Sunday, December 28, 2014

Del nuevo diccionario del diablo: s.v. BAQUIANO


BAQUIANO, BAQUEANO: s.m. (Am. Lat.), explorador de nuevos senderos por terreno desconocido. En inglés: “pathfinder”, “scout”, “guide”. Refrán viejo: Para hacerse baquiano hay que perderse alguna vez (e.g. “to learn by trial and error”). Ejemplo nuevo clásico: "Virgilio es el baquiano de Dante por el infierno" [Paraíso Postergado, Canto XIII, verso 326].


E. A. Costa diciembre 28 2014 Granada, Nicaragua

Friday, December 26, 2014

The Mannequin On Calle La Calzada


                “Pero una estatua de sal
                no es una Musa inoportuna....”

                                     Carlos Martínez Rivas


She sits on the sidewalk
outside the shop in a black mesh chair.

Dressed in the latest fashion,
she sits one long leg draped over the other,
in a perfect pose of being about to rise recognizing you.

She sits a martyr's plaster of eagerness with the littlest kiss of lipstick.

She sits waiting for you during daylight & vanishing every night.

The shop girl sitting within, mobile in ice and boredom,
simply can't compete.

E. A. Costa 26 December, 2014  Granada, Nicaragua



El Maniquí de Calle La Calzada

              “Pero una estatua de sal
               no es una Musa inoportuna....”

                            Carlos Martínez Rivas


Sentada
en una silla
de red negra

en la acera
fuera de la tienda

es vestida
a la última moda
cruzando las piernas
una sobre otra.

Se está sentando
a la postura perfecta
de estar por levantarse
para contigo encontrarse.

El rostro es yeso de mártir deseoso
con un matiz de lápiz labial.

Cada día te aguarda
y cada noche desaparece.

Sentada en otra silla
la muchacha de tienda
móbil en hielo y hastío
con ella no rivaliza.

E. A. Costa diciembre 26 2014, Granada, Nicaragua*
___________________________________________
* N.B. This began as a fairly literal translation and
slowly turned into something a bit different, so to say,
structurally, though still a translation.




Monday, December 22, 2014

De Carmen Naranjo (traducción en inglés)


Ayer te busqué
en ese asiento vacío
del avión

en ese asiento vacío
del parque

en ese asiento vacío
del taxi

en ese asiento vacío
del comedor

en ese asiento vacío
de mi cuarto.

Hoy te sequiré buscando.

Carmen Naranjo (2001)


Yesterday
I looked for you
in the empty seat
on the airplane

on the empty park bench

in the vacant passenger seat of the taxi

in the unfilled chair at that little eatery

in the emptiness of my room.

Today I will keep looking.


(Tr. E. A. Costa  Granada, Nicaragua 22 December 2014)

Sunday, December 7, 2014

Siestas y desperezos


The Irish had planted potatoes there.
The first Fall my family dug them up
and ate them.

That must have been about A.D. 1952.

In Spring in the cold clean river
we hunted watercress and ate it as salad.

In Summer we went north to Ipswich
and spent all day on the rocks
gathering periwinkles,
brought them back iced--buckets of them,
spent all day with needles
pricking them out of their shells,
for a sauce never sold
in any market.

We ate them over linguine
cooked in huge pots
in Rosa's magnificent kitchen.

Friday was fish day.

Masses were Latin.

There is really no way to recall the night sky.

There was less night light in those days.

The air was clean.

Laid out on your back
on the moist grass
where the potatoes
had been hiding,
was a universe above.

Half of the huge oak
had been blasted away by the hurricane.

The ancient miniature pear tree survived,
bore endless fruit every Fall.

It filled bushel baskets.

We ate them.

More came.

Some fermented on the concrete slab
over which laundry was hung and dried.

They smelled like brandy.

Laundry was white and heavy.

There was much linen.

It smelled like ozone.

Skippy the Collie chased cars
and was killed, died howling
and bleeding on the front porch.

Blood smells metallic.

It is hard to remember what world it was.

Massachusetts? Middlesex County?

E. A. Costa 7 December 2014 Granada, Nicaragua

Saturday, December 6, 2014

Poetry Is F_____g up (Alcman Q.E.D.)


           
            "Another thing these gentlemen seem not to know 
             is that poetry and history offer different wares, and
             have their separate rules...."

                         Lucian of Samosata  (tr. Fowler & Fowler) 



Poetry is f_____g up.

Falling.

Dead poets: n_ s___ t____.

No such thing.

Poetry is what happens between words when no one is looking.

War
Laughing
Intercourse
Autoeroticism
Echoing
Mutating
&....

Why say one thing with one word
when you can sing everything with two?

Tú.
Too.
Twin.
Twain.
Tween....

Explaining the endless endurance
of love poetry.

He said.
She said.

And by the way
what did Alcman
love when he threw away
his shield?

And by the way
what did Alcman
love when he lyricized
throwing away
his shield?

Running?
Laughing?
Archilochus?
Being openly unshielded?
By a bush?

These verses
and melodies
Alcman discovered
by paying close attention to:

f_____g up.

falling.
fouling.
fowling.

Fooling around with two,
with tú and you &
other partridges
in a pair tree.

Caccabides.

Ars.

A(r)matoria.

Naso beware.

Q.E.D.

E. A. Costa 8 December 2014 Granada, Nicaragua
__________________________________________
Nota Bene: As far as is known, Archilochus, soldier and poet, was the first to drop his shield in battle and run, then treat the event in a poem, vowing to get another one just as good. Thus began the figure called the rhipsaspia, or the throwing down of the shield, known also in regard to Alcaeus and Anacreon and later used by Horace, who fled the battle of Philippi, relicta non bene parmula (“my little shield having been left behind not at all nicely”). Did Horace actually carry a shield in the battle to throw down, and not only that one by definition small enough not to hinder running? It is the best with topoi and figures, poetic and otherwise, to leave the question open. Alcman unshielded, on the other hand, is a modern expansion.








Thursday, December 4, 2014

El candado cansado


       Encúrvase el dedo y ya tienes el espacio....

                                             Álvaro Urtecho


1.

They are strangling themselves
with strange love's black hands
to the vast amusement of a third man
in a third land with a third eye
and three ugly feet.

Who has a clue? Who has the key? They do.
It is in their right back pocket.

Both of them rocket for it. Both hands struggle.

And the band plays on.



2.

What is the space between two songs?

Does nothing have its reasons,
like all other reasons invented
after the fact?

Does the size of vacuity matter?

Does it have its vicinities and seasons and changes of face,
like the moon?

To half a glass eye it adds a crescent
and becomes gibbous, growing slowly
to eclipse.

Like a clipper ship around the horn
a new world is born freighting frost
to San Francisco and back in long round days
at sea.

Both of them rocket for it. Both hands struggle.

And the band plays on.

3.

Tell me, good people,
who is your creator but the devil,
whom you yourself invented and treasured
with all the secret pleasures of a sleeping
secret Egyptian,

whose long whiles lay stock still along the Nile
for four thousand years,

with ears like the jackal
and a nose like the three noses
of the platypus who smells
electromagnetism.

Fickle she was this river,
this shoelace through mountain waste,
fickle and fish-tasting but trickable
by immobile Pharaonic bluff.

Which while was that?
Which Nile—white or blue?

Both of them rocket for it. Both hands struggle.

And the band plays on.


4.

Your chaos
written in blood
is nothing new or huge
screwed tightly on the Canopic jar
of putative new anatomy and knowledge.

You are not the river.

You are not the barge.

You are not the driver.

You are not the sea—neither of you,

nor even the universal crocodile
shitting your tripes into the muddy flow
of rising brown water in flood.

You are the ersatz & exchangeable ant,
red and black, picayune and huge,
whose phases are dunce cap and corner,
honed and wired and mass-producing
nosegays distinct and fungible
on a bed of invisible roses.

Come the locust.
Come the groundhog.
Come the pubic lobster.
Come the bullfrog.
Come the giraffe of sunset.
Come lunatic laughter in silhouette.

Both of them rocket for it. Both hands struggle.

And the band plays on.


5.

The third ant and real.
The third authentic bee.
The third wolf and the third feral dog.
The third bear. The third hare. The third cat.
The third termite & the third acacia tree.

The beating of the Book of the Dead
door to door, floor to floor,
evangelizing islands and isthmuses,
sanitizing, harmonizing, simonizing
twilight into one more false dawn.

Let loose all your death.

Let loose all dolor.

Let loose the dull colors of your last curse
and shake the newborn earth
into morbidity.

No one will remember you.

No one will know your name.

No one will know you were here or there
for a year or a million or a day.

No one will resurrect you.

No one will reconstruct you.

You do not matter.

And as you pass hand in hand
through two performances in platinum
at the same and different time,
and the goose is cooked,

the band plays on.

E. A. Costa 4 December, 2014 Granada, Nicaragua







Thursday, November 27, 2014

Prueba ontológica (Ontological Proof)

                     
                           Cur dea mulier?

Señor Walker y sus filibusteros
destruyeron la mujer bellísima
que era la ciudad de Granada.

Los Granadinos lloraron.

Y después de las lágrimas
grabadas en memoria y imagen
la construyeron de nuevo
aún más bella que antes....

E. A. Costa Granada, Nicaragua noviembre 27, 2014


Ontological Proof
                    
                       Cur dea mulier?

Mr. Walker and his filibusters
ravaged the exquisite woman
who was the city of Granada.

The Granadinos wept.

And after all the tears
graven in memory and image
they raised her anew
even fairer than before....

[Translated E. A. Costa]