Para que tú me oigas
se adelgazan a veces
como las huellas de las gaviotas en las playas.
…like the tracks of the seagulls on the beaches.
Who introduced me to Pablo Neruda? It has to have been Joshua. He posts his poetry all the time and I think it was he who told a beautiful story–an incredible story–about a Spanish speaking worker, or someone like that, who discovered that they shared an affinity, and maybe developed one for each other, when the man noticed Joshua’s book of Neruda poems on his dashboard. I also had friends in college before this who read to each other poems and stories and translated vocabulary pages at the same table as me. It could have been a few months ago too, when I read as many banquet speeches of the Nobel literature prize as there were writers I was familiar with. I recommend Márquez’s, Camus’s, and Svetlania Alexiavich’s. I had to have at least recognized Neruda by then.
In his banquet speech, Neruda offered thanks and said that he would return “to the blank page which every day awaits us as poets so that we shall fill it with our blood and our darkness, for with blood and darkness poetry is written, poetry should be written.”
Part of me thinks of the suffering of political prisoners in Chile as Neruda knew it and in every civilization that oppresses its workers.
…porque con sangre y sombra se escribe, se debe escribir la poesía.
The Christian in me thinks of Jesus.
The still growing up part of me wants to shout, “This is when art is” and return to browsing the movies in the HBO GO account I don’t even pay for. And count out my likes later.
The child in me wants to share this with all of my friends.
And then they will come watch with me the 2016 film Neruda, directed by the Chilean filmmaker Pablo Larraín. It made me want to visit Chile–its cobbled streets lined with plane trees, its mountains filled with snow. It made me want to sing when I read poetry aloud. It made me want to read Spanish detective novels in bed and fall in love. It made me above all want to read more of his poetry.
I texted my sister on Wednesday night saying, “I wrote a love poem in French. I’m a poet now.” She said something like, “Send it to me.” My sister “reads” paragraphs to me from French philosophical treatises on the subway in New York City. She even does her own “translations.” One time, in 2009, she was reading to me about the horse négligée that Lindsay Lohan once wore. My sister is as obsessed with language as I am. She does Spanish toasts in weddings. She has studied for the GRE.
I wanted to be as free as he was. I wanted not just to see the evening haze rise into the hills across from San Francisco, I wanted to feel it roll through me, like spirit. One of my favorite images from scripture is the Spirit of God moving in our hearts, filling them with love.
But I still get caught in the rhythms of what love poetry was supposed to be, what it must have meant for Victor Hugo. What people who love each other say out loud. “I strove to love you in the old high way of love,” wrote Yeats. And doesn’t language too often have a way of smoothing–as with a rich butter on a piece of crust–the sensations of our life together? I wasn’t picturing someone I’ve been in love with. That would have been different. That wouldn’t have been“Come to me, I see you standing by the lake.” It wouldn’t have been “The moon is rising on your skin.” These sound like bad translations of Chekov. We can’t be more in love with the moon than we are with the one we love or the words of love we share. It would have been “Your body is wet with the crests of waves. I’m chasing you.” It would have been “Your hair is dripping in shiny pearls, falling on your chest,” if I were picturing someone whom I loved. Nevertheless, this is what I wrote, trying to be free.
Les eaux sont calme ice-bas, ce soir.
Les eaux qui te caresseraient le visage
qui t’appeleraient et qui t’emmèneraient au plus profond
qui t’embraseraient avec leur fraîcheur
ne sifflent plus, ne tremble plus,
ne chuchote qu’en mots d’écume.
Et toi qui savais une fois danser
qui exultais dans la valse vagueuse
de touches brusques, de secrets partagés, et de douces retraites,
es capté par le même silence
la même intransigence,
la même crépuscule douloureuse.
Veille bien tendre l’oreille,
faire descendre la main,
regarder autour de toi.
Fais un seul pas.
Toi, qui ne vois qui l’image d’amertume,
le reflet fixe, la surface mate,
tu vas voir le monde contorsionne à fleur d’eau.
Toi, qui ne sens que l’air frigide, tu vas réussir à sauter
avec des cris de joie.
Et toi, qui n’entends rien de vagues ni de soupirs de vent
tu vas ressentir, même au centre de cette nuit pesante,
les palpitations du cœur qui bat.
The water is calm here this evening, still.
The waves that would caress your face
that would call to you and lead you farther out
that would embrace you with a cool kiss
no longer stir, or tremble,
or whisper anything but words of foam.
And you who once knew how to dance,
who gleamed in the waves’ waltz
of quick touches, secrets shared, and soft goodbyes,
are stuck in the same silence,
the same intransigence,
the same painful obscurity of the evening.
But come incline your ear,
lower your hand,
look around you.
Make just one step.
You, who only see the bitter image
of your fixed reflection, a matte surface,
you will see the world twist itself on the upper layer of water.
You who who only feel the frigid air
will rise to jumping with cries of joy.
And you, who now hear nothing of waves
or the breathing of the wind
will feel, even in the middle of this heavy night,
the palpitations of a beating heart.
The Nobel prize committee in 1971 evoked Pablo Neruda’s sense of, his yearning for, man’s harmony with nature. Some day, we’ll find this harmony. We won’t dream of disaccord and intransigence. We won’t be an unsettled people. We’ll sing our suffering and our jubilation, ours and each others, from the fullness of our breaths in our once sunken chests. Some poets have reached this. Some poets have lived this. Some poets have died for this. For the rest of us, and until then, we will have them–the ones like Neruda–to help us search our darkness and find our blood still moving in the life inside.