quarta-feira, março 09, 2011

Ash Wednesday

T. S. Eliot (1888-1965)
Imagem daqui


I

Because I do not hope to turn again
Because I do not hope
Because I do not hope to turn
Desiring this man's gift and that man's scope
I no longer strive to strive towards such things
(Why should the agèd eagle stretch its wings?)
Why should I mourn
The vanished power of the usual reign?

Because I do not hope to know
The infirm glory of the positive hour
Because I do not think
Because I know I shall not know
The one veritable transitory power
Because I cannot drink
There, where trees flower, and springs flow, for there is
nothing again

Because I know that time is always time
And place is always and only place
And what is actual is actual only for one time
And only for one place
I rejoice that things are as they are and
I renounce the blessèd face
And renounce the voice
Because I cannot hope to turn again
Consequently I rejoice, having to construct something
Upon which to rejoice

And pray to God to have mercy upon us
And pray that I may forget
These matters that with myself I too much discuss
Too much explain
Because I do not hope to turn again
Let these words answer
For what is done, not to be done again
May the judgement not be too heavy upon us

Because these wings are no longer wings to fly
But merely vans to beat the air
The air which is now thoroughly small and dry
Smaller and dryer than the will
Teach us to care and not to care Teach us to sit still.

Pray for us sinners now and at the hour of our death
Pray for us now and at the hour of our death.


II
Lady, three white leopards sat under a juniper-tree
In the cool of the day, having fed to sateity
On my legs my heart my liver and that which had been
contained
In the hollow round of my skull. And God said
Shall these bones live? shall these
Bones live? And that which had been contained
In the bones (which were already dry) said chirping:
Because of the goodness of this Lady
And because of her loveliness, and because
She honours the Virgin in meditation,
We shine with brightness. And I who am here dissembled
Proffer my deeds to oblivion, and my love
To the posterity of the desert and the fruit of the gourd.
It is this which recovers
My guts the strings of my eyes and the indigestible portions
Which the leopards reject. The Lady is withdrawn
In a white gown, to contemplation, in a white gown.
Let the whiteness of bones atone to forgetfulness.
There is no life in them. As I am forgotten
And would be forgotten, so I would forget
Thus devoted, concentrated in purpose. And God said
Prophesy to the wind, to the wind only for only
The wind will listen. And the bones sang chirping
With the burden of the grasshopper, saying

Lady of silences
Calm and distressed
Torn and most whole
Rose of memory
Rose of forgetfulness
Exhausted and life-giving
Worried reposeful
The single Rose
Is now the Garden
Where all loves end
Terminate torment
Of love unsatisfied
The greater torment
Of love satisfied
End of the endless
Journey to no end
Conclusion of all that
Is inconclusible
Speech without word and
Word of no speech
Grace to the Mother
For the Garden
Where all love ends.

Under a juniper-tree the bones sang, scattered and shining
We are glad to be scattered, we did little good to each
other,
Under a tree in the cool of day, with the blessing of sand,
Forgetting themselves and each other, united
In the quiet of the desert. This is the land which ye
Shall divide by lot. And neither division nor unity
Matters. This is the land. We have our inheritance.



III

At the first turning of the second stair
I turned and saw below
The same shape twisted on the banister
Under the vapour in the fetid air
Struggling with the devil of the stairs who wears
The deceitul face of hope and of despair.

At the second turning of the second stair
I left them twisting, turning below;
There were no more faces and the stair was dark,
Damp, jaggèd, like an old man's mouth drivelling, beyond
repair,
Or the toothed gullet of an agèd shark.

At the first turning of the third stair
Was a slotted window bellied like the figs's fruit
And beyond the hawthorn blossom and a pasture scene
The broadbacked figure drest in blue and green
Enchanted the maytime with an antique flute.
Blown hair is sweet, brown hair over the mouth blown,
Lilac and brown hair;
Distraction, music of the flute, stops and steps of the mind
over the third stair,
Fading, fading; strength beyond hope and despair
Climbing the third stair.


Lord, I am not worthy
Lord, I am not worthy

but speak the word only.

IV
Who walked between the violet and the violet
Whe walked between
The various ranks of varied green
Going in white and blue, in Mary's colour,
Talking of trivial things
In ignorance and knowledge of eternal dolour
Who moved among the others as they walked,
Who then made strong the fountains and made fresh the springs

Made cool the dry rock and made firm the sand
In blue of larkspur, blue of Mary's colour,
Sovegna vos

Here are the years that walk between, bearing
Away the fiddles and the flutes, restoring
One who moves in the time between sleep and waking, wearing

White light folded, sheathing about her, folded.
The new years walk, restoring
Through a bright cloud of tears, the years, restoring
With a new verse the ancient rhyme. Redeem
The time. Redeem
The unread vision in the higher dream
While jewelled unicorns draw by the gilded hearse.

The silent sister veiled in white and blue
Between the yews, behind the garden god,
Whose flute is breathless, bent her head and signed but spoke
no word

But the fountain sprang up and the bird sang down
Redeem the time, redeem the dream
The token of the word unheard, unspoken

Till the wind shake a thousand whispers from the yew

And after this our exile


V
If the lost word is lost, if the spent word is spent
If the unheard, unspoken
Word is unspoken, unheard;
Still is the unspoken word, the Word unheard,
The Word without a word, the Word within
The world and for the world;
And the light shone in darkness and
Against the Word the unstilled world still whirled
About the centre of the silent Word.

O my people, what have I done unto thee.

Where shall the word be found, where will the word
Resound? Not here, there is not enough silence
Not on the sea or on the islands, not
On the mainland, in the desert or the rain land,
For those who walk in darkness
Both in the day time and in the night time
The right time and the right place are not here
No place of grace for those who avoid the face
No time to rejoice for those who walk among noise and deny
the voice

Will the veiled sister pray for
Those who walk in darkness, who chose thee and oppose thee,
Those who are torn on the horn between season and season,
time and time, between
Hour and hour, word and word, power and power, those who wait
In darkness? Will the veiled sister pray
For children at the gate
Who will not go away and cannot pray:
Pray for those who chose and oppose

O my people, what have I done unto thee.

Will the veiled sister between the slender
Yew trees pray for those who offend her
And are terrified and cannot surrender
And affirm before the world and deny between the rocks
In the last desert before the last blue rocks
The desert in the garden the garden in the desert
Of drouth, spitting from the mouth the withered apple-seed.


O my people.


VI
Although I do not hope to turn again
Although I do not hope
Although I do not hope to turn

Wavering between the profit and the loss
In this brief transit where the dreams cross
The dreamcrossed twilight between birth and dying
(Bless me father) though I do not wish to wish these things
From the wide window towards the granite shore
The white sails still fly seaward, seaward flying
Unbroken wings

And the lost heart stiffens and rejoices
In the lost lilac and the lost sea voices
And the weak spirit quickens to rebel
For the bent golden-rod and the lost sea smell
Quickens to recover
The cry of quail and the whirling plover
And the blind eye creates
The empty forms between the ivory gates
And smell renews the salt savour of the sandy earth

This is the time of tension between dying and birth
The place of solitude where three dreams cross
Between blue rocks
But when the voices shaken from the yew-tree drift away
Let the other yew be shaken and reply.

Blessèd sister, holy mother, spirit of the fountain, spirit
of the garden,
Suffer us not to mock ourselves with falsehood
Teach us to care and not to care
Teach us to sit still
Even among these rocks,
Our peace in His will
And even among these rocks
Sister, mother
And spirit of the river, spirit of the sea,
Suffer me not to be separated

And let my cry come unto Thee.

T. S. Eliot
Selected Poems
Faber & Faber
2002

terça-feira, março 08, 2011

No Dia Internacional da Mulher, Modigliani *

Woman in Black Tie (1917), Amedeo Modigliani
Imagem daqui



* Há quem atribua a profusão de retratos de mulheres na obra de Modigliani à escultura, actividade com que iniciou o seu percurso artístico. Quanto a mim, que só sei, e pouco, do que leio, e de arte apenas percebo o que me ditam coração e entranhas, parece-me que
foi muito muito amado por uma.

Manhã de Carnaval

sexta-feira, março 04, 2011

Time flies - A Reading Diary


Christina Rossetti (1830-1894)
Imagem daqui

March, 4.

My first vivid experience of death (if so I may term it) occurred in early childhood in the grounds of a cottage.
This little cottage was my familiar haunt: its grounds were my inexhautible delight. They then seemed to my spacious, though now I know them to have been narrow and commonplace.
So, in these grounds, perhaps in the orchard, I lighted upon a dead mouse. The dead mouse moved my sympathy: I took him up, buried him comfortably in a mossy bed and bore the spot in mind.
It may have been a day or two afterwards that I returned, removed the moss coverlet and looked... a black insect emerged. I fled in horror, and for long years insuing I never mentioned this ghastly adventure to anyone.
Now looking back at the incident I see that neither impulse was unreasonable, although the sympathy and the horror were alike childish.
Only now contemplating death from a wider and wiser view-point, I would fain reverse the order of those feelings: dwelling less and less on the mere physical disgust, while more and more on the rest and safety; on the perfect peace of death, please God.



Time Flies - A Reading Diary
Christina G. Rossetti
London
Society for Promoting Christian Knowledge
1897

Começa hoje e dura apenas uma semana



Feira do Livro usado na Trama

de 4 a 12 de Março, entre as 11h e as 19h

na mesa central da Livraria






Eu vou.

quinta-feira, março 03, 2011

Já nas bancas

e sobretudo fora dela.

Coisas do 28 e outras coincidências bonitas - 3

Ontem vieram trazer-me o resto da mobília. No final da tarde, a cozinha era um mundo a abarrotar de esferovite e caixas de cartão. Fui depositar o mundo por levas, meia-dúzia delas, no sítio-que-deveria-ser-um-ecoponto-mas-não-é, onde sei que recolhem o lixo. Na última ou penúltima leva, o arrumador de São Vicente pergunta: Precisa de ajuda?

terça-feira, março 01, 2011

Correct amounts of lust and respect * - 1

Imagem daqui
Joan Woodward e Paul Newman em Paris
s/a; s/d




* Paul Newman acerca do segredo da longevidade (da relação).

sábado, fevereiro 26, 2011

Octeto do Porto

Imagem daqui

Concerto de Beneficência Octeto do Porto - ACREDITAR

Hoje às 21h 30m no Auditório Municipal de Vila Nova de Gaia.

1ªParte

Dvorak Op.96
__

2ªParte

Mendelsohn Op.20

Entrada/Bilhete- 6€ (revertem totalmente a favor da Associação Acreditar)

Tarde de sol e sorrisos garantida. É ir.



Lançamento de "Doutor Avalanche".

Hoje, pelas 17h30, na livraria Capítulos Soltos, em Braga.

sexta-feira, fevereiro 25, 2011

Plim!













Mas há mais. Aqui.

"She paints her face with her eyes." *

Ingrid Bergman (1915-1982)
Imagem daqui


* Roger Ebert, Casablanca (DVD, edição especial), Comentário ao filme.

Coisas do 28 e outras coincidências bonitas - 2

Há qualquer coisa na estação de metro de Santa Apolónia que me põe a ler. Muito. Acho que sei o que é, o que é que o Chiado tem?, mas vou dar-me mais tempo para perceber melhor. Note to self: ou a leitura, ou o 28; ou a leitura, ou o 28.

quinta-feira, fevereiro 24, 2011

Música das Esferas - IV

Coisas do 28 e outras coincidências bonitas

De manhã, muitas dores nas costas à espera do 28. Muitas dores nas costas, muito sono, uma noite curta, esticada como um elástico gasto, na insónia, muito tempo, muito sono. Um miúdo dos seus oito nove anos acorda-me deste balanço de achaques ao gritar oláááaaa! de muito perto da minha paragem para o estacionamento da fachada de São Vicente de Fora que sim, que dava a mão à palmatória - claro que não nestes termos, os miúdos de hoje não sabem o que é uma palmatória, eu que sou eu sei só de ouvir falar dela parentalmente - o miúdo dava razão ao arrumador, que sim, que o Benfica ganhou. O arrumador já em pausa da labuta, tudo calmo no estacionamento, o arrumador explica que o Benfica jogou melhor, portanto nada mais natural do que ter ganho, mas agora vai para a escola, filho. O miúdo assente, acena, e vai. O 28 vem, chega até nós a abarrotar, o costume àquela hora da manhã, avança 20 segundos e pára uma eternidade no semáforo. No fim da rua, na esplanada de um café, mesinhas e cadeiras muito em cima do passeio e duas meninas pequeninas a saltar à corda - ainda há miúdas com totós das cores do arco-íris que saltam à corda a enganar o tempo antes de irem para a escola!
O sobe-e-desce do costume, as paragens bruscas e as arrancadas bruscas do costume também, até finalmente se esvaziar... Quando esvaziou, o velhinho 28 desta manhã, deixei-me cair, quase imediatamente, quase automaticamente, nos cinquenta por cento de assento vago mais próximos de onde tentava o equilibrismo de sempre. Só depois de instalada me dei conta de uma frustração menina, na carinha menina de uma linda menina em menina idade de saltar à corda. E, pronto, lá me desculpei com um sorriso e com um amparinho, e outro, e outro... sempre que o 28 fazia uma curva que a colocava quase no meu colo. Fomos sempre assim até eu sair e me lembrar disto e chegar ao Departamento ligar o computador, ler mails, imprimrir coisas, responder a mails e dar de caras com aquilo no Facebook. Há dias assim. Doces.

terça-feira, fevereiro 22, 2011

segunda-feira, fevereiro 21, 2011

"In the prison of his days / Teach the free man how to praise" *

W. H. Auden
Imagem daqui

Lay your sleeping head, my love,
Human on my faithless arm;
Time and fevers burn away
Individual beauty from
Thoughtful children, and the grave
Proves the child ephemeral:
But in my arms till break of day
Let the living creature lie,
Mortal, guilty, but to me
The entirely beautiful.

Soul and body have no bounds:
To lovers as they lie upon
Her tolerant enchanted slope
In their ordinary swoon,
Grave the vision Venus sends
Of supernatural sympathy,
Universal love and hope;
While an abstract insight wakes
Among the glaciers and the rocks
The hermit's carnal ecstasy.

Certainty, fidelity
On the stroke of midnight pass
Like vibrations of a bell
And fashionable madmen raise
Their pedantic boring cry:
Every farthing of the cost,
All the dreaded cards foretell,
Shall be paid, but from this night
Not a whisper, not a thought,
Not a kiss nor look be lost.

Beauty, midnight, vision dies:
Let the winds of dawn that blow
Softly round your dreaming head
Such a day of welcome show
Eye and knocking heart may bless,
Find our mortal world enough;
Noons of dryness find you fed
By the involuntary powers,
Nights of insult let you pass
Watched by every human love.

'Lullaby'

As I Walked Out One Eveing.

© Vintage, 1995

W. H Auden

* Epitáfio do poeta em Kirchstetten, Áustria.

domingo, fevereiro 20, 2011

sábado, fevereiro 19, 2011

Homage to My Hips


these hips are big hips.
they need space to
move around in.
they don’t fit into little
petty places. these hips
are free hips.
they don’t like to be held back.
these hips have never been enslaved,
they go where they want to go
they do what they want to do.
these hips are mighty hips.
these hips are magic hips.
i have known them
to put a spell on a man and
spin him like a top

quarta-feira, fevereiro 16, 2011

Às vezes faz bem *

Foto: AlfredFoto: Alfred Eisenstaedt (1939)


Mas só às vezes, só às vezes...
Mas só às vezes, só às vezes.

sexta-feira, fevereiro 11, 2011

The Arrival of the Bee Box

Sylvia Plath (1932-1963)


Imagem daqui


I ordered this, clean wood box

Square as a chair and almost too heavy to lift.

I would say it was the coffin of a midget

Or a square baby

Were there not such a din in it.


The box is locked, it is dangerous.

I have to live with it overnight

And I can't keep away from it.

There are no windows, so I can't see what is in there.

There is only a little grid, no exit.


I put my eye to the grid.

It is dark, dark,

With the swarmy feeling of African hands

Minute and shrunk for export,

Black on black, angrily clambering.


How can I let them out?

It is the noise that appalls me most of all,

The unintelligible syllables.

It is like a Roman mob,

Small, taken one by one, but my god, together!


I lay my ear to furious Latin.

I am not a Caesar.

I have simply ordered a box of maniacs.

They can be sent back.

They can die, I need feed them nothing, I am the owner.


I wonder how hungry they are.

I wonder if they would forget me

If I just undid the locks and stood back and turned into a tree.

There is the laburnum, its blond colonnades,

And the petticoats of the cherry.


They might ignore me immediately

In my moon suit and funeral veil.

I am no source of honey

So why should they turn on me?

Tomorrow I will be sweet God, I will set them free.


The box is only temporary.

Sylvia Plath

Ariel

Faber & Faber

1965

No Dia Internacional do Doente, dor-de-dentes

Günter Grass
Imagem daqui

"O gato treinava-se. Mahlke dormia ou fingia dormir. Deitado a seu lado eu, com a minha dor de dentes. O gato aproximava-se a fazer o seu footing. A maçã-de-adão de Mahlke era digna de nota; grande, sempre em movimento, projectava uma sombra. Entre mim e Mahlke o gato preto do guarda do estádio agachava-se para preparar o salto. Formávamos um triângulo. O meu dente reduzira-se ao silêncio, deixara de insistir: a maçã de Mahlke metamorfoseara-se, para o gato, num rato. O gato era tão novo, a maçã possuía uma tal mobilidade... o que sei é que o gato atirou um salto ao pescoço de Mahlke; ou então um de nós pegou no gato e pô-lo sobre o pescoço de Mahlke; ou então fui eu, com dor de dentes ou sem ela que agarrei no gato e lhe mostrei o rato de Mahlke: e Joaquim Mahlke deu um grito mas sofreu apenas umas arranhadelas insignificantes."

O Gato e o Rato
Günter Grass
Edição Bibliotex
2003

quarta-feira, fevereiro 09, 2011

Então

Então, mudei de casa, mudei de vida, mudei de emprego, mudei de cidade. Então, passo os dias fora, às vezes muitos dias, muito fora. Então, mudei de andamento, ando mais, ando menos, ando pouco a pé. Então, a cidade é outra, luminosa e grande; a casa, outra também, pequena pequena, a fazer-se minha com tempo, sem tempo, sem demora.

Então, acho que sou muito feliz; às vezes, com as minhas coisas, quando não me arrelio, com as minhas coisas, quando não me arrelia a vida, e as coisas. É. Às vezes sou muito feliz.

Às vezes estamos numa cidade, num trabalho, num lugar, como estamos nos braços de uma pessoa, uma só, sabendo que lhe pertencemos desde o início dos tempos, tentando não ceder a serenidade fininha desses momentos ao grande medo de poder deixar de ser assim algum dia.

Ter vivido fora foi extraordinário. Paris, EUA, sou uma afortunada. Mas, agora, o que faz realmente o meu dia valer a pena é o sobe-e-desce do 28.

segunda-feira, fevereiro 07, 2011

Sonnets from the Portuguese

Imagem daqui
Sonnet 43

How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace.
I love thee to the level of every day's
Most quiet need, by sun and candlelight.
I love thee freely, as men strive for Right;
I love thee purely, as they turn from Praise.
I love with a passion put to use
In my old griefs, and with my childhood's faith.
I love thee with a love I seemed to lose
With my lost saints, I love thee with the breath,
Smiles, tears, of all my life! and, if God choose,
I shall but love thee better after death.

Sonnet 44

Belovèd, thou hast brought me many flowers
Plucked in the garden, all the summer through,
And winter, and it seemed as if they grew
In this close room, nor missed the sun and showers.
So, in the like name of that love of ours,
Take back these thoughts which here unfolded too,
And which on warm and cold days I withdrew
From my heart’s ground. Indeed, those beds and bowers
Be overgrown with bitter weeds and rue,
And wait thy weeding; yet here’s eglantine,
Here’s ivy!—take them, as I used to do
Thy flowers, and keep them where they shall not pine.
Instruct thine eyes to keep their colours true,
And tell thy soul, their roots are left in mine.

Elizabeth Barrett Browning
Sonnets from the Portuguese and Other Poems
Dover Thrift Editions
1992

sábado, fevereiro 05, 2011

sexta-feira, fevereiro 04, 2011

terça-feira, fevereiro 01, 2011

De coisas que lembram outras coisas


Engana-se, e redondamente, quem disse que o sofrimento nos aproxima de Deus.
Só o Amor nos pode elevar tanto.