Morning Translation: 28 December 2025, Randall Jarrell, "90° Nord"

Zuhause, in meinem Flannelschlafkleid, wie der Eisbär auf seine Scholle

Kletterte ich ins Bett: die unmöglichen Steilen des Globus aufwärts

Segelte ich die Nacht durch — bis ich endlich, mit meinem schwarzen Bart,

Meinen Pelzen und meinen Hunden, am Nordpol stand.

 

Dort in der kindlichen Nacht lagen meine Gefährten eingefrohren,

Die steifen Pelzen pochten an meiner hungernden Kehle,

Und ich seufzte tief: um mir engten sich die Flocken,

Waren sie wirklich mein Ende? In der Dunkelheit fand ich meine Ruhe.

 

— Hier flattert die Flagge in der Blendung und Stille

des unaufhörlichen Eis. Hier stehe ich,

Die Hunden bellen, mein Bart ist schwarz, und ich blicke

auf den Nordpol . . .

                                       Und jetzt? Na, umkehren.

 

Egal wohin ich mich wende, geht mein Schritt nach Süden.

Die Welt — meine Welt dreht sich um diesen letzten Punkt

von Kälte und Elend: alle Geraden, alle Winde

Münden hier in diesem Strudel, den ich letztendlich entdecke.

 

Und es bedeutet nichts. Im Kinderbett

Nach der nächtlichen Reise, in dieser warmen Welt

Wo Leute streben und leiden um das Ende,

Das den Schmerz krönt — in diesem Wolkenkuckucksheim

 

Erreichte ich meinen Norden, und er hatte Bedeutung.

Hier an der wirklichen Pol meines Daseins,

Wo alles, was ich erbrachte, bedeutungslos ist,

Wo, allein durch Zufall, ich sterbe oder weiterlebe —

 

Wo ich, lebend oder sterbend, immer noch alleine bin;

Hier, wo der Norden, die Nacht, der Berg des Todes

Mich aus der unwissenden Dunkelheit verdrängen,

Begreife ich endlich, wie all das Wissen,

Dass ich der Dunkelheit entrissen habe — dass die Dunkelheit mir zuwarf —

Ist, wie Nichtwissen, nutzlos: von nichts kommt nichts,

Aus dem Dunkeln die Dunkelheit. Schmerz kommt aus dem Dunkeln

Und wir nennen es Weißheit. Es ist Schmerz.

+

90 North

At home, in my flannel gown, like a bear to its floe,

I clambered to bed; up the globe's impossible sides

I sailed all night—till at last, with my black beard,

My furs and my dogs, I stood at the northern pole.

There in the childish night my companions lay frozen,

The stiff furs knocked at my starveling throat,

And I gave my great sigh: the flakes came huddling,

Were they really my end? In the darkness I turned to my rest.

—Here, the flag snaps in the glare and silence

Of the unbroken ice. I stand here,

The dogs bark, my beard is black, and I stare

At the North Pole . . .

                                        And now what? Why, go back.

Turn as I please, my step is to the south.

The world—my world spins on this final point

Of cold and wretchedness: all lines, all winds

End in this whirlpool I at last discover.

And it is meaningless. In the child's bed

After the night's voyage, in that warm world

Where people work and suffer for the end

That crowns the pain—in that Cloud-Cuckoo-Land

I reached my North and it had meaning.

Here at the actual pole of my existence,

Where all that I have done is meaningless,

Where I die or live by accident alone—

Where, living or dying, I am still alone;

Here where North, the night, the berg of death

Crowd me out of the ignorant darkness,

I see at last that all the knowledge

 

I wrung from the darkness—that the darkness flung me—

Is worthless as ignorance: nothing comes from nothing,

The darkness from the darkness. Pain comes from the darkness 

And we call it wisdom. It is pain.

Evening Translation: 27 October 2025, John Ashbery, "Das einzige, was Amerika retten kann"

Liegt irgendwas zentral?

Obstgärten verstreut durchs Land,

Urbane Wälder, rustikale Plantagen, kniehohe Hügel?

Sind Ortsnamen zentral?

Oak Grove, Adcock Corner, Story Book Farm?

Da diese mit einem Ansturm auf Augenebene zusammenlaufen

Und sich in die Augen prügeln, welche nichts mehr aushalten können

Danke, das war genug danke.

Und sie tauchen auf wie eine Landshaft, gemischt mit Dunkelheit

Die feuchten Ebenen, überwachsene Vorstädte,

Orte von bekanntem bürgerlichen Stolz, zivile Obskurität.

 

Diese sind zwar mit meine Version von Amerika verbunden

Aber der Saft ist woanders.

Heute morgen, als ich dein Zimmer verließ

Nach dem Frühstück schraffiert mit

Blicke rückwärts und vorwärts, rückwärts ins Licht,

Vorwärts ins unvertraute Licht,

War es unser Werk, und war es

Der Stoff, das Nutzholz des Lebens, oder von Leben,

Die wir maßen, zählten?

Eine Laune, die bald vergessen wird

Unter gekreuzte Lichtbalken, kühler Innenstadtschatten

An diesem Morgen, der uns wieder eingeholt hat?

 

Es ist mir bewußt, ich verflechte zu arg die eigenen

Abgebrochenen Eindrücke über Dinge, wie sie mir begegnen.

Sie sind privat und werden es immer bleiben.

Wo sind dann aber die privaten Zwischenfälle, die später

Dazu bestimmt sind, zu blühen wie goldene Glocken

Erklungen über die Stadt vom höchsten Turm?

Die lustigen Sachen, die mir geschehen, dir ich dir erzähle,

Und du sofort weißt, was ich meine?

Welcher abgelegener, über Serpentinen erreichbarer Obstgarten

verbirgt sie? Was sind diese Wurzeln?

 

Es sind die Knoten und Proben

Die uns verraten, ob wir bekannt werden

Und unser Schicksal vorbildlich sein kann, wie ein Stern.

Alles andere ist warten

Auf einen Brief, der niemals ankommt.

Tag ein, Tag aus, die Verbitterung

Bis du es endlich aufgerissen hast, und nicht wusstest, was es war,

Und die beiden Umschlaghälften auf einem Teller liegen.

Die Botschaft war weise, und scheinbar

Lange her diktiert.

Ihre Wahrheit ist Zeitlos, aber ihre Zeit ist noch

Nicht gekommen. Sie berichtet von Gefahr, und die meist begrenzten

Maßnahmen, die gegen die Gefahr zu ergreifen sind,

Heute und in Zukunft, in frischen Höfen,

In ruhigen kleinen Häusern auf dem Land,

Unser Land, in umzäunten Gebieten, auf kühlen schattigen Straßen.

+

The One Thing That Can Save America

Is anything central?

Orchards flung out on the land,

Urban forests, rustic plantations, knee-high hills?

Are place names central?

Elm Grove, Adcock Corner, Story Book Farm?

As they concur with a rush at eye level

Beating themselves into eyes which have had enough

Thank you, no more thank you.

And they come on like scenery mingled with darkness

The damp plains, overgrown suburbs,

Places of known civic pride, of civil obscurity.

 

These are connected to my version of America

But the juice is elsewhere.

This morning as I walked out of your room

After breakfast crosshatched with

Backward and forward glances, backward into light,

Forward into unfamiliar light,

Was it our doing, and was it

The material, the lumber of life, or of lives

We were measuring, counting?

A mood soon to be forgotten

In crossed girders of light, cool downtown shadow

In this morning that has seized us again?

 

I know that I braid too much my own

Snapped-off perceptions of things as they come to me.

They are private and always will be.

Where then are the private turns of event

Destined to bloom later like golden chimes

Released over a city from a highest tower?

The quirky things that happen to me, and I tell you,

And you know instantly what I mean?

What remote orchard reached by winding roads

Hides them? Where are these roots?

 

It is the lumps and trials

That tell us whether we shall be known

And whether our fate can be exemplary, like a star.

All the rest is waiting

For a letter that never arrives,

Day after day, the exasperation

Until finally you have ripped it open not knowing what it is,

The two envelope halves lying on a plate.

The message was wise, and seemingly

Dictated a long time ago.

Its truth is timeless, but its time has still

Not arrived, telling of danger, and the mostly limited

Steps that can be taken against danger

Now and in the future, in cool yards,

In quiet small houses in the country,

Our country, in fenced areas, in cool shady streets.

The Tower

Like a ramp

corkscrewing

upward must not

only reach

Heaven, removed 

from the plains

of foundation 

at a great though

arbitrary height, but also 

taper inward, down 

to ever finer

scales the closer

its approach

to pierce and pass 

through the

Throne, mirroring 

the escalation 

of man's facility 

to build the tower

higher, ever

in the first

place.

Something Wicked

The good people

of the town

do not deserve

to die, but

they will

as they have

forever, as

the graveyard

attests to.

They do not

deserve to fall

in love and

watch as despite

their loving

their love

grows old

and dies, to 

witness their 

records in

baseball or

basketball be

broken by

successive 

generations, to

see streets be

renamed as

they were

once already

renamed when

in the Armistace

they were boys

or girls and

there still ran

a street car

electric down 

mainstreet. 

Boys and girls

stamped.

No one 

deserves to 

die.

Morning Translation: 23 July 2025, Paul Celan, "Anabasis"

This 

narrowly written between walls 

pathless-true

going up and down

into the heart-bright future.

There.

Syllable-

jetty, ocean-

colored, way out

into the unvoyaged.

Then:

buoys,

cordon of comma-buoys

with the 

breathing bobbing

every second exquisitely —: light-

bell-tones (dum-, 

dun-, un-,

unde suspirat

cor),

re-

leased, re-

deemed, ours.

Seeable, hearable, the 

freed-

up tent-word:

together.

+

ANABASIS

Dieses

schmal zwischen Mauern geschriebne

unwegsam-wahre

Hinauf und Zurück

in die herzhelle Zukunft.

Dort.

Silben-

mole, meer-

farben, weit

ins Unbefahrne hinaus.

Dann:

Bojen-

Commabojen-Spalier

mit den

sekundenschön hüpfenden

Atemreflexen —: Leucht-

glockentöne (dum-,

dun-, un-,

unde suspirat

cor),

aus-

gelöst, ein-

gelöst, unser.

Sichtbares, Hörbares, das

frei-

gewordene Zeltwort:

Mitsammen.

Notes on poem: this is an example of a Celan poem that *moderately* pushes the limits of what is translatable - which, in this case, includes idiologisms (novel compound words) and enjambments with individual words made twain by the line break, revealing unexpected semantic parallels or meanings that would otherwise be obscured by normal syntax, and which are often so particular to the German as to be impossible to render in English.

A good example of a Celan idiologism that is difficult to translate would be “sekundenschön” which I’ve rendered as “every second exquisite(ly)” but, literally unpacked, would be something closer to [x] every second of which is exquisite/pretty/to be savored — and this all in an elegantly compact adverb! Celan probably had “sekundenschnell” (or “split-second”) in mind, which he tweaked just a little bit so that it is sonically familiar but semantically foreign and thus jars the reader awake - which is a typically Celanian move.

An example of the syntaxis interrupta would be the lines: “re-/leased, re-/deemed, ours.” In the German original, this appears as “aus-/gelöst, ein-/gelöst, unser”. Taken as prose, “ausgelöst” means caused/released/unleashed and “eingelöst” means cashed-in/redeemed/honored {as pertaining to exchange value]. The tricky part is the German verb “lösen”, which on its own means “[to] solve” but also can mean resolve/dissolve/loosen/untie/detach, etc., basically a muddy incline leading into a semantic abyss which Celan excavates by means of his scalpel called enjambment (whether fashioned from sharpened bone, jade, or meteorite, I wonder?). Unfortunately, while I’ve also got some room to play in English with di-/re-/ab-/un- + solve, none of these match the German meaning(s), so I recreated alternate re-/re- echo in the translation. However, who knows; while the meaning(s) are a departure, something like “re-/solved, ab-/solved, ours” might work. It depends on which semantic register is worth preserving here - the larger, syntactically-driven one (i.e. the prosaic) or the slipstream between the fractured lines?

In a word (or two), the sensation of reading Celan in German is jarring and othering; we are reading a language that, while it is semantically accessible, feels alien and removed from any day-to-day human speech. While we might understand, we don’t recognize the language as “German”. This “othering” was a manifestation of Celan’s surviving the Holocaust and writing in the language of those who perpetrated it, utilizing the very tool (language) that facilitated its execution at the most basic level. For many years I’ve contemplated Celan’s German and its gesturing and venturing towards, its disappearing into the incommunicable.

The Latin “unde suspirat cor” translates to “from which our hearts sigh”. This is a quote from the libretto of Exsultate, jubilate (K. 165) by W.A. Mozart. The full libretto is as follows (Latin translation curtesy of Wikipedia):

Exsultate, jubilate,
o vos animae beatae,
dulcia cantica canendo,
cantui vestro respondendo,
psallant aethera cum me.

[Rejoice, resound with joy,
o you blessed souls,
singing sweet songs,
In response to your singing
let the heavens sing forth with me.]

Fulget amica dies,
jam fugere et nubila et procellae;
exorta est justis
inexspectata quies.
Undique obscura regnabat nox,
surgite tandem laeti
qui timuistis adhuc,
et jucundi aurorae fortunatae
frondes dextera plena et lilia date.

[The friendly day shines forth,
both clouds and storms have fled now;
for the righteous there has arisen
an unexpected calm.
Dark night reigned everywhere [before];
arise, happy at last,
you who feared till now,
and joyful for this lucky dawn,
give garlands and lilies with full right hand.]

Tu virginum corona,
tu nobis pacem dona,
tu consolare affectus,
unde suspirat cor.

[You, o crown of virgins,
grant us peace,
Console our feelings,
from which our hearts sigh.]

Alleluja, alleluja!

From the Archives : Les Miz (2016)

hells-angels-howard-hughes-6.jpg

Everybody’s a critic 

when it comes

to the Revolution.

Some sing the chorus 

on barricades 

while others take aim

to make them stop.

That’s when the scene 

of the very first shot

they shot is shot

and the day’s a wrap 

for those lucky 

to have died.

After which, things

will quiet down

for the friends 

we’ll never meet.

Friends — no matter 

what was pointed 

at us, done with and

to us, no one will

say we didn’t 

look damned good 

doing whatever 

it is we were 

doing a l'ère 

du grand écran. 

Though the times

must needs

recast us, rolled over

in their greater 

sleep — to fashion 

of our lives 

history, to remodel

our homes into

the glamorous flats

of pilots — ace debonaires 

with prudence enough 

to know when 

to quit, hang up

the hopeless conflict 

and go nurse 

the dry martinis

they left sweating 

at the bar.

Morning Translation: 19 July 2025, Paul Celan, "There was earth in them"

There was earth in them, and

they dug. They dug and dug, that's how 

their day went, their night. And they praised not god, 

who wanted all of this, so they heard,

who knew all of this, so they heard. 

They dug and heard nothing anymore;

they grew not wise, made no song, 

invented no kind of language. 

They dug.

There came a silence, there came a storm also, 

the oceans came all. 

I dig, you dig, and the worm digs also,

and the singing elsewhere says: they dug. 

O one, o none, o no-one, o you:

where was it going, if it was going nowhere? 

O you dig and I dig, and I dig myself to you,

and the ring on our finger wakes us.

+

Es war Erde in ihnen, und

sie gruben. Sie gruben und gruben, so ging

ihr Tag dahin, ihre Nacht. Und sie lobten nicht Gott,

der, so hörten sie, alles dies wollte,

der, so hörten sie, alles dies wußte.

Sie gruben und hörten nichts mehr;

sie wurden nicht weise, erfanden kein Lied,

erdachten sich keinerlei Sprache.

Sie gruben.

Es kam eine Stille, es kam auch ein Sturm,

es kamen die Meere alle.

Ich grabe, du gräbst, und es gräbt auch der Wurm,

und das Singende dort sagt: Sie graben.

O einer, o keiner, o niemand, o du:

wohin gings, da’s nirgendhin ging?

O du gräbst und ich grab, und ich grab mich dir zu,

und am Finger erwacht uns der Ring.

Morning Translation: 15 July 2025, Paul Celan, "The bright stones"

The bright

stones are going through the air, the bright

white ones, the light-

bringers.

They will

not go down, not crash,

not collide. They’re going 

up, 

like the meager

hedge-roses, that's how they go up,

they're floating

towards you, my quiet one,

my true one -:

I see you, you're picking them with my

new, my 

Everyman's hands, you place them

in the once-more-bright, which no one

needs cry about or name.

+

Die hellen

Steine gehen durch die Luft, die hell-

weißen, die licht-

bringer.

Sie wollen

nicht niedergehen, nicht stürzen,

nicht treffen. Sie gehen

auf,

wie die geringen

Heckenrosen, so tun sie sich auf,

sie schweben

dir zu, du meine Leise,

du meine Wahre —:

ich seh dich, du pflückst sie mit meinen

neuen, meinen

Jedermannshänden, du tust sie

ins Abermals-Helle, das niemand

zu weinen braucht noch zu nennen.

Morning Translation: 12 July 2025, Paul Celan, "An eye, open"

Hours, may-colored, cool.

That which can no longer be named, hot,

is heard in the mouth.

No one's voice, again.

An eyeball's depth, that aches:

the lid

doesn't block, the lash

doesn't count what comes in. 

The tear, half, 

the sharper lens, spry,

goes and gets the pictures for you.

+

EIN AUGE, OFFEN

Stunden, maifarben, kühl.

Das nicht mehr zu Nennende, heiß, 

hörbar im Mund. 

Niemandes Stimme, wieder.

Schmerzende Augapfeltiefe: 

das Lid

steht nicht im Wege, die Wimper

zählt nicht, was eintritt.

Die Träne, halb,

die schärfste Linse, beweglich,

holt dir die Bilder.

Notes: several instances of polysemy are unfortunately lost in the translation.

1.) In the second line of the first stanza, “heiß” or “hot” in the German is just one letter away from “heißt” or “is called”, literalizing the inability to name that is indicated in the first part of the line. But the Unable-to-be-named is still a way of, if not explicitly naming, then at least indicating an absence, which is then vocalized, audible in the hollow cavity of the mouth, a voice not belonging to anyone and addressing no-one.

2.) Line four of stanza two has a great albeit oblique pun on “paying admission”. Prima facie, the stanza communicates that neither eyelid or eyelash stand in the way or count (“zählt”) what goes into (“eintritt”) the eye. In addition to counting, the verb “zähl(en)” in German can also mean “to pay”. Furthermore, while “eintritt” appears here as the present tense of the verb “eintreten”, it is also analogous to the noun-form “Eintritt”, or “admission [fee]”. It’s as if the lid and lash are bouncers or ticket agents at the entrance of the eye but are asleep (or is it awake??) on the job.

3.) In a colloquial context, “beweglich” translates to “flexible”, “moveable”, “mobile”, etc. However, this is also the appropriate German term in a clinical context to describe the motility of the eye (e.g. “frei beweglich”). I could see this poem as a relatively straightforward account of a visit to the ophthalmologist, although perhaps one involving a moderate dose of chloroform.

The Hikers

In my dream 

I am walking on sand

in a tract of dunes

in a clearing of pine.

To my right there is a bear

on his hind legs 

pacing behind me

that I can just barely see

as a dark hulking

mass in my periphery.

To my left there's a couple 

also hiking this way 

that I can't see, only hear 

their yelling frantic

"Oh no!”

“There's a bear!”

"Don't look at him!"

"Just keep walking!"

But every time I glance 

or even just move my eyes 

over to my right 

the bear sees or senses 

this and gets more 

and more angry —

head slant, growling

so close now I can feel

his smegmal breath

hot on my neck.

Eventually the bear falls 

on me — or I think so 

because now I am face down 

in the burning sand.

As he is clawing at my back

and breaking my neck 

in his mouth I hear

the hikers cry

"Oh no!”

“Oh god!”

“We are so sorry!”

Wings of Desire

Once having ascended

into heaven, let me tell you —

much like staring

at a blank page as wind

plays in the ends

of your quill — it’s hard

to get anything done

up here, though you're told

they still need you

down on earth, your thoughts

still have weight there

and meaning — how it's

really your hand

that like in a glove

makes anything happen —

and so I grab the baby

by the neck, pull it

out of the Mediterranean

and lift it back onto

the raft — I grab

the joystick, pull up

and release the payload

on the city almost already

completely flattened

though I wonder

whose hands, what

calculus delivers

the bomb to its target —

no one, I’m afraid

to think it falls

of its own

accord.

Old Masters

My master, he died

not too recently

but late enough

that I might still be

justified to render

him memorial. Only

a bastard wants

to call those

in whose care

he was embedded

what he himself

can't stand

having been —

that a lord could be

magnanimous

is an unbearable

fact of life, but so

my lord was. His every

word was lightness

self-adequate, could never

have been other than

what it was encountered

as — total and level

as the horizon, steadfast

as bread, his every

work anticipating even

the freest, cunning or happy

thing I might've wanted

to shave into form

if I had not then realized

for shame, I know this

passage — it is my master's.

The knowledge that

he never intended

his works to eclipse

those of his charges

haunts, smothers me still

with the shame I feel

in the face of my

resentment. To have toiled

in his stables, my hand

reduced to the wake

of his own. No signature

but fidelity as I attest

I never knew, or can still

only guess the motion

of his mind no better than

the most mercenary

lover of his works.

How others later

might even come

to debate whether

I actually existed

and I myself question

if it's worth putting

into words what

I've learned, for example

of the cities where

I lived after

being released

from his presence —

how after examining

old engravings

I noticed the curve

of a stream became

a fetid moat running

the foot of a rampart

and then a street

with a subway

following the same

exact curve

dug into the bed

where the water was

once dredged, set

further underground

after the bombing of the city

gave occasion to revise

itself, where I arrive

to go up and sit

in a bar to figure out

how I got here — the fact

that only I remember

does not compare

with the purity

of my master's having been

in all these places

when everything was

wholly as it was

before me, and so

I let it go, I defer

to his mastery.

Cloud of Unknowing

The denim of the ‘90s

have always been 

saying goodbye.

Just now I was walking

through a department store 

closed or closing, unsure

but there they were —

fresh unworn

tables of Tommy

Hilfiger yet emanating 

indigo in the same 

dusk that buds know

in the time before 

they breach the soil

to accompany us

and share in the narrowing

fate of Spring.

I was sad to finally 

get their message 

and say my own farewell,

running my fingers 

on their petal-soft folds 

as the aisles lead me

to the exit, where 

the light radiating 

from the doors' twin 

portholes seemed

too bright to be 

the day — deepening 

the dark surrounds,

no pants recognizable

but loaves of shadow

carbonized, unwearable

as the cold tubular 

steel panic crossbar

of the doors met 

my hands, my eyes

hurting so that

I closed them

as I opened

the doors and

went out.

Raiders of the Lost Ark

What is this fire entered

back into the world —

the violence of beginnings

when the hero’s longing cannot be

told from the villain’s, as neither

comprehend how real

the end is —

to be the first one

there in the scene of history

hand on the stone —

believing that the next thing

you do will give shape

to the lives of millions unborn

but god is different —

this one at least

is voiceless, less than

in that he is unspeakably

greater than the one found

in Genesis — entirely

without prophet

or interest of conversing

with man — not noticing him

there — some number

of footsoldiers like beads

pierced on a string

of lightning —

or is it that we are

objects of derision

to be frightened before

he impales our bodies

with light, our faces

melted by the laughing fire

of the holy spirit finally

free of its great

mistake.

From the Archives : The Shithead (Aug. 2018)

Wondering when you last noticed your shadow  

is pure cringe. Swatting at the yellowjackets 

trying to land on the rim of my beer glass 

as if these were poems I’d rather not breathe 

life into. My father years dead — his body turned 

ATM jackpot. Fast fashion, train tickets, beer. 

Welcome to the future. For years I’d wished to be 

in this city alone — without family, friends or 

loved one — now that I’m here. On the dark screen 

of my locked iPhone are intricate smudges 

where my fingers have typed all but the letters 

P and Q — but that’s not true anymore, is it? 

that’s like kissing one’s own lips, and Q evincing 

how cringy it is to have anything to say at all. 

Like a wish you made but never seriously wanted 

to come true — a grown-up without profession 

crossing to walk on the dark side of the street 

in a country where all anyone understands 

of what I say is my unchained privilege to choose 

to stand at this bar attempting to order a drink 

not in my mother’s tongue has landed me. 

Sun falling behind Montmartre, light curdling 

on Fauburg-Saint-Denis — the fizz of the errant 

photons on the CMOS sensor in video mode. 

And my shadow somewhere under the next table 

at the feet of the couple sitting there, holed up 

in the chair legs. Maybe it’s already gone — maybe 

I’m it. You’re from the States, right? asks the guy. 

I can feel all three of us disbelieving as I recite 

an abridged biography. Basically on par with what 

a pathological liar might embroider, given enough 

time and resources — enough to have induced 

the fiction he remembers as his life to have 

actually occurred, though not entirely convincing 

as I am cast. Look — there’s a bench where 

I kissed my love’s fingers. Another, where later 

she wept for the cysts flowering in her uterus 

and pushed me away, so far from home. 

Same sky of fresh gauze, post-op hematoma. 

Same desire lines in the Place des Invalides lawn 

and heat that lives under your shirt and pants 

tearing at the soft skin between your legs. 

Meme silence dans les squares sur les bancs. 

I could not love her like she needed me to 

as we were waiting for the bus, eight years ago. 

A balcony where we spent the morning drinking 

conscious of wasting the day, much as we paid 

to be there. Drunk again — just now I walked 

through a park where my parents quarreled 

as I cried and hid off in the bushes for reasons 

I didn’t understand. What year was that even — 

1995? 1996? Weren’t we like those lovers of 1905 

locked in each other’s arms and legs wishing 

for the moment together to be other than what 

we were condemning each other to live? 

Tout le reste o baiser baiser perpétuel — only you  

could fail this poem, having lived through 

the loss of your other. Tell me, if it is possible 

to love again — was the first love ever real? 

How on that morning up there on the balcony 

you never thought to look down — see him  

tracing below where the light of morning  

throws the crowns of roofs on the sidewalk, 

moving just past the edge where it’s hard  

to make out any features beyond that 

it is the shape of a man, yes — facing away  

as he’s bent into his pacing, one hand gripping  

the other at his back and collar raised in greeting 

the current of what he knows there’s no hope 

recognizing will have been — no, not even 

faint laughter coming from the rooftops. 

From the Archives : Atrappenromantik (2014)

¶       HERMENEUTISCHER ENTWURF

 Unsichtbar ist nämlich alles

und jede Hand 

die Schwelle 

meiner. Da kommt etwas 

Musik entgegen, worin 

eine Falle sich 

lieblicher 

entsinnt. Ob durch 

das Lesen gefälligst 

filtriert 

und entzückend abgespielt 

ist doch egal,

weil jedes Leben sich so 

achtzigmal einfängt.

Nimm fetzen 

davon in Anschauung auf 

und finde: du hast 

das Wort Vögelchen 

wieder aus Langeweile 

erschlagen.

 

¶      WHITMANIA

Versäete Häftlingsknöchel 

fand er jugendlang 

halbhervor-

steckend aus Sand 

und Wellen-

wrang: 

arge Stäbchen einer Ufern-Ode 

noch öd 

ungedichtet

wallaboutbuchtseite des 

heiligbesudelten 

East Rivers. Gras wurzelt 

und Erde rinnt 

aus den Worten des Titels

im Einband rein-

geprägt, des Dichternamens 

erspart. In Wahrheit bloß 

nur eklig verfaulte 

Lederschichten 

zudeckend die sich traurig 

berührende Blätter.

Das Lesen ist 

ein aufgrabender Selbsteinschütten.

Unser Vergilben lindert 

kein Anerkennen.

 

¶       CARBO ANIMALIS

 Ferner der teueren Abriss 

verschiedenster Binnenkünste 

und unzählige 

zerschossene Vasenbilder 

der Gunstfertigkeit 

ist der Dichter dem Prospektus 

des Sittenreichs 

treu geblieben, mit solcher 

ich-funktioneller Verbenmechanik 

der Haberei. Gewiss,

eine Gartenmauer ist nichts, 

ohne das Verflechtetsein 

seines Efeus. Dieses 

samenseltene Gewächse des 

ziemlos versuchten 

Gedichtes. Und,

da er nur im kühnen 

Zustand verwendet werden kann

liegt der Dichter 

den ganzen Tag lang 

im lauwarmen Wasserbad,

was zum typischen Geruch 

(an Fleischbrühe erinnernd) und uns 

noch verblüffend durch

die Buchbindereien 

führt.

Morning Translation | 27 July 2023 | Rainer Maria Rilke, Sonnet to Orpheus II-XV

Fontana del Mascherone, Palazzo Farnese, Via Giulia, Rome.

O springmouth, you giver, you mouth

saying one inexhaustible pure thing —

the water wears you over its liquid face,

mask of marble. And behind you:

the origin of the aqueducts. How far

past graves, from Apennine climes

they bring you your speech, that then

over your chin black with centuries

spills into the basin below.

It is the ear, lying there in sleep.

The ear you’re always speaking to.

The ear of the earth. So she only talks

to herself, after all. Hold in a cup to drink

and she'd think you were interrupting her.

+

O Brunnen-Mund, du gebender, du Mund,

der unerschöpflich Eines, Reines, spricht,—

du, vor des Wassers fließendem Gesicht,

marmorne Maske. Und im Hintergrund

 

der Aquädukte Herkunft. Weither an

Gräbern vorbei, vom Hang des Apennins

tragen sie dir dein Sagen zu, das dann

am schwarzen Altern deines Kinns

 

vorüberfällt in das Gefäß davor.

Dies ist das schlafend hingelegte Ohr,

das Marmorohr, in das du immer sprichst.

 

Ein Ohr der Erde. Nur mit sich allein

redet sie also. Schiebt ein Krug sich ein,

so scheint es ihr, daß du sie unterbrichst.

Morning Translation | 25 July 2023 | Rainer Maria Rilke, Sonnet to Orpheus II-XIV

Field outside Hildrizhausen, June 2007. Rilke sure loves his dingies.

See the flowers, true to the earth, to which

we lend our destinies from the ends of the same —

but who knows! If they rue their wilting

it’s up to us to be their regret.

 

Everything wants to drift. But we go on, like burdeners

saddling ourselves with it all, in love with weight —

O what tedious teachers we are for this world,

its things, happy in their eternal childhood.

 

If they’d but take you into inmost sleep to sleep

deeply with all of them — o how lightly you would wake

out of that shared depth, othered in another day.

 

Or maybe you’d stay, and they’d bloom and praise

you, the convert, who now resembles them —

our quiet siblings in the wind in the fields.

 

+

 

Siehe die Blumen, diese dem Irdischen treuen,

denen wir Schicksal vom Rande des Schicksals leihn, —

aber wer weiss es! Wenn sie ihr Welken bereuen,

ist es an uns, ihre Reue zu sein.

 

Alles will schweben. Da gehn wir umher wie Beschwerer,

legen auf alles uns selbst, vom Gewichte entzückt;

o was sind wir den Dingen für zehrende Lehrer,

weil ihnen ewige Kindheit glückt.

 

Nähme sie einer ins innige Schlafen und schliefe

tief mit den Dingen -: o wie käme er leicht,

anders zum anderen Tag, aus der gemeinsamen Tiefe.

 

Oder er bliebe vielleicht; und sie blühten und priesen

ihn, den Bekehrten, der nun den Ihrigen gleicht,

allen den stillen Geschwistern im Winde der Wiesen.

From the Archives : The Voyage of Life (May 2014)

Roman fountain mask (replica) in Augst (Augusta Raurica), Switzerland.

I turn up the music on my phone and try to imagine

somewhere inside the song there’s a universe of wire,

cables shearing cables, tautening to the grand mazurkas

and Gymnopédie of the drunken mind — it all beguiling

to the point of how can you resist, already past hope

to the rapids of wine given-up and daydream ravaging

the riverbanks, cutting a wild way through the erstwhile

quietudes of childhood and pastoral preconception.

Even as branches dagger and tear at your crimson tunic,

Boatman, crazy high and weeping about this, your journey

from wellspring to delta, virgin to wastrel, just shut up

and inhale the secondhand gurglespray and haystink.

It’s too late. You’re already a part of this landscape

grievously altered before you could recognize the change

affected of wartide, the shoreside villages all burnt

to a cinder before you roll by, as you ascribe this lapse

to an involuntary daze of algae and rutter confusion.

You read that the river is this and that. A brown god.

A plunging demiurge. A place kids shouldn’t swim.

The imagination proved too thin and incapable to plot

a course through all the fallout. But here’s a raft, it said,

you’re welcome. Strung together of bramble fit for a bonfire

and morningwood, never did torn shoelaces so fare

shaved sticks down all the mud-holy rivers of Europe.

Floß, raft, radeau — whatever — the craft works despite

your best attempts at running aground, crashing into

as many neon buoys and wonted Loreleis in trashed night

as you confound hungover upon each next daybreak.

Like a Roman fountain mask, flood tinkles from your lips

like speech, unavertible, arraying the rank possibilities

of course and destiny as you stare on in utter bronze,

walled into perspective, barfing out the reflecting pool

before your sculpted eyes, the pupil like a pert nipple

cupped by nothing, a shadowy ring simulating the iris

and oxidized face in a transhistorical look of dismay.

You would rather suck, but no. There’s too much to be

communicated : a depthless world’s-worth of sewage

abluvion wise with cigarette butts, bird shit and E. coli.

The sixteen-tit Diana of the Villa d’Este is your muse

amid so much ejaculate, so many monstrously whetted

mouths aligned in a hanging garden of poetic spewage.

Or is it the gravel crunch underfoot, the spilled negroni,

the tipsy-tobacco verde bottiglia of the laguna? No no —

this poem is five hefeweizen deep, belly-up in the Bodensee,

unsure to exhale and sink into faux Mediterranean blue

still icy in June, to sleep under the poplars as the air reeks

of hash and Suite Bergamasque — the pleasures of living

in a turquoise minivan, roadtripping the amber noonlight

of your nineteenth Summer, so free to ruin everything.

Senex Puer

Aging is pain

and earth pulling

down the miraculous

unity of the body —

miraculous because it was

sudden, as youth needs

no revising, and can’t be —

though the tightness

of the knot itself causes

the fibers, the many

strains inside the one

to fray, to weary

of all this relentless

being you.