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Issue 12
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Five Poems

  • by Ida Vitale
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  • November, 2019

The poems translated here come from Vitale’s 1980 collection, Garden of Silica, as well as her most recent work, uncollected as of yet in a single volume, but encompassing the section “Antepenúltimos,” [Second-to-Last] which opens her Poesía reunida (Tusquets, 2017). In the case of the former, the translations originally appeared in an anthology of her work we translated and published in 2010 with Salt Publishing (UK), also titled Garden of Silica. These have been thoroughly and completely revised. As for the latter, this is the first time they’ve appeared in English.

 

Tracing through Transparency

Clear-cut afternoon
abundant with solid attempts
—trumpet, telegram, shreds of Girondo—
reserves sadness among its drupes.
Autumn forebodes transfer
transfers foreboding,
wastes its splendid veils
on dark rituals.
All nettles,
hieroglyphic ashes persist.
Just love holding
swift walls,
postpones
collapse.
Through transparency
you see the fire
devour
the tallest barks
in the climbing gardens.
A warble, terse
compass, endures.

 

Distance Square

Never mind if you are
on the summer stage
at the center of its defiance.
Far from its fires
you walk alone
among snowy statues,
along the stones of Charles
Bridge, infinite.
You see yourself walk,
watching how ice curdles
in short-lived islands,
running downriver,
it yokes at a point
far from here
—what here?—
between new shores.

Lightning is unspeakable.
Return then in the opposite direction,
reclaim uses and customs,
sea,
dead sand,
this clarity,
while you can.
But preserve in your blood
like a fish
the sweet clash of distance.

 

Summer

Everything is blue,
what isn’t green
and burns,
I.N.R.I.
—igne natura renovatur integra—
in this grave summer oil;
the one who weighs bird journey is falling
and curses the flightless bird,
verbal excrescence is falling =
soothsay = trophy,
jewel upon the same old skin.

Whoever sits at the shore of things
glows from things shoreless.

from Garden of Silica

 

Resources

The shockwave outside the poem or inside the poem, scarcely air held.

To read and then reread a phrase, a word, a face. Most of all, the faces.
To go over, to weigh what they silence.

Since you’re safe from nothing, try yourself to be something’s salvation.

Walk slow, see if time tempted follows suit.

 

Vegetate

Is vegetating so bad? Would you have to put down roots, with all the permanence that implies? Perhaps a pinch of sand is enough, but then it would be a cactus pushing through. Undeniably it would be better to find some good black soil for the experience, because not just any soil would be open to the adventure about to begin. Would just a few plantlets count? But no matter how willing you are, they just aren’t going to pop up anywhere unless you have a bit of root. And for that you need stillness. Sinking and stillness?

from Second-to-Last

Translated by Katherine M. Hedeen and Víctor Rodríguez Núñez

Uruguayan writer Ida Vitale receives the 2018 Cervantes Prize from King Felipe VI of Spain.
  • Ida Vitale

Born in Uruguay in 1923, Ida Vitale is one of Latin America’s most respected poets. She is among the last survivors of the exceptional Generation of ’45, whose numbers included Mario Benedetti, María Inés Silva, and Ángel Rama. Vitale, who has published more than thirty books of poetry, criticism, and translations, was forced into exile following a military coup in Uruguay in the early seventies. She lived for years in Mexico and later in Austin, Texas. In 2016, she returned to Uruguay, and now lives in Montevideo.

  • Katherine M. Hedeen, Víctor Rodríguez Núñez

Katherine M. Hedeen is a translator and essayist. A specialist in Latin American poetry, she has translated some of the most respected voices from the region into English. Her latest book-length publications include prepoems in postspanish by Jorgenrique Adoum, Book of the Cold by Antonio Gamoneda, Every Beat Is Secret by Fina García Marruz, Almost Obscene by Raúl Gómez Jattin, and rebel matter by Víctor Rodríguez Núñez. Her work has been a finalist for both the Best Translated Book Award and the National Translation Award. She is a recipient of two NEA Translation Grants in the US and a PEN Translates award in the UK. She is a Managing Editor for Action Books. She resides in Ohio, where she is Professor of Spanish at Kenyon College. More information at: www.katherinemhedeen.com

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