Elsa Cross's Selected Poems, second selection

Translations by Michael Smith and Luis Ingelmo


You answer through silence.
You reduce thought
to the void,
and there where you razed all image
your name is renewed.

last stanza of "Name"

Where can I fall where you are not?

last line of "A Tightrope Act"

The ends of the earth
at the tips of your tangled hair.

last stanza of "Dancing Shiva"

My senses dissolve in this wordless sea,
words become quiet,
and one step further on the mind opens up
to the shock of its own annulment.

...

Present in everything
thus you also disappear.

...

Where are you leading me
stripped of my own body?

...

And what of Death?
Small butterflies flying among the ruins.

...

Froth leaves necklaces around the throat of rocks.
Islands of black rock.
Terns nest in the porous walls.
A necklace of froth--and I see my own wreck.
Night comes and shuts off the shine on the water.
Come, you tell me.
With closed eyes, just the tumble of the sea.
Still very close
those beaches to which I will never return.
Very far away now.

...

Black light devouring our bodies.

...

And on the water,
where rays freeze in their own light,
I see you like a seed of fire.
Every wave leaves trails of silk against the sun.

from "Malabar Canto"

Elsa Cross's Selected Poems is published by Shearsman Books and can be purchased online here at The Book Depository, which offers free worldwide delivery on all their books.

Elsa Cross's Selected Poems, first selection

Mexican poet Elsa Cross, as translated by Michael Smith and Luis Ingelmo

Bacchantes

At every entrance of that village, a church.

The seven doors protected by the archangels, so they said.

And ours got drunk in the arcades of the square,

talking of heaven and hell

as placed separated by two inches

inside the body.

last lines of II

We forgot to mind our children,

like Bacchantes,

we forgot our homes.

The rain was a fiesta on the mountain.

And who could predict his own fulmination?

from IV

...pianos stumbling in an out-of-tune waltz.

* * *

We became deer,

we crossed through the woods like arrows.

from VI

Pleasure lashed us.

Inexhaustible,

inebriated,

our bodies, the offering,

like fruits that women leave

on the beaches of the south and the sea carries away.

We were lost to the world.

We sketched boats in the air

and we went off in them.

from VII

Your eyes, emerged from what blaze,

from what sombre places,

saw without seeing the plates of food.

from VIII

Unceasing celebration,

at the cost of so much of our life,

our faces so pale.

* * *

And who could stop us?

Who could stop

those plants climbing along the wall?

from X

Elsa Cross's Selected Poems has recently been published by Shearsman and can be purchased here.

The SoundEye Poetry Festival, Cork, 9-10 July 2009

I spent the weekend at the SoundEye poetry festival in Cork and, having had a marvelous time, thought I'd review a few of its events here. For those of you unfamiliar with the festival, it's devoted to alternative poetries without advocating a single school, as the founder Trevor Joyce's history explains, and it's been running since 1997. 

I flew in on Thursday afternoon, missing the first day and a half of events but making it to the evening event, the SoundEye Cabaret, including poets, performance art, music, etc. Early on, a couple of individual performances were disappointingly poor (fortunately I don't know the criminals by name), but the quality picked up as the programme progressed. My favourite performance would have to be a performance art/poetry piece by the young Sam Forsyte, formerly of Cork and now resident in Frankfurt. Apparently it was videotaped, so as soon as I have a clip or a link, I'll post it here. I also enjoyed the performance group Boiled String, whose three readers performed John Goodby's cut up of Dylan Thomas's work as well as a Lynette Roberts poem, with a double bassist plucking away in the background. 

On Friday afternoon Kevin Perryman (Ire/Ger), publisher, translator, and poet, Michael Smith (Ire), poet and translator, Swantje Lichtenstein (Ger), poet, and Stephen Rodefer (US), poet and translator, read. Perryman's work bordered on and at times transgressed into a sentimentality reminiscent of southwest American spiritual poetry, with such lines as "the rain won't talk to the mountain" and "never again to hold your hand." Michael Smith divided his time between his translations from Spanish, beginning with several excellent poems by Vallejo, and his own work. He seemed more confident with the translations, as when he read his own poems he sped up to the point of losing some of the nuanced interpretive tones that marked his earlier reading. 

Swantje Lichtenstein proved a revelation. Assuming I can trust the translations, Lichtenstein is a compelling and original poet; I dearly hope a book of her work in English will appear soon. Rodefer ended the set with brusque, vigorous poems that vividly mixed registers, moving deftly amid hackneyed expressions, abstractions, images, etc. with frequent semantic and sonic wordplay. 

That night at Meade's Bar there was a packed open mic, with Mairead Byrne as an ideal emcee. Delights included Kit Fryatt's passionate performance of the original and her translation of an Anglo Saxon work, "Wulf": "It was easy to sunder / what was never together"; and what was the name of the piece Peter Manson delivered so commandingly? 

(Tomorrow I'll continue with reviews of some of Saturday's events.)