Gemma Gorga, trans. Sharon Dolin
from the Book of Minutes
(Llibre dels minuts, 2006)
Tot obeeix a la gravitació. Si deixes de sostenir-les entre les mans, veuràs com cauen les pomes, les hores, les ombres corcades del propi cos. De nit, mentre dormim, el cor atreu partícules microscòpiques de dolor que no saben escapar a la trajectòria d’una òrbita tancada. De matinada, la polsina del silenci es diposita a les oïdes en estrats fins d’incomprensió. Cauen els insectes que massa s’acosten al sol. Cau el cabell com cauen les llàgrimes, sense demanar permís. També els remordiments cauen verticalment sobre l’ermàs trist de la consciència. ¿Serà la felicitat l’absència de gravitació, sentir per un instant la suau indolència del núvol que no s’acaba de decidir, negar–se a la verticalitat que ens escindeix de dalt a baix com una ablació?
Everything obeys the law of gravity. If you stop holding them up in your hands, you’ll see the way they’ll fall: apples, hours, the gnawed–upon shadows of your own body. At night, while we’re sleeping, our hearts attract microscopic particles of pain that don’t know how to escape the trajectory of a closed orbit. At dawn, the dust of silence is deposited in our ears in fine layers of incomprehension. Insects that came too close to the sun fall. Hair falls the same way tears fall, without asking permission. Even remorse falls vertically upon the sad wilderness of consciousness. Is happiness the absence of gravity: to feel for one moment the soft indolence of a cloud that has not yet made up its mind, to refuse the verticality that cleaves us from above to below like an ablation?
Vas deixar les sandàlies arrenglerades a l’entrada, com si la vida fos un temple hindú. I jo, que sóc incapaç de trobar la mesura exacta de la devoció, vaig deixar–hi també el camí i l’ombra del camí, vaig fer ofrena dels pètals parells i dels pètals senars, vaig posar les paraules a disposició dels éssers que viuen a la intempèrie de la mudesa. I així vaig quedar–me sense un pronom per poder dir jo, per poder preguntar qui. Al capdavall, tenies raó: mai no he distingit l’amor del fanatisme.
You left your sandals lined up at the entryway, as though life were a Hindu temple. While I, who am incapable of finding the exact measure of devotion, also left the road and the road’s shadow. I made an offering of petals paired and petals unpaired, positioned words at the disposal of beings who live speechless and exposed to the elements. Which left me without a pronoun to be able to say I to be able to ask who. You were right after all: I have never distinguished love from fanaticism.
Fins que una tarda qualsevol, a l’hora de tancar, vingui la bibliotecària i em retorni a la prestatgeria on pertanyo, al lloc precís d’on algú em va agafar un bon dia, vés a saber per què, potser per aprendre a traduir la tristesa a un altre idioma, potser per estimar–me com s’estima un llibre, és a dir, per sempre. No, per sempre no. Només fins que una tarda qualsevol, a l’hora de tancar, vingui la mort i em retorni a la prestatgeria on pertanyo, al lloc precís d’on algú em va fer néixer un bon dia, vés a saber per què.
Up until a certain afternoon, at closing time, the librarian may come and return me to the shelf where I belong, the precise place where someone grabbed me one fine day, who knows why, perhaps to learn to translate sadness into another language, perhaps to love me as a beloved book—that is, forever. No, not forever. Only up until a certain afternoon, at closing time, death may come and return me to the shelf where I belong, the precise place where someone gave birth to me one fine day, who knows why.
Aixeco la persiana perquè pugui entrar la llum. Enretiro la cortina perquè pugui entrar la llum. Tanco els ulls perquè pugui entrar la llum.
I raise the blinds so light may enter. I part the curtains so light may enter. I close my eyes so light may enter.
Les llàgrimes que es vessen de matinada són cantelludes com diamants tallats amb el cisell de la ràbia, el mateix cisell amb què estampo graffitis a les parets atònites de l’insomni. Lentament, però, la seda de l’alba comença a escorre’s esquena avall, una mà amiga que escampa l’espuma blanca del consol entre vèrtebra i vèrtebra. I la son arriba, fora de temps. I els canaris refilen, fora de pentagrama. I el cafè xiula, fora dels rails. I algú diu jo, fora de mi. Despertar–se, tan a prop de desesperar–se. I haver d’enfilar–se a les bastides del vertigen sabent–se fràgil com un saltimbanqui tot fet de vidre.
Tears shed at dawn are sharp as diamonds cut with anger’s chisel, the same chisel I use to stamp graffiti on the stunned walls of insomnia. But slowly, dawn’s silk begins to trickle down my back, a helping hand that spreads the white foam of comfort between each vertebra. And sleep comes at the wrong time, and canaries chirp out of tune. And coffee whistles off key. And someone says I, outside myself. Awaking, so close to aching. And having to mount vertigo’s scaffolding, feeling as fragile as an acrobat made entirely of glass.
Gemma Gorga was born in Barcelona in 1968. She has a PhD in Philology from the University of Barcelona, where she is Professor of Medieval and Renaissance Spanish Literature. She has published six collections of poetry: Ocellania (Bordology, Barcelona, 1997); El desordre de les mans (The Hands’ Disorder, Lleida, 2003); Instruments òptics (Optical Instruments, València, 2005); Llibre dels minuts (Book of Minutes, Barcelona, 2006), which won the Premi Miquel de Palol (2006) and appeared in a Catalan–Spanish bilingual edition (Libro de los minutos y otros poemas, Valencia, 2009, translated by V. Berenguer); Diafragma (Diaphragm, Girona, 2012), in collaboration with photographer John Ramell; and Mur (Wall, Barcelona, 2015).
Sharon Dolin is the author of six collections of poetry, most recently Manual for Living, (University of Pittsburgh Press, 2016). Her previous two books, both from the University of Pittsburgh Press, are Whirlwind (2012) and Burn and Dodge (2008), which received the AWP Donald Hall Prize in Poetry. Her ekphrastic collection, Serious Pink, was reissued Fall, 2015 by Marsh Hawk Press. She directs the Center for Book Arts Chapbook Competition, as well as the international writing workshop Writing About Art in Barcelona.
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