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Weißer Tagesanbruch. Stille. Als das Kräuseln begann,
hielt ich es für Seewind, in unser Tal kommend mit Raunen
von Salz, von baumlosen Horizonten. Aber der weiße Nebel
bewegte sich nicht; das Laub meiner Brüder blieb ausgebreitet,
regungslos.
Doch das Kräuseln kam näher – und dann
begannen meine eigenen äußersten Zweige zu prickeln, fast als wäre
ein Feuer unter ihnen entfacht, zu nah, und ihre Spitzen
trockneten und rollten sich ein.
Doch ich fürchtete mich nicht, nur
wachsam war ich.
Ich sah ihn als erster, denn ich wuchs
draußen am Weidehang, jenseits des Waldes.
Er war ein Mann, so schien es: die zwei
beweglichen Stengel, der kurze Stamm, die zwei
Arm-Äste, biegsam, jeder mit fünf laublosen
Zweigen an ihrem Ende,
und der Kopf gekrönt mit braunem oder goldenem Gras,
ein Gesicht tragend, nicht wie das geschnäbelte Gesicht eines Vogels,
eher wie das einer Blume.
Er trug eine Bürde,
einen abgeschnittenen Ast, gebogen, als er noch grün war,
Strähnen einer Rebe quer darüber gespannt. Von dieser,
sobald er sie berührte, und von seiner Stimme,
die, unähnlich der Stimme des Windes, unser Laub und unsere
Äste nicht brauchte, um ihren Klang zu vollenden,
kam das Kräuseln.
Es war aber jetzt kein Kräuseln mehr (er war nahe herangekommen und
stand in meinem ersten Schatten), es war eine Welle, die mich umspülte,
als stiege Regen
empor von unten um mich herum,
anstatt zu fallen.
Und was ich spürte, war nicht mehr ein trockenes Prickeln:
Ich schien zu singen, während er sang, ich schien zu wissen,
was die Lerche weiß; mein ganzer Saft
stieg hinauf der Sonne entgegen, die nun
aufgegangen war, der Nebel hob sich, das Gras
wurde trocken, doch meine Wurzeln spürten, wie Musik sie tränkte
tief in der Erde.

Er kam noch näher, lehnte sich an meinen Stamm:
Die Rinde erschauerte wie ein noch gefaltetes Blatt.
Musik! Kein Zweig von mir, der nicht
erbebte vor Freude und Furcht.

Dann, als er sang,
waren es nicht mehr nur Klänge, aus denen die Musik entstand:
Er sprach, und wie kein Baum zuhört, hörte ich zu, und Sprache
kam in meine Wurzeln
aus der Erde,
in meine Rinde
aus der Luft,
in die Poren meiner grünsten Knospen
sanft wie Tau,
und er sang kein Wort, das ich nicht zu deuten wußte.
Er erzählte von Reisen,
davon, wo Sonne und Mond hingehen, während wir im Dunkeln stehen,
von einer Erden-Reise, von der er träumte, sie eines Tages zu tun
tiefer als Wurzeln…
Er erzählte von den Menschenträumen, von Krieg, Leidenschaften, Gram
und ich, ein Baum, verstand die Wörter – ach, es schien,
als ob meine dicke Rinde aufplatzen würde, wie die eines Schößlings,
der zu schnell wuchs im Frühling,
so daß später Frost ihn verwundete.

Feuer besang er,
das Bäume fürchten, und ich, ein Baum, erfreute mich seiner Flammen.
Neue Knospen brachen auf in mir, wenngleich es Hochsommer war.
Als ob seine Leier (nun wußte ich ihren Namen)
zugleich Frost und Feuer wäre, ihre Akkorde flammten
hinauf bis zu meiner Krone.
Ich war wieder Samen.
Ich war Farn im Sumpf.
Ich war Kohle.
Michael R Burch Oct 2020
Uyghur Poetry Translations

With my translations I am trying to build awareness of the plight of Uyghur poets and their people, who are being sent in large numbers to Chinese "reeducation" concentration camps which have been praised by Trump as "exactly" what is "needed."

Perhat Tursun (1969-????) is one of the foremost living Uyghur language poets, if he is still alive. Unfortunately, Tursun was "disappeared" into a Chinese "reeducation" concentration camp where extreme psychological torture is the norm. Apparently no one knows his present whereabouts or condition.

Because Perhat Tursun quoted Hermann Hesse I have included my translations of Hesse at the bottom of this page, including "Stages" or "Steps" from his novel "The Glass Bead Game" and excerpts from "Siddhartha."



Elegy
by Perhat Tursun
loose translation/interpretation by Michael R. Burch

"Your soul is the entire world."
―Hermann Hesse, Siddhartha

Asylum seekers, will you recognize me among the mountain passes' frozen corpses?
Can you identify me here among our Exodus's exiled brothers?
We begged for shelter but they lashed us bare; consider our naked corpses.
When they compel us to accept their massacres, do you know that I am with you?

Three centuries later they resurrect, not recognizing each other,
Their former greatness forgotten.
I happily ingested poison, like a fine wine.
When they search the streets and cannot locate our corpses, do you know that I am with you?

In that tower constructed of skulls you will find my dome as well:
They removed my head to more accurately test their swords' temper.
When before their swords our relationship flees like a flighty lover,
Do you know that I am with you?

When men in fur hats are used for target practice in the marketplace
Where a dying man's face expresses his agony as a bullet cleaves his brain
While the executioner's eyes fail to comprehend why his victim vanishes,...
Seeing my form reflected in that bullet-pierced brain's erratic thoughts,
Do you know that I am with you?

In those days when drinking wine was considered worse than drinking blood,
did you taste the flour ground out in that blood-turned churning mill?
Now, when you sip the wine Ali-Shir Nava'i imagined to be my blood
In that mystical tavern's dark abyssal chambers,
Do you know that I am with you?

TRANSLATOR NOTES: This is my interpretation (not necessarily correct) of the poem's frozen corpses left 300 years in the past. For the Uyghur people the Mongol period ended around 1760 when the Qing dynasty invaded their homeland, then called Dzungaria. Around a million people were slaughtered during the Qing takeover, and the Dzungaria territory was renamed Xinjiang. I imagine many Uyghurs fleeing the slaughters would have attempted to navigate treacherous mountain passes. Many of them may have died from starvation and/or exposure, while others may have been caught and murdered by their pursuers.



The Fog and the Shadows
adapted from a novel by Perhat Tursun
loose translation/interpretation by Michael R. Burch

“I began to realize the fog was similar to the shadows.”

I began to realize that, just as the exact shape of darkness is a shadow,
even so the exact shape of fog is disappearance
and the exact shape of a human being is also disappearance.
At this moment it seemed my body was vanishing into the human form’s final state.

After I arrived here,
it was as if the danger of getting lost
and the desire to lose myself
were merging strangely inside me.

While everything in that distant, gargantuan city where I spent my five college years felt strange to me; and even though the skyscrapers, highways, ditches and canals were built according to a single standard and shape, so that it wasn’t easy to differentiate them, still I never had the feeling of being lost. Everyone there felt like one person and they were all folded into each other. It was as if their faces, voices and figures had been gathered together like a shaman’s jumbled-up hair.

Even the men and women seemed identical.
You could only tell them apart by stripping off their clothes and examining them.
The men’s faces were beardless like women’s and their skin was very delicate and unadorned.
I was always surprised that they could tell each other apart.
Later I realized it wasn’t just me: many others were also confused.

For instance, when we went to watch the campus’s only TV in a corridor of a building where the seniors stayed when they came to improve their knowledge. Those elderly Uyghurs always argued about whether someone who had done something unusual in an earlier episode was the same person they were seeing now. They would argue from the beginning of the show to the end. Other people, who couldn’t stand such endless nonsense, would leave the TV to us and stalk off.

Then, when the classes began, we couldn’t tell the teachers apart.
Gradually we became able to tell the men from the women
and eventually we able to recognize individuals.
But other people remained identical for us.

The most surprising thing for me was that the natives couldn’t differentiate us either.
For instance, two police came looking for someone who had broken windows during a fight at a restaurant and had then run away.
They ordered us line up, then asked the restaurant owner to identify the culprit.
He couldn’t tell us apart even though he inspected us very carefully.
He said we all looked so much alike that it was impossible to tell us apart.
Sighing heavily, he left.



The Encounter
by Abdurehim Otkur
loose translation/interpretation by Michael R. Burch

I asked her, why aren’t you afraid? She said her God.
I asked her, anything else? She said her People.
I asked her, anything more? She said her Soul.
I asked her if she was content? She said, I am Not.



The Distance
by Tahir Hamut
loose translation/interpretation by Michael R. Burch

We can’t exclude the cicadas’ serenades.
Behind the convex glass of the distant hospital building
the nurses watch our outlandish party
with their absurdly distorted faces.

Drinking watered-down liquor,
half-****, descanting through the open window,
we speak sneeringly of life, love, girls.
The cicadas’ serenades keep breaking in,
wrecking critical parts of our dissertations.

The others dream up excuses to ditch me
and I’m left here alone.

The cosmopolitan pyramid
of drained bottles
makes me feel
like I’m in a Turkish bath.

I lock the door:
Time to get back to work!

I feel like doing cartwheels.
I feel like self-annihilation.



Refuge of a Refugee
by Ablet Abdurishit Berqi aka Tarim
loose translation/interpretation by Michael R. Burch

I lack a passport,
so I can’t leave legally.
All that’s left is for me to smuggle myself to safety,
but I’m afraid I’ll be beaten black and blue at the border
and I can’t afford the trafficker.

I’m a smuggler of love,
though love has no national identity.
Poetry is my refuge,
where a refugee is most free.

The following excerpts, translated by Anne Henochowicz, come from an essay written by Tang Danhong about her final meeting with Dr. Ablet Abdurishit Berqi, aka Tarim. Tarim is a reference to the Tarim Basin and its Uyghur inhabitants...

I’m convinced that the poet Tarim Ablet Berqi the associate professor at the Xinjiang Education Institute, has been sent to a “concentration camp for educational transformation.” This scholar of Uyghur literature who conducted postdoctoral research at Israel’s top university, what kind of “educational transformation” is he being put through?

Chen Quanguo, the Communist Party secretary of Xinjiang, has said it’s “like the instruction at school, the order of the military, and the security of prison. We have to break their blood relations, their networks, and their roots.”

On a scorching summer day, Tarim came to Tel Aviv from Haifa. In a few days he would go back to Urumqi. I invited him to come say goodbye and once again prepared Sichuan cold noodles for him. He had already unfriended me on Facebook. He said he couldn’t eat, he was busy, and had to hurry back to Haifa. He didn’t even stay for twenty minutes. I can’t even remember, did he sit down? Did he have a glass of water? Yet this farewell shook me to my bones.

He said, “Maybe when I get off the plane, before I enter the airport, they’ll take me to a separate room and beat me up, and I’ll disappear.”

Looking at my shocked face, he then said, “And maybe nothing will happen …”

His expression was sincere. To be honest, the Tarim I saw rarely smiled. Still, layer upon layer blocked my powers of comprehension: he’s a poet, a writer, and a scholar. He’s an associate professor at the Xinjiang Education Institute. He can get a passport and come to Israel for advanced studies. When he goes back he’ll have an offer from Sichuan University to be a professor of literature … I asked, “Beat you up at the airport? Disappear? On what grounds?”

“That’s how Xinjiang is,” he said without any surprise in his voice. “When a Uyghur comes back from being abroad, that can happen.”…



This poem helps us understand the nomadic lifestyle of many Uyghurs, the hardships they endure, and the character it builds...

Iz (“Traces”)
by Abdurehim Otkur
loose translation/interpretation by Michael R. Burch

We were children when we set out on this journey;
Now our grandchildren ride horses.

We were just a few when we set out on this arduous journey;
Now we're a large caravan leaving traces in the desert.

We leave our traces scattered in desert dunes' valleys
Where many of our heroes lie buried in sandy graves.

But don't say they were abandoned: amid the cedars
their resting places are decorated by springtime flowers!

We left the tracks, the station... the crowds recede in the distance;
The wind blows, the sand swirls, but here our indelible trace remains.

The caravan continues, we and our horses become thin,
But our great-grand-children will one day rediscover those traces.

The original Uyghur poem:

Yax iduq muxkul seperge atlinip mangghanda biz,
Emdi atqa mingidek bolup qaldi ene nevrimiz.
Az iduq muxkul seperge atlinip chiqanda biz,
Emdi chong karvan atalduq, qaldurup chollerde iz.
Qaldi iz choller ara, gayi davanlarda yene,
Qaldi ni-ni arslanlar dexit cholde qevrisiz.
Qevrisiz qaldi dimeng yulghun qizarghan dalida,
Gul-chichekke pukinur tangna baharda qevrimiz.
Qaldi iz, qaldi menzil, qaldi yiraqta hemmisi,
Chiqsa boran, kochse qumlar, hem komulmes izimiz.
Tohtimas karvan yolida gerche atlar bek oruq,
Tapqus hichbolmisa, bu izni bizning nevrimiz, ya chevrimiz.

Other poems of note by Abdurehim Otkur include "I Call Forth Spring" and "Waste, You Traitors, Waste!"



My Feelings
by Dolqun Yasin
loose translation/interpretation by Michael R. Burch

The light sinking through the ice and snow,
The hollyhock blossoms reddening the hills like blood,
The proud peaks revealing their ******* to the stars,
The morning-glories embroidering the earth’s greenery,
Are not light,
Not hollyhocks,
Not peaks,
Not morning-glories;
They are my feelings.

The tears washing the mothers’ wizened faces,
The flower-like smiles suddenly brightening the girls’ visages,
The hair turning white before age thirty,
The night which longs for light despite the sun’s laughter,
Are not tears,
Not smiles,
Not hair,
Not night;
They are my nomadic feelings.

Now turning all my sorrow to passion,
Bequeathing to my people all my griefs and joys,
Scattering my excitement like flowers festooning fields,
I harvest all these, then tenderly glean my poem.

Therefore the world is this poem of mine,
And my poem is the world itself.



To My Brother the Warrior
by Téyipjan Éliyow
loose translation/interpretation by Michael R. Burch

When I accompanied you,
the commissioners called me a child.
If only I had been a bit taller
I might have proved myself in battle!

The commission could not have known
my commitment, despite my youth.
If only they had overlooked my age and enlisted me,
I'd have given that enemy rabble hell!

Now, brother, I’m an adult.
Doubtless, I’ll join the service soon.
Soon enough, I’ll be by your side,
battling the enemy: I’ll never surrender!

Another poem of note by Téyipjan Éliyow is "Neverending Song."

Keywords/Tags: Uyghur, translation, Uighur, Xinjiang, elegy, Kafka, China, Chinese, reeducation, prison, concentration camp, desert, nomad, nomadic, race, racism, discrimination, Islam, Islamic, Muslim, mrbuyghur



Chinese Poets: English Translations

These are modern English translations of poems by some of the greatest Chinese poets of all time, including Du Fu, Huang E, Huang O, Li Bai, Li Ching-jau, Li Qingzhao, Po Chu-I, Tzu Yeh, Yau Ywe-Hwa and Xu Zhimo.



Lines from Laolao Ting Pavilion
by Li Bai (701-762)  
loose translation/interpretation by Michael R. Burch

The spring breeze knows partings are bitter;
The willow twig knows it will never be green again.



A Toast to Uncle Yun
by Li Bai (701-762)  
loose translation/interpretation by Michael R. Burch

Water reforms, though we slice it with our swords;
Sorrow returns, though we drown it with our wine.



The Solitude of Night
by Li Bai (701–762)
loose translation/interpretation by Michael R. Burch

At the wine party
I lay comatose, knowing nothing.
Windblown flowers fell, perfuming my lap.
When I arose, still drunk,
The birds had all flown to their nests.
All that remained were my fellow inebriates.
I left to walk along the river—alone with the moonlight.



Li Bai (701-762)    was a romantic figure who has been called the Lord Byron of Chinese poetry. He and his friend Du Fu (712-770)    were the leading poets of the Tang Dynasty era, which has been called the 'Golden Age of Chinese poetry.' Li Bai is also known as Li Po, Li Pai, Li T'ai-po, and Li T'ai-pai.



Moonlit Night
by Du Fu (712-770)  
loose translation/interpretation by Michael R. Burch

Alone in your bedchamber
you gaze out at the Fu-Chou moon.

Here, so distant, I think of our children,
too young to understand what keeps me away
or to remember Ch'ang-an...

A perfumed mist, your hair's damp ringlets!
In the moonlight, your arms' exquisite jade!

Oh, when can we meet again within your bed's drawn curtains,
and let the heat dry our tears?



Moonlit Night
by Du Fu (712-770)  
loose translation/interpretation by Michael R. Burch

Tonight the Fu-Chou moon
watches your lonely bedroom.

Here, so distant, I think of our children,
too young to understand what keeps me away
or to remember Ch'ang-an...

By now your hair will be damp from your bath
and fall in perfumed ringlets;
your jade-white arms so exquisite in the moonlight!

Oh, when can we meet again within those drawn curtains,
and let the heat dry our tears?



Lone Wild Goose
by Du Fu (712-770)  
loose translation/interpretation by Michael R. Burch

The abandoned goose refuses food and drink;
he cries querulously for his companions.

Who feels kinship for that strange wraith
as he vanishes eerily into the heavens?

You watch it as it disappears;
its plaintive calls cut through you.

The indignant crows ignore you both:
the bickering, bantering multitudes.

Du Fu (712-770)    is also known as Tu Fu. The first poem is addressed to the poet's wife, who had fled war with their children. Ch'ang-an is an ironic pun because it means 'Long-peace.'



The Red Cockatoo
by Po Chu-I (772-846)  
loose translation/interpretation by Michael R. Burch

A marvelous gift from Annam—
a red cockatoo,
bright as peach blossom,
fluent in men's language.

So they did what they always do
to the erudite and eloquent:
they created a thick-barred cage
and shut it up.

Po Chu-I (772-846)    is best known today for his ballads and satirical poems. Po Chu-I believed poetry should be accessible to commoners and is noted for his simple diction and natural style. His name has been rendered various ways in English: Po Chu-I, Po Chü-i, Bo Juyi and Bai Juyi.



The Migrant Songbird
Li Qingzhao aka Li Ching-chao (c.1084-1155)  
loose translation/interpretation by Michael R. Burch

The migrant songbird on the nearby yew
brings tears to my eyes with her melodious trills;
this fresh downpour reminds me of similar spills:
another spring gone, and still no word from you...



The Plum Blossoms
Li Qingzhao aka Li Ching-chao (c.1084-1155)  
loose translation/interpretation by Michael R. Burch

This year with the end of autumn
I find my reflection graying at the edges.
Now evening gales hammer these ledges...
what shall become of the plum blossoms?

Li Qingzhao was a poet and essayist during the Song dynasty. She is generally considered to be one of the greatest Chinese poets. In English she is known as Li Qingzhao, Li Ching-chao and The Householder of Yi'an.



Star Gauge
Sui Hui (c.351-394 BC)  
loose translation/interpretation by Michael R. Burch

So much lost so far away
on that distant rutted road.

That distant rutted road
wounds me to the heart.

Grief coupled with longing,
so much lost so far away.

Grief coupled with longing
wounds me to the heart.

This house without its master;
the bed curtains shimmer, gossamer veils.

The bed curtains shimmer, gossamer veils,
and you are not here.

Such loneliness! My adorned face
lacks the mirror's clarity.

I see by the mirror's clarity
my Lord is not here. Such loneliness!

Sui Hui, also known as Su Hui and Lady Su, appears to be the first female Chinese poet of note. And her 'Star Gauge' or 'Sphere Map' may be the most impressive poem written in any language to this day, in terms of complexity. 'Star Gauge' has been described as a palindrome or 'reversible' poem, but it goes far beyond that. According to contemporary sources, the original poem was shuttle-woven on brocade, in a circle, so that it could be read in multiple directions. Due to its shape the poem is also called Xuanji Tu ('Picture of the Turning Sphere') . The poem is now generally placed in a grid or matrix so that the Chinese characters can be read horizontally, vertically and diagonally. The story behind the poem is that Sui Hui's husband, Dou Tao, the governor of Qinzhou, was exiled to the desert. When leaving his wife, Dou swore to remain faithful. However, after arriving at his new post, he took a concubine. Lady Su then composed a circular poem, wove it into a piece of silk embroidery, and sent it to him. Upon receiving the masterwork, he repented. It has been claimed that there are up to 7,940 ways to read the poem. My translation above is just one of many possible readings of a portion of the poem.



Reflection
Xu Hui (627-650)  
loose translation/interpretation by Michael R. Burch

Confronting the morning she faces her mirror;
Her makeup done at last, she paces back and forth awhile.
It would take vast mountains of gold to earn one contemptuous smile,
So why would she answer a man's summons?

Due to the similarities in names, it seems possible that Sui Hui and Xu Hui were the same poet, with some of her poems being discovered later, or that poems written later by other poets were attributed to her.



Waves
Zhai Yongming (1955-)  
loose translation/interpretation by Michael R. Burch

The waves manhandle me like a midwife pounding my back relentlessly,
and so the world abuses my body—
accosting me, bewildering me, according me a certain ecstasy...



Monologue
Zhai Yongming (1955-)  
loose translation/interpretation by Michael R. Burch

I am a wild thought, born of the abyss
and—only incidentally—of you. The earth and sky
combine in me—their concubine—they consolidate in my body.

I am an ordinary embryo, encased in pale, watery flesh,
and yet in the sunlight I dazzle and amaze you.

I am the gentlest, the most understanding of women.
Yet I long for winter, the interminable black night, drawn out to my heart's bleakest limit.

When you leave, my pain makes me want to ***** my heart up through my mouth—
to destroy you through love—where's the taboo in that?

The sun rises for the rest of the world, but only for you do I focus the hostile tenderness of my body.
I have my ways.

A chorus of cries rises. The sea screams in my blood but who remembers me?
What is life?

Zhai Yongming is a contemporary Chinese poet, born in Chengdu in 1955. She was one of the instigators and prime movers of the 'Black Tornado' of women's poetry that swept China in 1986-1989. Since then Zhai has been regarded as one of China's most prominent poets.



Pyre
Guan Daosheng (1262-1319)  
loose translation/interpretation by Michael R. Burch

You and I share so much desire:
this love―like a fire—
that ends in a pyre's
charred coffin.



'Married Love' or 'You and I' or 'The Song of You and Me'
Guan Daosheng (1262-1319)  
loose translation/interpretation by Michael R. Burch

You and I shared a love that burned like fire:
two lumps of clay in the shape of Desire
molded into twin figures. We two.
Me and you.

In life we slept beneath a single quilt,
so in death, why any guilt?
Let the skeptics keep scoffing:
it's best to share a single coffin.

Guan Daosheng (1262-1319)    is also known as Kuan Tao-Sheng, Guan Zhongji and Lady Zhongji. A famous poet of the early Yuan dynasty, she has also been called 'the most famous female painter and calligrapher in the Chinese history... remembered not only as a talented woman, but also as a prominent figure in the history of bamboo painting.' She is best known today for her images of nature and her tendency to inscribe short poems on her paintings.



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

I heard my love was going to Yang-chou
So I accompanied him as far as Ch'u-shan.
For just a moment as he held me in his arms
I thought the swirling river ceased flowing and time stood still.



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

Will I ever hike up my dress for you again?
Will my pillow ever caress your arresting face?



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

Night descends...
I let my silken hair spill down my shoulders as I part my thighs over my lover.
Tell me, is there any part of me not worthy of being loved?



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

I will wear my robe loose, not bothering with a belt;
I will stand with my unpainted face at the reckless window;
If my petticoat insists on fluttering about, shamelessly,
I'll blame it on the unruly wind!



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

When he returns to my embrace,
I'll make him feel what no one has ever felt before:
Me absorbing him like water
Poured into a wet clay jar.



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

Bare branches tremble in a sudden breeze.
Night deepens.
My lover loves me,
And I am pleased that my body's beauty pleases him.



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

Do you not see
that we
have become like branches of a single tree?



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

I could not sleep with the full moon haunting my bed!
I thought I heard―here, there, everywhere―
disembodied voices calling my name!
Helplessly I cried 'Yes! ' to the phantom air!



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

I have brought my pillow to the windowsill
so come play with me, tease me, as in the past...
Or, with so much resentment and so few kisses,
how much longer can love last?



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

When she approached you on the bustling street, how could you say no?
But your disdain for me is nothing new.
Squeaking hinges grow silent on an unused door
where no one enters anymore.



Tzu Yeh (circa 400 BC)  
loose translation/interpretation by Michael R. Burch

I remain constant as the Northern Star
while you rush about like the fickle sun:
rising in the East, drooping in the West.

Tzŭ-Yeh (or Tzu Yeh)    was a courtesan of the Jin dynasty era (c.400 BC)    also known as Lady Night or Lady Midnight. Her poems were pinyin ('midnight songs') . Tzŭ-Yeh was apparently a 'sing-song' girl, perhaps similar to a geisha trained to entertain men with music and poetry. She has also been called a 'wine shop girl' and even a professional concubine! Whoever she was, it seems likely that Rihaku (Li-Po)    was influenced by the lovely, touching (and often very ****)    poems of the 'sing-song' girl. Centuries later, Arthur Waley was one of her translators and admirers. Waley and Ezra Pound knew each other, and it seems likely that they got together to compare notes at Pound's soirees, since Pound was also an admirer and translator of Chinese poetry. Pound's most famous translation is his take on Li-Po's 'The River Merchant's Wife: A Letter.' If the ancient 'sing-song' girl influenced Li-Po and Pound, she was thus an influence―perhaps an important influence―on English Modernism. The first Tzŭ-Yeh poem makes me think that she was, indeed, a direct influence on Li-Po and Ezra Pound.―Michael R. Burch



The Day after the Rain
Lin Huiyin (1904-1955)  
loose translation/interpretation by Michael R. Burch

I love the day after the rain
and the meadow's green expanses!
My heart endlessly rises with wind,
gusts with wind...
away the new-mown grasses and the fallen leaves...
away the clouds like smoke...
vanishing like smoke...



Music Heard Late at Night
Lin Huiyin (1904-1955)  
loose translation/interpretation by Michael R. Burch

for Xu Zhimo

I blushed,
hearing the lovely nocturnal tune.

The music touched my heart;
I embraced its sadness, but how to respond?

The pattern of life was established eons ago:
so pale are the people's imaginations!

Perhaps one day You and I
can play the chords of hope together.

It must be your fingers gently playing
late at night, matching my sorrow.

Lin Huiyin (1904-1955) , also known as Phyllis Lin and Lin Whei-yin, was a Chinese architect, historian, novelist and poet. Xu Zhimo died in a plane crash in 1931, allegedly flying to meet Lin Huiyin.



Saying Goodbye to Cambridge Again
Xu Zhimo (1897-1931)  
loose translation/interpretation by Michael R. Burch

Quietly I take my leave,
as quietly as I came;
quietly I wave good-bye
to the sky's dying flame.

The riverside's willows
like lithe, sunlit brides
reflected in the waves
move my heart's tides.

Weeds moored in dark sludge
sway here, free of need,
in the Cam's gentle wake...
O, to be a waterweed!

Beneath shady elms
a nebulous rainbow
crumples and reforms
in the soft ebb and flow.

Seek a dream? Pole upstream
to where grass is greener;
rig the boat with starlight;
sing aloud of love's splendor!

But how can I sing
when my song is farewell?
Even the crickets are silent.
And who should I tell?

So quietly I take my leave,
as quietly as I came;
gently I flick my sleeves...
not a wisp will remain.

(6 November 1928)  

Xu Zhimo's most famous poem is this one about leaving Cambridge. English titles for the poem include 'On Leaving Cambridge, ' 'Second Farewell to Cambridge, ' 'Saying Goodbye to Cambridge Again, '  and 'Taking Leave of Cambridge Again.'



These are my modern English translations of poems by the Chinese poet Huang E (1498-1569) , also known as Huang Xiumei. She has been called the most outstanding female poet of the Ming Dynasty, and her husband its most outstanding male poet. Were they poetry's first power couple? Her father Huang Ke was a high-ranking official of the Ming court and she married Yang Shen, the prominent son of Grand Secretary Yang Tinghe. Unfortunately for the young power couple, Yang Shen was exiled by the emperor early in their marriage and they lived largely apart for 30 years. During their long separations they would send each other poems which may belong to a genre of Chinese poetry I have dubbed 'sorrows of the wild geese' …

Sent to My Husband
by Huang E
loose translation/interpretation by Michael R. Burch

The wild geese never fly beyond Hengyang...
how then can my brocaded words reach Yongchang?
Like wilted willow flowers I am ill-fated indeed;
in that far-off foreign land you feel similar despair.
'Oh, to go home, to go home! ' you implore the calendar.
'Oh, if only it would rain, if only it would rain! ' I complain to the heavens.
One hears hopeful rumors that you might soon be freed...
but when will the Golden **** rise in Yelang?

A star called the Golden **** was a symbol of amnesty to the ancient Chinese. Yongchang was a hot, humid region of Yunnan to the south of Hengyang, and was presumably too hot and too far to the south for geese to fly there.



Luo Jiang's Second Complaint
by Huang E
loose translation/interpretation by Michael R. Burch

The green hills vanished,
pedestrians passed by
disappearing beyond curves.

The geese grew silent, the horseshoes timid.

Winter is the most annoying season!

A lone goose vanished into the heavens,
the trees whispered conspiracies in Pingwu,
and people huddling behind buildings shivered.



Bitter Rain, an Aria of the Yellow Oriole
by Huang E
loose translation/interpretation by Michael R. Burch

These ceaseless rains make the spring shiver:
even the flowers and trees look cold!
The roads turn to mud;
the river's eyes are tired and weep into in a few bays;
the mountain clouds accumulate like ***** dishes,
and the end of the world seems imminent, if jejune.

I find it impossible to send books:
the geese are ruthless and refuse to fly south to Yunnan!



Broken-Hearted Poem
by Huang E
loose translation/interpretation by Michael R. Burch

My tears cascade into the inkwell;
my broken heart remains at a loss for words;
ever since we held hands and said farewell,
I have been too listless to paint my eyebrows;
no medicine can cure my night-sweats,
no wealth repurchase our lost youth;
and how can I persuade that ****** bird singing in the far hills
to tell a traveler south of the Yangtze to return home?



Hermann Hesse

Hermann Karl Hesse (1877-1962) was a German-Swiss poet, novelist, essayist, painter and mystic. Hesse’s best-known works include Steppenwolf, Siddhartha, Demian, Narcissus and Goldmund and The Glass Bead Game. One of Germany’s greatest writers, Hesse was awarded the Nobel Prize in Literature in 1946.

"Stages" or "Steps"
by Hermann Hesse
from his novel The Glass Bead Game
loose translation/interpretation by Michael R. Burch

As every flower wilts and every youth
must wilt and exit life from a curtained stage,
so every virtue—even our truest truth—
blooms some brief time and cannot last forever.
Since life may summons death at any age
we must prepare for death’s obscene endeavor,
meet our end with courage and without remorse,
forego regret and hopes of some reprieve,
embrace death’s end, as life’s required divorce,
some new beginning, calling us to live.
Thus let us move, serene, beyond our fear,
and let no sentiments detain us here.

The Universal Spirit would not chain us,
but elevates us slowly, stage by stage.
If we demand a halt, our fears restrain us,
caught in the webs of creaturely defense.
We must prepare for imminent departure
or else be bound by foolish “permanence.”
Death’s hour may be our swift deliverance,
from which we speed to fresher, newer spaces,
and Life may summons us to bolder races.
So be it, heart! Farewell, and adieu, then!



The Poet
by Hermann Hesse
loose translation/interpretation by Michael R. Burch

Only upon me, the lonely one,
Do this endless night’s stars shine
As the fountain gurgles its faery song.

For me alone, the lonely one,
The shadows of vagabond clouds
Float like dreams over slumbering farms.

What is mine lies beyond possession:
Neither manor, nor pasture,
Neither forest, nor hunting permit …

What is mine belongs to no one:
The plunging brook beyond the veiling woods,
The terrifying sea,
The chick-like chatter of children at play,
The weeping and singing of a lonely man longing for love.

The temples of the gods are mine, also,
And the distant past’s aristocratic castles.

And mine, no less, the luminous vault of heaven,
My future home …

Often in flights of longing my soul soars heavenward,
Hoping to gaze on the halls of the blessed,
Where Love, overcoming the Law, unconditional Love for All,
Leaves them all nobly transformed:
Farmers, kings, tradesman, bustling sailors,
Shepherds, gardeners, one and all,
As they gratefully celebrate their heavenly festivals.

Only the poet is unaccompanied:
The lonely one who continues alone,
The recounter of human longing,
The one who sees the pale image of a future,
The fulfillment of a world
That has no further need of him.
Many garlands
Wilt on his grave,
But no one cares or remembers him.



On a Journey to Rest
by Hermann Hesse
loose translation/interpretation by Michael R. Burch

Don't be downcast, the night is soon over;
then we can watch the pale moon hover
over the dawning land
as we rest, hand in hand,
laughing secretly to ourselves.

Don't be downcast, the time will soon come
when we, too, can rest
(our small crosses will stand, blessed,
on the edge of the road together;
the rain, then the snow will fall,
and the winds come and go)
heedless of the weather.



Lonesome Night
by Hermann Hesse
loose translation/interpretation by Michael R. Burch

Dear brothers, who are mine,
All people, near and far,
Wishing on every star,
Imploring relief from pain;

My brothers, stumbling, dumb,
Each night, as pale stars ache,
Lift thin, limp hands for crumbs,
mutter and suffer, awake;

Poor brothers, commonplace,
Pale sailors, who must live
Without a bright guide above,
We share a common face.

Return my welcome.



How Heavy the Days
by Hermann Hesse
loose translation/interpretation by Michael R. Burch

How heavy the days.
Not a fire can warm me,
Nor a sun brighten me!
Everything barren,
Everything bare,
Everything utterly cold and merciless!
Now even the once-beloved stars
Look distantly down,
Since my heart learned
Love can die.



Without You
by Hermann Hesse
loose translation/interpretation by Michael R. Burch

My pillow regards me tonight
Comfortless as a gravestone;
I never thought it would be so bitter
To face the night alone,
Not to lie asleep entangled in your hair.

I lie alone in this silent house,
The hanging lamp softly dimmed,
Then gently extend my hands
To welcome yours …
Softly press my warm mouth
To yours …
Only to kiss myself,
Then suddenly I'm awake
And the night grows colder still.

The star in the window winks knowingly.
Where is your blonde hair,
Your succulent mouth?

Now I drink pain in every former delight,
Find poison in every wine;
I never knew it would be so bitter
To face the night alone,
Alone, without you.



Secretly We Thirst…
by Hermann Hesse
from his novel The Glass Bead Game
loose translation/interpretation by Michael R. Burch

Charismatic, spiritual, with the gracefulness of arabesques,
our lives resemble fairies’ pirouettes,
spinning gently through the nothingness
to which we sacrifice our beings and the present.

Whirling dreams of quintessence and loveliness,
like breathing in perfect harmony,
while beneath your bright surface
blackness broods, longing for blood and barbarity.

Spinning aimlessly in emptiness,
dancing (as if without distress), always ready to play,
yet, secretly, we thirst for reality
for the conceiving, for the birth pangs, for suffering and death.

Doch heimlich dürsten wir…

Anmutig, geistig, arabeskenzart
*******unser Leben sich wie das von Feen
In sanften Tänzen um das Nichts zu drehen,
Dem wir geopfert Sein und Gegenwart.

Schönheit der Träume, holde Spielerei,
So hingehaucht, so reinlich abgestimmt,
Tief unter deiner heiteren Fläche glimmt
Sehnsucht nach Nacht, nach Blut, nach Barbarei.

Im Leeren dreht sich, ohne Zwang und Not,
Frei unser Leben, stets zum Spiel bereit,
Doch heimlich dürsten wir nach Wirklichkeit,
Nach Zeugung und Geburt, nach Leid und Tod.



Across The Fields
by Hermann Hesse
loose translation/interpretation by Michael R. Burch

Across the sky, the clouds sweep,
Across the fields, the wind blunders,
Across the fields, the lost child
Of my mother wanders.

Across the street, the leaves sweep,
Across the trees, the starlings cry;
Across the distant mountains,
My home must lie.



EXCERPTS FROM "THE SON OF THE BRAHMAN"
by Hermann Hesse
loose translation/interpretation by Michael R. Burch

In the house-shade,
by the sunlit riverbank beyond the bobbing boats,
in the Salwood forest’s deep shade,
and beneath the shade of the fig tree,
that’s where Siddhartha grew up.

Siddhartha, the handsomest son of the Brahman,
like a young falcon,
together with his friend Govinda, also the son of a Brahman,
like another young falcon.

Siddhartha!

The sun tanned his shoulders lightly by the riverbanks when he bathed,
as he performed the sacred ablutions,
the sacred offerings.

Shade poured into his black eyes
whenever he played in the mango grove,
whenever his mother sang to him,
whenever the sacred offerings were made,
whenever his father, the esteemed scholar, instructed him,
whenever the wise men advised him.

For a long time, Siddhartha had joined in the wise men’s palaver,
and had also practiced debate
and the arts of reflection and meditation
with his friend Govinda.

Siddhartha already knew how to speak the Om silently, the word of words,
to speak it silently within himself while inhaling,
to speak it silently without himself while exhaling,
always with his soul’s entire concentration,
his forehead haloed by the glow of his lucid spirit.

He already knew how to feel Atman in his being’s depths,
an indestructible unity with the universe.

Joy leapt in his father’s heart for his son,
so quick to learn, so eager for knowledge.

Siddhartha!

He saw Siddhartha growing up to become a great man:
a wise man and a priest,
a prince among the Brahmans.

Bliss leapt in his mother’s breast when she saw her son's regal carriage,
when she saw him sit down,
when she saw him rise.

Siddhartha!

So strong, so handsome,
so stately on those long, elegant legs,
and when bowing to his mother with perfect respect.

Siddhartha!

Love nestled and fluttered in the hearts of the Brahmans’ daughters when Siddhartha passed by with his luminous forehead, with the aspect of a king, with his lean hips.

But more than all the others Siddhartha was loved by Govinda, his friend, also the son of a Brahman.

Govinda loved Siddhartha’s alert eyes and kind voice,
loved his perfect carriage and the perfection of his movements,
indeed, loved everything Siddhartha said and did,
but what Govinda loved most was Siddhartha’s spirit:
his transcendent yet passionate thoughts,
his ardent will, his high calling. …

Govinda wanted to follow Siddhartha:

Siddhartha the beloved!

Siddhartha the splendid!



Thus Siddhartha was loved by all, a joy to all, a delight to all.

But alas, Siddhartha did not delight himself. … His heart lacked joy. …

For Siddhartha had begun to nurse discontent deep within himself.
These are my modern English translations of poems by Uyghur poets, Chinese poets and the German poet Hermann Hesse.
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Si la muerte no es la solo gracia, estamos solos.

Siempre de, nosotros es uno si de todos solamente muertes

            todo en gracia de estamos solamente,

            solo de nosotros, todos nosotros,

            solo que si muertamos es la solo gracia nos encontramos con.

Si la muerte es la única gracia, estamos unidos.

Esta en contra del sentido visión duele como mirando hacia el sol.

Ceguera, es siempre difícil de entender-

para los cuerdos que no puede ver con ojos normales

Sabiduría es en sus sin ayuda de cielo corazon

y sus monstruo cabeza el reconocer la realidad de duele,

con ojos por dentro y afuera de, la mente

Mirando hacia del sol puede ciegos que de lo falso, así.



Unser ist mit treue halten liebe die genug zwei Toden heilig

wobei einander der zwei toden beide schaden aus Liebe  

Doch dass zweite Tod ist meine schade

Dies zweite Tod ist die eine freude

Wenn erst eine Tod ist die dass ist Sein lieblos, nein  liebe

Das die tod ist bis die einen toden der alles

nicht Zu vergleichen

nun ist Tod bis euchen eine freude?
Lewis Bosworth Sep 2016
Just past dawn
She toddles out in
A flour-sack apron,
A hatchet in her
Pocket.

Beside the upright
Log, its bark aging,
Leans a potato sack
With one white
Cackling hen inside.

The woman is all
Business, this job
Nothing new,
Dinner comes soon.

The log is capped
With two rusty nails
About 2 inches apart.

The hen continues
Her song, ignorant
Of her fate.

The woman grabs
The hen in her left
Hand, the hachet
In her pocket.

With deft attention,
The woman places
The hen’s neck between
The nails.

The cackling becomes
A maniacal squawk,
But no one is there
To grieve.

One quick stroke
Is all it takes, and
The hen’s head is
On the ground.

The stump is full
Of blood, and the
Proverbial body
Is running around,
Minus the squawk.

The woman grabs
The hen and shoves
Her back into the
Potato sack, minus
Its head.

The task is done,
Five minutes max.

Time to take her
To the kitchen for
The plucking of
Feathers and the
Saving of edible
Internal organs.

The woman and her
Hen are ready for
The family’s Sunday
Dinner, only hours
Away.

The hen’s head
Rests outside, its
Comb, beak and
Wattle the worse
For wear.

The woman sings,
Rehearsing:
Komm, Herr Jesu,
Sei unser Gast….



© Lewis Bosworth, 2016
Robert N Varty Oct 2011
Wir leben in einem geordneten Chaos,
mit viel Zeit, und doch ohne Zeit,
mit angenehmem Schmerz,
und schmerzhaftem Vergnügen.

Das Leben ist gerecht, aber ungerecht;
eine gesunde Krankheit,
der man nicht entfliehen kann.
ein friedlicher Krieg,
in dem es einen glücklichen Herzschmerz gibt.

Unser Blut ist lebendig,
aber es trägt kein Leben.
Unsere Gehirne denken,
aber ohne Gedanken.

Wir sind am Leben
Und sind doch tot
Thomas Steyer Jul 2021
Das Leben ist schön, aber auch schwer,
für manche zu kurz, für andere nicht fair.
Wenn es anders kommt als man denkt,
da ist der eine schon mal gekränkt.
Der andre sieht es mit Begeisterung,
so hat das Leben für ihn noch Schwung.

Aber wenn ein Virus die ganze Welt befällt
und alles zerschellt - das geht ins Geld.
Dann ist auch unser Wohlstand schon bedroht,
und die Lebensqualität gerät in Not.

Regierungen versuchen uns zu schützen,
auch mit Finanzspritzen zu unterstützen,
aber die Spritzen in den Oberarm
sehen Leugner mit größtem Alarm.

Nun dachte man, die Welt hat sich vereint
und kämpft gegen den gemeinsamen Feind,
doch gibt es Leute mit denen kann man nicht reden,
sie können alles stets anders belegen.
Sie meinen, auf die da oben kann man nicht zählen,
deren Plan sei, ihnen die Freiheiten zu stehlen.

Dieses Misstrauen könnte uns leicht zerspalten,
dann wäre ein Bürgerkrieg kaum aufzuhalten.
Wie könnten Leugner ihre Angst verlieren,
damit sie endlich neues Vertrauen riskieren?

Wir sollten gute Beispiele setzen,
uns kümmern um den Ersten und den Letzten.
So entsteht ein guter Gemeinschaftssinn
für alle Ausgegrenzten ein Gewinn.

Ein respektvoller Umgang miteinander, der oft fehlt,
ist was zählt, so sehr zählt, zählt und zählt und zählt.
Timber Dec 2018
You’re gone now
So long
Farwell, Have fun
Hope you’re doing okay.

Trauern und geben.
Das ist unser rhythmus,
eine süße Symphonie, die langsam verblasst
( To grieve and to Give.)
(This is our rythme,)
(a sweet symphony slowlying fading out)

Actually, we are doing well, but you want
More
You arent home.
Dont pick up the phone
Please I your gone stay gone

in Teenager-Tendenzen eingepackt
du hast deine Seele für das einzige verkauft, was du wirklich liebst:
Drogen,
Alkohol,
und Geld.
(Wrapped up in teenager tendencies.)
(you sold your soul for the only thing you truly loved:)
(drugs,)
(liquor, )
(and money.)

You’re gone now
So long
Farwell, Have fun
Hope you’re doing okay.
Sabah Thaziri Aug 2014
:")
Unser Wille ist nur der Wind
der uns trägt und dreht,
weil wir selber die Sehnsucht sind
die in Blüten steht.
Rainer Maria Rilke
silvervi Sep 2024
Wir schreiten vor
Der Winter steht bevor
Und keine Ahnung
Ob der Sommer
Und der Herbst
Das war, was es sich wünschte,
Unser Herz.

Zwischen dem Blick
Zurück und dem nach vorne,
Entreißen wir uns immer wieder
Dem Moment.
In all den Wünschen, Träumen, Illusionen,
uns zu verlieren ist unser Talent.

Vertrauen zu entschlüsseln,
Zu uns und zu den anderen,
Verliert sich in den Tausenden
Scherben des Misstrauens,
Zweifel und Unsicherheit,
Verfolgen uns wie ein Pfeil.
Und eh wir uns versehen,
Hat die Angst uns in den Krallen.

Wir dürfen bluten.
Oft ist's uns fast egal,
Wir wollen nicht vor Schmerzen schreien,
Hauptsache niemand weiß,
Wie's um uns steht.
Und niemand weiß,
Wie es uns wirklich geht.

Verhält ein Held sich so?
So Selbstvernichtungs-froh?
Wir opfern uns dem Überlebensmechanismus,
Denn lieber rennen wir das ganze Leben,
Als zu uns selbst zu stehen,
Uns selbst zu sehen,
Verdammt, wir sind nicht hier,
Nur um zu überleben!
09/2024
Und eigentlich sind wir immer in Sicherheit. Oder?
Souleater Dec 2017
Ein bisschen Wein und Bier
und schon sind wir weg hier
Flasche im Rucksack stecken
wird schwer sein uns morgen zu wecken
keine Gedanken an den Tag danach verschwenden
du wirst sehen, morgen geht es und blendend

Sitzen einfach nur da und reden
ich weis es ist nicht was für jeden
doch können sagen was wir denken
sind uns gegenseitig vertrauen am schenken

Spielt keine Rolle ob gut oder schlecht
denn es ist echt
kennen uns seit ner Ewigkeit
daher auch dir Vertrauenswürdigkeit
Weis auf dich ist immer Verlass
nie ein Grund zum hass
Gott was haben wir nicht alles zusammen gemacht ?
im Matsch gespielt und gelacht
Kerle kennengelernt
darüber geredet wie es unser Herz erwärmt
Gemeinsam diskutiert
Momente erlebt in denen man sich verliert
uns aufgefangen
und dann gemeinsam weitergegangen

Egal wer, wo oder wann
gegen uns kommt man nicht einfach so an

Könnte mir nicht vorstellen wie es ohne dich wäre
bin mir aber sicher es würde mein Leben erschwer'n
All die Erinnerung die Wir teilen
sind Dinge die unsere Wunden heilen
Zeigen uns wir sind nie allein
werden immer zusammen sein
Freu mich auf jedes treffen erneut
ich weis das es dich genauso freut
Jann Oct 2024
Du zwingst mit deinem Lächeln
jeden Tag aufs Neue die Sonne in die Knie
und wurde die Sonne erst einmal besiegt
steigt unser Mond am Himmelszelt auf
Egal ob dunkel oder hell
Egal ob strahlend oder vom Nebel eingedeckt
Die sämtlichen Farben in deiner Iris
habe ich direkt für mich entdeckt

Du lässt deine Umgebung durch deinen Geruch friedlicher wirken
Ich weiß es gibt bessere Gründe um zu schwärmen
aber dein Geruch nach träumen, phantasieren und schweben
lässt mich von Kopf bis Fuß
erwärmen und innerlich erbeben

Du streust mit jedem deiner Worte bunte, getrocknete Blüten über unseren Kaffee
getragen vom schönsten und leckersten Milchschaum
den mein Mund jemals geschmeckt hat
so elegant, charmant und voller Dank
sitzen wir in deiner Küche in der Sonne
abwechselnd
Auf deiner kleinen, sonnigen Fensterbank
Das Schiff kam wie ein fliegendes Pferd, zu einem ungenauen Zeitpunkt
Unser Matrosenbruder aus dem Pantheon der Dichter war an Bord
Jean Pierre Basilic Dantor Frankétienne D’argent
Der in Eile den letzten Akt schrieb
War zufällig wie durch ein Wunder im Hafen
Er stieg ein und verließ das Schiff, ohne zu sprechen, ohne Geld
Ohne seine Meisterwerke, ohne ein kleines Haus
So ist das Leben, wir verlassen das Schiff zu jeder Jahreszeit.

Kalfou te kindeng miwo, miba ye.

Franckétienne ist nicht weg
Er ist irgendwo, in Ravine-Sèche, Haiti, auf den Straßen
Seine Inspiration ist die Show „The Point“
Wir haben keine andere Wahl, als uns zu kümmern
Um seine Erinnerung, seine Erfindung und seine Vorstellungskraft
Franckétienne war ein haitianisches Genie, Dichter, Dramatiker und Spiralist
Kulturminister, Wortschmied, Sänger, Maler und Künstler
Sein Name war ein langer, langer Satz
Und seine Worte brachten die Leute zum Lachen bis zur Ekstase.

Kalfou te kindeng miwo, miba ye.

Zu Lebzeiten hatte er sein kleines Haus nicht bekommen
Er war ein legendäres Genie, das die Vorstellungskraft herausforderte
Die Diktatoren, das Gewöhnliche, das Ungewöhnliche und das Abstrakte
Indem er ein Mapou wurde, ein Baobab. Wendell würde sagen
Was für ein Potomitan! Was für eine Kathedrale! Was für eine Zitadelle!
Um den Sohn des Direktors von McDonald's zu paraphrasieren:
„Wenn du fällst, lerne schnell zu reiten.
Dein Fall, lass deinen Fall zu einem Pferd werden, deinem Pferd
Um die Reise fortzusetzen“, den Ausflug.

Kalfou te kindeng miwo, miba ye.

„Nach fünfzig zählt jede Minute.“
Frankétienne sagte einmal, da du gehen kannst
Jederzeit, in jedem Moment
‘Galaxy plomb gaillé‘, nicht zu weit vom Nadir entfernt
Eine unsichtbare Spur auf dem Kopf wie bei Valentino oder Tino Rossi
Frankétienne ist nicht mehr, der Künstler ist weg
Er bleibt mehr denn je ein neues Wesen
Der Riese, der Schriftsteller, der Schauspieler, der Schöpfer von Worten
Er ist in Hosenträger gekleidet wie ein großer weißer Neger
Nicht wie ein Monster aus Dr. Frankenstein. Wie ein Gangster
Ein Dieb, das Schiff kam wie ein fliegendes Pferd; es ist der Tod
der uns bedroht, als ob wir im Unrecht wären.
Wir weinen, wir weinen, und wir schreien jetzt wie eine Mutter in Trauer
Für diesen fortgeschrittenen Achtzigjährigen, für diesen Fürsten des Lichts.

Kalfou te kindeng miwo, miba ye.

P.S. Eine Hommage an Frankétienne und Familie, an Wendell Théodore
und Gesellschaft, an Radio Métropole und an alle guten Haitianer
Mein aufrichtiges Beileid an alle! Sit ei terra levis!
Dies ist eine Übersetzung von
„Le Navire Est Venu À Cheval, Ou Hommage Au Fameux Poète Frankétienne“
‘The Ship Came Like A Flying Horse or Homage to the Famous Poet Frankétienne’
‘El Barco Llegó Como Un Caballo Volador U Homenaje Al Famoso Poeta Frankétienne’
‘O Navio Chegou Como Um Cavalo Voador Ou Homenagem Ao Famoso Poeta Frankétienne’
‘La Nave Arrivò Come Un Cavallo Volante O Omaggio Al Famoso Poeta Frankétienne’


Copyright © Februar 2025, Hébert Logerie, Alle Rechte vorbehalten.
Hébert Logerie ist Autor mehrerer Gedichtsammlungen.
Idriss Feb 15
Und wenn unser Stern schon längst verglüht,
und unsere Erde leise verweht,
wird meine Liebe still durchs All ziehen,
für immer da, wo Zeit nicht besteht.
Translation:
Timeless

And when our star has long since burned out,
and our Earth quietly fades away,
my love will silently drift through the cosmos,
forever there, where time no longer exists.
c Jan 25
Ich bin verliebt in dich, das stresst mich.
Ich sollte es nicht sein.
Es  fühlt sich in meinem Herzen an wie ein Stein.
Am liebsten schau ich dich den ganzen Tag an,
bin in deinen wunderschönen Augen gefangen
und ein Lächeln von dir ist mir noch nie entgangen.
Dein wunderschöner Kopf, welcher sich an mir vorbei dreht.
Ich drehe mich um und sehe sie, wie sie am anderen Ende des Raumes steht.
Ihr Blick trifft immer auf deinen, man könnte schon fast meinen es ist Schicksal das zwei Menschen immer an der gleichen Stelle erscheinen.
Da ist es schon wieder, dein wunderschönes Lächeln was mir nie entgeht und wie sich dein Körper jetzt erhebt.
Es ist kein Schicksal, nicht einmal.
Du allein bist daran Schuld.
Schluss mit meiner Geduld, ich wollte dich doch gerade noch etwas fragen und auch du hattest mir noch etwas zu sagen.
Die ganze Woche habe ich mich darauf vorbereitet mit dir zu reden, wollte dir vielleicht auch ein paar Signale geben.
Während ich also überlege, wie man die Signale am besten in einer Frage tarnt,
sehe ich das ihr euch umarmt.
Du hast unser Gespräch einfach verlassen,
Mal wieder kann ich es nicht fassen.
Ich bin soweit das ich die Wahrheit nicht mehr leugne, ich weiß das ich dir nichts bedeute.
Also bleibe ich stumm.
Ich bin verliebt, aber nicht dumm.
Ken Pepiton Jun 2020
Ravens' swirl higher, riding wings silver in the sun.

These are Castenedas's silver birds,
or just as good as, to my mind,
held in animated state,
waiting,
still, conceiving the next frame,
in the film of this bitschen
auf
Das wahre Buch des Lebens,
unser eigenes, wo

Wir immer
slipping and falling in the confusion of tongue
authorized in truth exsousiated
by godly exercise, we
shift to a higher mind,
keep the slowandsteadywinstherace pace
then only be as if good, redeemed, as aword
good is god, or good as, right,
sword sworn to show off
phuckyew no longer tastes as foul,
taste the son,
kiss, not taste, yes, yes, all the yeses.. a flood

wisdom is first gentle,
persuasive in the gentle manly way, saying
you are beautiful,
inside out.

We seem to have ventured into further alone,
entertaining our selves into nevermind,
just in time to see the celebration.
A musical diversion... I intended to rant about how much I disliked Da 5 Bloods, but the timing is hard to miss, my art is making peace or I've been made a fool, foist on me own petard.

— The End —