoctetes by Sophocles. Bono spoke here of his love for Heaney's work: https://www.theguardian.com/books/2013/sep/01/bono-seamus-heaney-tribute-poetry  

There are plenty of other literary references in U2, but I suppose it comes down to this: Sunday's concert was one of the best of my life (the fact that we had hard-to-come-by standing tickets helped a lot), and The Joshua Tree has more than stood the test of time. It was lovely to see some great poetry projected on the screen for all to read, and to reflect on how both poetry and U2 have accompanied me, and often intersected, for a very long time. 

Photos: The Joshua Tree Tour - Twickenham, July 9, 2017. Taken by Clarissa Aykroyd

Tuesday, 27 June 2017

Dylan Thomas: 'A Refusal to Mourn the Death, by Fire, of a Child in London'

Grenfell Tributes by ChiralJon. Used under Creative Commons license

The overwhelming tragedy of the Grenfell Tower disaster in west London on 14 June has made me think of Dylan Thomas's famous poem of the Blitz, 'A Refusal to Mourn the Death, by Fire, of a Child in London'.

I hesitated a lot before posting this. Grenfell Tower is a massive human tragedy, where at least some of those who lost their lives were children. It is not like one of my more usual "something made me think of this poem" situations. I also hesitated because 'A Refusal to Mourn...' has always unsettled me. It's in the title, and certain lines. Thomas is plainly mourning, in his own way, and the title is paradoxical, but it unsettles. When I thought about it, though, I realised that this disturbed feeling was probably conjured deliberately by the writer and that in some ways it is the only normal reaction. After all, the violent death of a child (in particular) should be disorienting, disturbing and unsettling.

I have read various analyses of this poem over the years, and there is no consensus. 'A Refusal to Mourn...' is oblique, open to interpretation and mysterious. In the wake of the Grenfell Tower fire, many of my thoughts about it come from this moment and this shocking event. But a great poem can do this. So here are a few thoughts:

The poem's structure reflects the confusion of grief. The first two stanzas, in particular, contain beautiful phrases, but they tumble over each other at a velocity suggesting desperation. There is something here, of the flurry of thoughts and the attempt to draw them into a clearer picture, which is reflective of shock. In the final two stanzas the speaker seems to try to gather his ideas into a slightly more straightfoward, elegiac conclusion.

The speaker's thoughts are of both life and death. "Fathering", "the last light breaking", "the round/Zion of the water bead" (this sounds like an image of the womb), "sow my salt seed/In the least valley of sackcloth to mourn"... Some of these images could be of life and death at the same time.

The speaker is commenting on the equality of all human beings. There can be no doubt that Grenfell, a disaster which occurred in a poor subsection of one of the richest areas in the country, was a tragedy arising at least in part out of inequality and its terrible effects. During the Blitz in World War II, which this poem remembers, many if not most of the children who died were from poor families, as they had fewer options in terms of evacuating to safer areas.

My interpretation might therefore be very much of this moment in time, but it seems to me that by keeping the child's identity indefinite, the interpretation is open for her to represent all human beings from all backgrounds, or at least all children who die violently. There are references to a variety of religious traditions (Judaism with "Zion" and "synagogue", "the stations of the breath" as a variation on the Catholic Stations of the Cross, "London's daughter...the dark veins of her mother" perhaps a reference to some pagan tradition.) "The mankind of her going" also opens this elegy up beyond a single human being.

The final line "After the first death, there is no other" has also inspired much analysis. Some think it's a reference to the resurrection, while others think it denies this possibility. I have always (even before recent events) had a sense that the child's death is meant to represent all deaths, and thus it is "the first death". I was reminded of the famous John Donne quotation from Meditation 17: "Any man's death diminishes me, because I am involved in mankind; and therefore never send to know for whom the bell tolls; it tolls for thee." When the equal importance of all human lives is forgotten, as it so often is, the conditions for various kinds of horror and disaster are far more likely to arise.

Here are a few of the reputable funds to which you could donate if you want to assist victims of the Grenfell disaster:

British Red Cross - London Fire Relief Fund

The Kensington & Chelsea Foundation

The Evening Standard Dispossessed Fund

Sunday, 11 June 2017

Poets and Spies at London's City Lit

City Lit, London, 1940

Earlier this year, I took an InDesign course for my work. It was at City Lit college in central London, near Holborn station. I hadn't thought much about the type of institution where I'd be brushing up my InDesign skills for a few weeks - but when I arrived for my first class, I was impressed at the range of classes taking place at the same time as mine, and also a little jealous of the people who were taking Basic Danish or Biblical Hebrew. The floor where my classroom was located seemed to have a good deal of painting and sculpture going on.

When I looked up further details about City Lit (mainly in the history section of their website) I discovered that they had originally been established in 1919 by the London County Council as a "literary institute", along with several others around the city. Essentially, these were non-vocational colleges (but not universities) where students could take humanities courses and the like, without committing to something like a degree program.

The website provides more details about the fascinating history of this institution, but I was very taken with the fact that their teachers and lecturers included the likes of Edith Sitwell, TS Eliot, Cecil Day-Lewis and Dylan Thomas, among others. When their new building opened in 1939, John Masefield (then Poet Laureate) did the honours.

The moral of the story is that in London, if you scratch just the tiniest bit beneath the surface, you'll probably receive disproportionate rewards, and they might include poetry. I also ran into a bit of synchronicity at this point. Around when I was taking the InDesign course, I was reading A Colder War, the second volume of a trilogy by spy novelist Charles Cumming. The trilogy features disgraced spy Thomas Kell, who desperately wants to "get back in the game" but has found himself with some time to kill. At one point, he thinks "of the long afternoons he had spent brushing up his Arabic at SOAS, the solo holidays in Lisbon and Beirut, the course he had taken at City Lit in twentieth-century Irish poetry." In other words, when all you think you're doing is taking a desktop publishing course, there are probably some bored spies just around the corner in the same building who hope that poetry might help to fill the slow hours. It also turns out that Thomas Kell enjoys reading Seamus Heaney's The Spirit Level and that he especially likes the poem 'Postscript' (so do I).

Wednesday, 31 May 2017

John Drinkwater's 'Moonlit Apples'

Harald Sohlberg, From Værvågen (1921)

MOONLIT APPLES (John Drinkwater)

At the top of the house the apples are laid in rows,
And the skylight lets the moonlight in, and those
Apples are deep-sea apples of green. There goes
   A cloud on the moon in the autumn night.

A mouse in the wainscot scratches, and scratches, and then
There is no sound at the top of the house of men
Or mice; and the cloud is blown, and the moon again
   Dapples the apples with deep-sea light.

They are lying in rows there, under the gloomy beams;
On the sagging floor; they gather the silver streams
Out of the moon, those moonlit apples of dreams,
   And quiet is the steep stair under.

In the corridors under there is nothing but sleep.
And stiller than ever on orchard boughs they keep
Tryst with the moon, and deep is the silence, deep
   On moon-washed apples of wonder.

I rediscovered this poem the other day, in part thanks to the serene First Known When Lost blog. More than just a simple poem of nature or pastoral beauty, 'Moonlit Apples' seems to me a kind of ode to interconnectedness, almost a microcosm of environmentalism. The apples are at the top of the house, the moonlight touches them, they now resemble "deep-sea apples of green". The apples, mysteriously, partake of the moon, and thus also partake of the sea. Everything affects everything else.

The swaying rhythm of the poem, and the countdown of syllables per line in each stanza, also evoke the "deep-sea light" on the apples, the stillness that is never entirely still. There's a silver-green peace about it which belies the fact that it shows a hyper-real vision of the apples. It's sort of hallucinogenic and soothing at the same time.

Sunday, 28 May 2017

In Paris with Paul Celan (and the usual suspects)

A couple of weeks ago - only a few days after returning from a three-week visit to Canada - I went to Paris for the weekend. This year the IIHF World Championship (ie. ice hockey) was in Paris and Cologne, and I was there to meet up with my brother Lucas, who writes articles for the IIHF website.

Paris is one of my adored cities, and every visit there is different. It was strange to be going to a couple of hockey games while there (this time I got to see Slovenia-Belarus and Canada-Switzerland. Canada managed to lose to Switzerland!). At the same time, there always seem to be some common threads, often involving food, art and books. It is Paris, after all.

Besides spending time with my brother, my mission on this particular trip was to go to the Gibert Jeune bookshop on Place St-Michel and to find a few French poetry books. I was looking for Benjamin Fondane's Le mal des fantômes in particular, and possibly something by Yves Bonnefoy and Guy Goffette. This mission was accomplished in a matter of minutes when I found all of the above, but then I also ended up buying a French Sherlock Holmes pastiche (Einstein et Sherlock Holmes) by Alexis Lecaye. These things happen.

On the Sunday, my brother and were walking in the Marais (and, incidentally, avoiding the passation de pouvoir of the new president Emmanuel Macron, which would no doubt have been interesting to see but all the security was a bit off-putting.) On Rue Rambuteau, we stopped in at Les Cahiers de Colette (Colette's Notebooks), a lovely and distinctly intellectual bookshop. I'd say intellectual even by French standards - I find that in France there tends to be an underlying assumption of a certain intellectual level, which is perhaps one reason why some publishers tend not to include blurbs on their books. Editions Gallimard, who published a couple of my poetry purchases, is one of these. They just know you want to buy Yves Bonnefoy and Guy Goffette.

Anyway, in Les Cahiers de Colette I also saw these:

The second photo shows a reproduction of one of Paul Celan's letters. In the montage of faces, his jumped out at me right away. (Of course I recognised Beckett and Kafka, and found that Paul Eluard and André Breton were there too. There are others I feel sure I should know - feel free to identify them!)

I always feel close to Celan, somehow, even when I'm not actively reading him. It is about 20 years since I first read his work, and the writers I encountered in my teenage years have tended to have a particularly strong effect on me. I started reading him more actively about seven years ago, when I was also undergoing some particularly intense moments, so I think that Celan was really sealed into my life. But in Paris, I feel a little closer to him. As well as the knowledge that he walked those streets, there's a feeling that he is more remembered there.

Monday, 22 May 2017

Skyfaring by Mark Vanhoenacker: Poetry Takes Flight

There are times when I'm not reading a great deal of poetry (or, less than at some other times) but it still finds its way into my life. (It always does that.) A recent example was when I read the book Skyfaring: A Journey With a Pilot by Mark Vanhoenacker.

Flying isn't particularly my favourite subject to read about. I fly at least a couple of times a year, usually more, but have struggled with it for years to the extent that each flight is anywhere from uncomfortable to a major ordeal. Oddly enough, this was partly what impelled me to read Skyfaring. The description attracted me: an experienced pilot evokes the perspective shifts, the emotional challenges and rewards, the friendships and unusual messages, and the pure beauty of flying.

I really wasn't disappointed with the book and I would certainly recommend it for a nervous flyer, at least one who can bear the thought of reading about the experience they dread. There is such an air of wonder and serenity about it that it had a noticeably calming effect on me (and yes, I did read parts of it on long plane flights a few weeks ago, between London and the west coast of Canada.) The writing is exquisite. I particularly enjoyed some of Vanhoenacker's descriptions of night flying (not my favourite time to be flying, due to a weird psychological cocktail of reasons.) Such as this:

In the high night...are many phenomena we cannot see so clearly, if we see them at all, when the sun is up. There are nameless ships of cloud that seem to sail best under a bright moon. There are vast lobes of lightning, flashbulbing out from deep within the grey matter of distant equatorial thunderstorms, while on the windowpanes St Elmo's fire, a kind of static that appears in startling bursts of flat blue veins, flickers like Prufrock's 'nerves in patterns on a screen'.

And...there's the other reason why I enjoyed Skyfaring. It opens with, as epigraph, the latter half of one of the poems in Derek Walcott's Midsummer sequence, a poem that actually is about flying (and landing):

It comes too fast, this shelving sense of home -
canes rushing the wing, a fence; a world that stands still as
the trundling tires keep shaking and shaking the heart.

Vanhoenacker obviously has a rich appreciation for literature: as well as Walcott and TS Eliot, Philip Levine, Robert Frost, 'Dark Night of the Soul' by St John of the Cross, all appear along with other poems and poets. A book well worth reading, then; but it did make me think that to enjoy flying, you really have to be a pilot - or at least sitting in business class.

Tuesday, 18 April 2017

Benjamin Fondane: My Translation of 'Fallen Snow'

My latest poetic obsession is Benjamin Fondane, and it looks as though it could be a serious one. Here's the story - followed by my translation of his poem 'Fallen Snow'.

In March, I went to London Book Fair for about a day and a half. It was for work, and I attended talks on digital advancements, browsed the full-colour book publishers, and met work contacts. I also had a bit of time to just wander round. One of the things that fascinates me about book trade fairs - and it's something you get to experience if you're there as a visitor with a certain amount of freedom, rather than working as an exhibitor - is the sheer breadth of what falls under "book". These days there's a lot of talk about "content" (which is kind of fascinating and annoying at the same time), but even beyond digital media, exhibitors at LBF range from the immense trade publishers (Penguin Random House, etc) all the way to publishers in the most niche areas imaginable (someone had a stand dedicated exclusively to a book about a certain financial establishment's fraudulent acts. It was giving off a bit of a creepy vibe and a lot of people were eyeing it nervously.)

Poland was the market focus this year, and generally I love wandering around the international publishers. While I was doing so, this caught my eye over at Romania's stand:

A few thoughts went through my mind: "Beautiful lines", "Presumably a poet", and "What a wonderful face he has." I looked at the name: Benjamin Fondane (or Fundoianu in Romanian), which told me nothing, not that I could recall. I only had a minute to spare, so I took this photo as an aide-memoire and then moved on.

I looked up Benjamin Fondane later. It turned out that the Romanians at LBF were focusing their exhibition on Fondane in 2017, and I wished I'd asked someone there about him. As far as Fondane's life, I recommend the Wikipedia entry, which has to be one of the most comprehensive I have ever read about anybody (or about a non-English-language poet, certainly).

The barest essentials of his life are this: He was born in Romanian Moldavia in 1898, a Jewish Romanian poet, critic and philosopher who eventually moved to Paris and who also worked in film and theatre. His philosophy was strongly influenced by the Russian existential philosopher Lev Shestov, and although he was associated with the Surrealists, he later distanced himself from them. He was an accomplished poet, writing in both Romanian and French. Fondane's wide circle of friends and associates included philosopher Emil Cioran and sculptor Constantin Brâncuși. In 1944 he was deported to Auschwitz where, along with so many others, he was murdered in a gas chamber.

The impression I received from his biography was one of great vitality, energy and curiosity - in fact, one of those lives that seem impossible to snuff out. When I started looking up his French poems, I had an experience which is rarer to me than you might think. I have read quite a few poets who send me off into raptures (and a lot more who don't, at all). But it's rare for me to read even poetry in English where I have a "love at first sight" experience. It usually takes a little longer. Fondane wrote in French, and while I am fluent in French and have read a lot of French literature, I have to work harder (and listen harder) with it. The "love at first sight" seldom, if ever, happens to me with French literature. And yet, pretty much the second I started reading Fondane's poetry - in French, not in translation - it happened. I knew right away that I had to try translating his poems.

Fondane hasn't been very widely translated into English. He is much more famous in France. The New York Review of Books has recently released a couple of volumes with English translations of some of his poems, and of some of his philosophical essays (the latter under the wonderful title Existential Monday). But I expect, in the next while, to be doing some work on his poems. When I started reading them, I heard his voice so powerfully that I knew I could translate his work. The hearing of the voice (so to speak) is, to me, the strongest indication that I should try to translate a certain poet.

Here's my translation of 'Fallen Snow' ('Neige tombée'), followed by the original poem. And, please watch this space.


Fallen snow, fallen snow in the century
far, far from me, in the night of my sixteenth year.
Have I forgotten you, strange and savage youth –
hardly more real than the sixteenth century?

Sweet twilight! Are you there in the corner of my room?
Clear wood fire, is that you burnishing my skin?
Yes, the seasons have passed; ah yes, the Decembers
roll their hollow wheels on the cobblestones.

Fallen snow! Remember! You were travelling in a book.
Bright young girls came in, tasting of salt –
dead since then, since my desire was drunk!
Who would have thought that only it would last?

Sweet twilight! Later on the quays, the piers,
so many times we wept our farewells!
Yes, you still rest on those young shoulders,
stubborn heart, like wine turned old.

Fallen snow! In the hearth, now, other kindling
is burning! But it’s still the same song.
Truly – I wished in vain, for a kiss from your mouths,
to go down to Hell and pay the cruel ransom.

Sweet twilight! The snow has fallen. This is the century,
the wind, time and savage blood.
Far, far from me: where are you, my sixteenth year,
hardly more real than the sixteenth century?

Benjamin Fondane, 1943 (translated by Clarissa Aykroyd)

Neige tombée

Neige tombée, neige tombée dans le siècle
loin, loin de moi,dans la nuit de ma seizième année.
T'ai-je oubliée, jeunesse étrange et mutinée -
à peine plus réelle que le seizième siècle?

Doux crépuscule! Es-tu là dans un coin de ma chambre?
Clair feu de bois, est-ce toi qui ambres ma peau?
Oui, les saisons ont passés; eh oui, les Décembres
roulent sur les pavés le creux de leurs cerceaux.

Neige tombée! Souviens-toi! Tu voyageais dans un livre.
Vives, des jeunes filles entraient, au goût de sel
- mortes depuis que mon désir était ivre!
Qu'il eût pensé que lui seul resterait éternel?

Doux crépuscule! Plus tard sur les quais, les môles,
tant de fois ont sangloté nos adieux !
Oui, tu t'appuies encore sur ces fraîches épaules
coeur têtu pareil au vin devenu vieux.

Neige tombée! Dans l'âtre, à présent, d'autres bûches
flambent! Mais c'est la même chanson.
Vrai!, j'ai voulu en vain pour un baiser de vos bouches
descendre aux Enfers et payer la dure rançon.

Doux crépuscule! La neige est tombée. C'est le siècle,
c'est le vent, c'est le temps et le sang mutiné.
Loin, loin de moi: où es-tu ma seizième année -
à peine plus réelle que le seizième siècle?

Translation  © Clarissa Aykroyd, 2017