(translation) poems, herberto helder

Herberto Hélder was born in Funchal, Madeira, in 1930. In 1964, alongside António Aragão, Herberto would create the first anthology of experimental poetry in the Portuguese language, which punctuated an enormous shift in Portuguese poetic literature. He died in 2015.He wrote the poems above in his book, Servidões, a book also never translated into English.Continue reading “(translation) poems, herberto helder”

(translation) the trains that leave to Antwerp, herberto hélder

Herberto Hélder was born in Funchal, Madeira, in 1930. His poetry began during the tail of Portuguese Surrealism, after Mário Cesariny, and had as recurrent themes alchemy, mysticism and ancient mythology. He died in 2015.He wrote the prose-poem above in his book, Os passos em volta, a book never translated into English. This translation wasContinue reading “(translation) the trains that leave to Antwerp, herberto hélder”

(translation) style, herberto hélder

Herberto Hélder was born in Funchal, Madeira, in 1930. He was the most influential Portuguese poet of the second half of the 20th century, and by far the most misanthrope, having lived in relative isolation and refusing every prize he ever received. He died in 2015. He wrote the prose-poem above in his book, OsContinue reading “(translation) style, herberto hélder”

poetry with a place

I was inspired to create three compositions on three queer (gay, in this instance) relationships pertinent to Art History. I’m unknowing of why these were the ones that I picked, despite there being quite a few more of weighty impact, some of even more impact that those I chose. I was just reading up onContinue reading “poetry with a place”

surmania – layers and (layering)

I know, I’m aware. When I was little, I feared two things: to be touched, and alien spaceships, though I suppose that dissipated when I first visited one (fun!). The haptophobia, though, never quite took flight, and it only became more extensive, deeper. I have my ways of becoming intangible, of becoming repulsive, of sheddingContinue reading “surmania – layers and (layering)”

on Dzubas

Sorry for the bad poem; my styles in Portuguese and English are very divergent at the moment, (thank god, it took me so long to get to this point), but that also means they don’t get a lot of interrelational textures and can’t enjoy proper translations. Besides, I haven’t been feeling my best, which justifiesContinue reading “on Dzubas”

notes on the creative corpse

(IMAGE DOES NOT LOAD WELL IN MOBILE, CLICK THIS LINK INSTEAD) I’m running out of ink a bit. This poem was initially designed to be part of greater work along with two other large poems that I will release over the next weeks. However and upon council with a dear literati, I decided not toContinue reading “notes on the creative corpse”

(Droplet) spume.

The word, defining, muzzles; the drawn lineOusts mistier peers and thrives, murderous,In establishments which imagined lines Can only haunt.  Sturdy as potatoes,Stones, without conscience, word and line endure,Given an inch.  Not that they’re gross (although Afterthought often would have them alterTo delicacy, to poise) but that theyShortchange me continuously:  whether More or other, they still dissatisfy.Unpoemed, unpictured, theContinue reading “(Droplet) spume.”

poetry without a place 2

More fragmentary poems, thought these are slightly less inspired. I spent the week studying Portuguese literature and my mental linguistics are entirely dissonant. I currently have a small obsession with the composer Eric Nathan and his recently released album “the space of a door”, and have been studiously perscrutating the work of Miró for theContinue reading “poetry without a place 2”

on evolving

I had my hyper-productive cycle, and now, as is visible, my ability to conjure poems is waning a bit. I’m still committed to writing and showcasing, perhaps more than ever, because I feel that exposition helps me not only calibrate my productions, but in having a veritable self-responsibility to creating, even when I’m wringing about.Continue reading “on evolving”

(Droplet) jorge

At the precise moment in which the irreducible tongue of the sun recoiled and became an irregular line trodden by the tremulant eucalyptus leaves, Jorge Guerra first felt the dense phenomenon of solitude so characteristic of birth. His father, António Medes Guerra, was a reputed dipsomaniac of jagged features, of which his black beard wasContinue reading “(Droplet) jorge”

on Goya

Francisco de Goya is, along with very few, a veritable re-inventor of visual arts. His descent into depression, magisterially tabulated by his paintings, stands as the most embossed, limpid and surviving documentation of creative mania and artistic pessimism. One needn’t go further than drawings such as El Agarrotado and El Sueño de la razon produceContinue reading “on Goya”

on Inness

There are few instances of expression more lambent than looking at George Inness’s “Roman Campagna” while listening to Henryk Górecki’s plangent “Wislo Moja, Wislo Szara“, since, to me, both works transubstantiate the tortuous aspects of time into a pleasant, warm resignation; they remind me that so much of war is only heat. It’s partially unknownContinue reading “on Inness”

style

(CALIATH) features, and has always featured, a style of importation and eclosion that isn’t encountered commonly. Not only does my own personal style of composing include the immaturity of my creative endeavors and the many cultural and linguistic importations spurred from the fact that I’m not native in English, it also contains a seemingly heavyContinue reading “style”

hipomenos and his inner god

// turifumy is the divination by smoke; // umbromancy is the divination by shade; // metagnomy is the divination by magic. If you’re a spiritual person, I very much envy you. I’ve had a conturbed relationship with spirituality ever since I was a child, and even my poetry, at least normally, shelters itself from meddlingContinue reading “hipomenos and his inner god”

poetry

I don’t talk much about poetry (the theme) anymore, and I’ve always found it difficulty answering questions such as “what is poetry to you?” and “what is your relationship with poetry?”, (not that I get deluges of questions, I certainly do not). Some days ago, I was reading about Albert Tarantola, and I thought, whyContinue reading “poetry”

on Van Gogh

Father scuffled with the taste of saltpetre still sticking unstintingly to his tongue, and the lustre of a candle which, already nearly drowned by its own wax, sobbed intermittently, enervating his eyes. Here, an horizon. There, an horizon; tessellating the sides of a glass as the canary-green flood subsided, in altisonant tongues of water slappingContinue reading “on Van Gogh”