Wednesday, July 2, 2014

As One Listens To The Rain ~ Octavio Paz


As One Listens To The Rain


Listen to me as one listens to the rain,
not attentive, not distracted,
light footsteps, thin drizzle,
water that is air, air that is time,
the day is still leaving,
the night has yet to arrive,
figurations of mist
at the turn of the corner,
figurations of time
at the bend in this pause,
listen to me as one listens to the rain,
without listening, hear what I say
with eyes open inward, asleep
with all five senses awake,
it's raining, light footsteps, a murmur of syllables,
air and water, words with no weight:
what we are and are,
the days and years, this moment,
weightless time and heavy sorrow,
listen to me as one listens to the rain,
wet asphalt is shining,
steam rises and walks away,
night unfolds and looks at me,
you are you and your body of steam,
you and your face of night,
you and your hair, unhurried lightning,
you cross the street and enter my forehead,
footsteps of water across my eyes,
listen to me as one listens to the rain,
the asphalt's shining, you cross the street,
it is the mist, wandering in the night,
it is the night, asleep in your bed,
it is the surge of waves in your breath,
your fingers of water dampen my forehead,
your fingers of flame burn my eyes,
your fingers of air open eyelids of time,
a spring of visions and resurrections,
listen to me as one listens to the rain,
the years go by, the moments return,
do you hear the footsteps in the next room?
not here, not there: you hear them
in another time that is now,
listen to the footsteps of time,
inventor of places with no weight, nowhere,
listen to the rain running over the terrace,
the night is now more night in the grove,
lightning has nestled among the leaves,
a restless garden adrift-go in,
your shadow covers this page. 



Tuesday, April 15, 2014

I am a force of the Past.. ~ Pier Paolo Pasolini




A Scene played by Orson Welles from the Short Film La Ricotta ('Ricotta Cheese') 
directed by Pier Paolo Pasolini 

(It is a part of Omnibus of Short Films entitled RoGoPaG 
directed by Roberto Rossellini, Jean-Luc Godard, Pier Paolo Pasolini and Ugo Gregoretti 
in 1962) 



I am a force of the Past.
My love lies only in tradition.
I come from the ruins, the churches,
the altarpieces, the villages
abandoned in the Appennines or foothills
of the Alps where my brothers once lived.
I wander like a madman down the Tuscolana,
down the Appia like a dog without a master.
Or I see the twilights, the mornings
over Rome, the Ciociaria, the world,
as the first acts of Posthistory
to which I bear witness, for the privilege
of recording them from the outer edge
of some buried age. Monstrous is the man
born of a dead woman’s womb.
And I, a fetus now grown, roam about
more modern than any modern man,
in search of brothers no longer alive.



~ Pier Paolo Pasolini 

(Translated By : Stephen Sartarelli)





Pier Paolo Pasolini




Thursday, March 13, 2014

THE KISS..




முத்தம்

முத்தம் கொடுங்கள்
பரபரத்து
நீங்கள்
முன்னேறிக் கொண்டிருக்கையில்
உங்கள் நண்பி வந்தால்
எந்தத் தயக்கமும் இன்றி
இறுகக் கட்டித் தழுவி
இதமாக
தொடர்ந்து
நீண்டதாக
முத்தம் கொடுங்கள்
உங்களைப் பார்த்து
மற்றவர்களும்
அவரவர்
நண்பிகளுக்கு முத்தம்
கொடுக்கட்டும்
விடுதலையின் சின்னம் முத்தம்
முத்தம் கொடுத்ததும்
மறந்துவிட்டு
சங்கமமாகிவிடுவீர்கள்
பஸ் நிலையத்தில்
ரயிலடியில்
நூலகத்தில்
நெரிசற் பூங்காக்களில்
விற்பனை அங்காடிகளில்
வீடு சிறுத்து
நகர் பெருத்த
சந்தடி மிகுந்த தெருக்களில்
முத்தம் ஒன்றுதான் ஒரே வழி
கைவிடாதீர்கள் முத்தத்தை
உங்கள் அன்பைத் தெரிவிக்க
ஸாகஸத்தைத் தெரிவிக்க
இருக்கும் சில நொடிகளில்
உங்கள் இருப்பை நிரூபிக்க
முத்தத்தைவிட
சிறந்ததோர் சாதனம்
கிடைப்பதரிது
ஆரம்பித்து விடுங்கள்
முத்த அலுவலை
இன்றே
இப்பொழுதே
இக்கணமே
உம் சீக்கிரம்
உங்கள் அடுத்த காதலி
காத்திருக்கிறாள்
முன்னேறுங்கள்
கிறிஸ்து பிறந்து
இரண்டாயிரம் வருடங்கள் கழித்து
இருபத்தியோறாம் நூற்றாண்டை
நெருங்கிக் கொண்டிருக்கிறோம்
ஆபாச உடலசைவுகளை ஒழித்து
சுத்தமாக
முத்தம்
முத்தத்தோடு முத்தம்
என்று
முத்த சகாப்தத்தைத்
துவங்குங்கள்
~ ஆத்மாநாம்


The Kiss : Auguste Rodin (1889)


Thursday, March 6, 2014

The Baobabs And The Little Prince









As each day passed I would learn, in our talk, something about the little prince's planet, his departure from it, his journey. The information would come very slowly, as it might chance to fall from his thoughts. It was in this way that I heard, on the third day, about the catastrophe of the baobabs.

This time, once more, I had the sheep to thank for it. For the little prince asked me abruptly--as if seized by a grave doubt--"It is true, isn't it, that sheep eat little bushes?"

"Yes, that is true."

"Ah! I am glad!"

I did not understand why it was so important that sheep should eat little bushes. But the little prince added:
"Then it follows that they also eat baobabs?"

I pointed out to the little prince that baobabs were not little bushes, but, on the contrary, trees as big as castles; and that even if he took a whole herd of elephants away with him, the herd would not eat up one single baobab.

The idea of the herd of elephants made the little prince laugh.

"We would have to put them one on top of the other," he said.




But he made a wise comment:
"Before they grow so big, the baobabs start out by being little."

"That is strictly correct," I said. "But why do you want the sheep to eat the little baobabs?"

He answered me at once, "Oh, come, come!", as if he were speaking of something that was self-evident. And I was obliged to make a great mental effort to solve this problem, without any assistance.

Indeed, as I learned, there were on the planet where the little prince lived--as on all planets--good plants and bad plants. In consequence, there were good seeds from good plants, and bad seeds from bad plants. But seeds are invisible. They sleep deep in the heart of the earth's darkness, until some one among them is seized with the desire to awaken. Then this little seed will stretch itself and begin--timidly at first--to push a charming little sprig inoffensively upward toward the sun. If it is only a sprout of radish or the sprig of a rose-bush, one would let it grow wherever it might wish. But when it is a bad plant, one must destroy it as soon as possible, the very first instant that one recognizes it.




Now there were some terrible seeds on the planet that was the home of the little prince; and these were the seeds of the baobab. The soil of that planet was infested with them. A baobab is something you will never, never be able to get rid of if you attend to it too late. It spreads over the entire planet. It bores clear through it with its roots. And if the planet is too small, and the baobabs are too many, they split it in pieces . . .

"It is a question of discipline," the little prince said to me later on. "When you've finished your own toilet in the morning, then it is time to attend to the toilet of your planet, just so, with the greatest care. You must see to it that you pull up regularly all the baobabs, at the very first moment when they can be distinguished from the rosebushes which they resemble so closely in their earliest youth. It is very tedious work," the little prince added, "but very easy."

And one day he said to me: "You ought to make a beautiful drawing, so that the children where you live can see exactly how all this is. That would be very useful to them if they were to travel some day. Sometimes," he added, "there is no harm in putting off a piece of work until another day. But when it is a matter of baobabs, that always means a catastrophe. I knew a planet that was inhabited by a lazy man. He neglected three little bushes . . ."

So, as the little prince described it to me, I have made a drawing of that planet. I do not much like to take the tone of a moralist. But the danger of the baobabs is so little understood, and such considerable risks would be run by anyone who might get lost on an asteroid, that for once I am breaking through my reserve. "Children," I say plainly, "watch out for the baobabs!"

My friends, like myself, have been skirting this danger for a long time, without ever knowing it; and so it is for them that I have worked so hard over this drawing. The lesson which I pass on by this means is worth all the trouble it has cost me.




Perhaps you will ask me, "Why are there no other drawing in this book as magnificent and impressive as this drawing of the baobabs?" 

The reply is simple. I have tried. But with the others I have not been successful. When I made the drawing of the baobabs I was carried beyond myself by the inspiring force of urgent necessity.



~ The Little Prince : Antoine de Saint-Exupéry





African Tree Art : Baobab Tree and the Stars



Friday, January 31, 2014

Your Learn.. ~ Jorge Luis Borges


You Learn


After a while you learn the subtle difference
Between holding a hand and chaining a soul,

And you learn that love doesn’t mean leaning
And company doesn’t mean security.

And you begin to learn that kisses aren’t contracts
And presents aren’t promises,

And you begin to accept your defeats
With your head up and your eyes open
With the grace of a woman, not the grief of a child,

And you learn to build all your roads on today
Because tomorrow’s ground is too uncertain for plans
And futures have a way of falling down in mid-flight.

After a while you learn
That even sunshine burns if you get too much.

So you plant your garden and decorate your own soul,
Instead of waiting for someone to bring you flowers.

And you learn that you really can endure

That you really are strong

And you really do have worth

And you learn and learn

With every good-bye you learn.



~ Jorge Luis Borges




 








Jorge Luis Borges with Maria Kodama and other Friends