A time comes when you no longer can say: my God.
A time of total cleaning up.

A time when you no longer can say: my love.
Because love proved useless.
And the eyes don't cry.
And the hands do only rough work.
And the heart is dry.

Women knock at your door in vain, you won't open.
You remain alone, the light turned off,
and your enormous eyes shine in the dark.
It is obvious you no longer know how to suffer.
And you want nothing from your friends.

Who cares if old age comes, what is old age?
Your shoulders are holding up the world
and it's lighter than a child's hand.
Wars, famine, family fights inside buildings
prove only that life goes on
and not everybody has freed himself yet.
Some (the delicate ones) judging the spectacle cruel
will prefer to die.
A time comes when death doesn't help.
A time comes when life is an order.
Just life, without any escapes.

**Carlos Drummond de Andrade

in the centre of the cathedral
the square of a little town
where those in the know tell of an invisible cathedral.
a massive guest
the outside light
there is such purity in the pigeons’ feathers
superfine flour falls from the sky
on buildings on trees on people’s shoulders.
small bones rattle echoing in the coffin of a small guitar
while the world can no longer contain happiness.
there at the wall
two lovers wind into an 8.
late. in their shade
a blind horse
is crying sweat from its neck.

Ion Mircea, from *My Cup of Light

This is now. Now is. Don't
postpone till then. Spend

the spark of iron on stone.
Sit at the head of the table;

dip your spoon in the bowl.
Seat yourself next your joy

and have your awakened soul
pour wine. Branches in the

spring wind, easy dance of
jasmine and cypress. Cloth

for green robes has been cut
from pure absence. You're

the tailor, settled among his
shop goods, quietly sewing.

next to you
the knot of my hands suffer
from the ermetism of dawn
they can be no more than they are
I download fresh dreams
into breathing
it's hard to leave the bed
puzzled by perfume & body fluids

you have some sour cherries smile
left on the pillow
be the one
that easy -
like a premeditated sonata

next to you
Love is enough

my hands protest today
so they become
don’t know how it started
they were filled with air without memory
nowhere to land, no stories attached
to the sleeves
this body is a history of fights,
wandering weeds,
of fists full of laughter

I was once an empty space with time borders
a true self or a void full of ambition
certain patterns disguised in black and white
milk tears


I met my shoulders today
I no longer hide my thoughts in open spaces
or defeather my dreams
my gestures turn into statues
to be seen from afar
I put my spin into the cup of morning
so I could tell today apart from tomorrow
in time’s bone marrow

this manic song
of my feet with your feet
the quest for our names
our bodies without fence
my fingerprints like unburnt stories
on your skin
I have no alibi
you invented my desire

the whale-song of
my shoulder with your shoulder
I'm falling apart in your palms:
I invented your desire
and you have no excuse -
you hold down the night
for the next you, the new me
the unforeseen smile
at the end of the day

"my heart, all of me, this tree
turning its leaves
one by one in the wind

fluttering rustling with the call
of your closed lips

mere light can move it
a touch of light
can make it sing

the shell of our lives capturing
the tatters of a song
: a torn veil, the unraveled loincloth
of a wandering god

these sharp caressing tatters
tongues
of a song"

Ioana Ieromin, from *The Lens of a Flame

something must have happened
many times on my lips
further away into the liquid world
before the world
and on my knees full of devotion
I'm laughing a lot more nowadays
no longer baffled at the sun's *****
"seduction is the mother of wisdom" -
said the poetess
combing her hair with precise movements -
I drag my amniotic desires on to every door
I see
I'm recklessly alluding to my lover
with thick eyebrows
or to how to turn the light off
I am no longer covered with skin
when the lightest of waters dreams
between the yearning and the scream

I'll watch the birds wane tonight
tomorrow perhaps

for the distance, the blessing and the curse
in this forgetful bed, on this blank page
I sit as quiet as an empty hourglass
so used to contemplate the wounded pride
of desolation
the dilemma in your steps, the missing link
happiness just an eclipse
an accident on unmapped streets
-space is just the exhaustion of time-
worlds of words caught up in their embryo
crushed there,
their innocence stripped away
paper-thin dreams chased away like useless creatures
from your back burdened with the same shame and
no soft tissue for your tears

if only I could say this loud enough:
love is the courage in our cells
disambiguation
and there will be a day -
no more fear
no more far away

It might take me years
To dislodge myself from
Life – this magma which has swallowed me,
And be out of the reach of neighbour gossip.
To emerge from a fight not mine.
You were there, privileged angel in the dark,
Amused at my faux ferocity,
Recalling the courage of my first days,
When I was unconcerned about
What place I’d fall asleep in.
Not yet understanding
The human need to cling to a past.
Always ready to give myself away.

You watched from above
The prose of my struggles,
In the web of our common suffocation.
You knew how to be the cruel one,
To leave everything behind, in a town to which
You would never return.
Today I fear the drizzle,
I fear the fog.
I never forget my umbrella at home.
I mind the hustle of the quay,
Unusual at this early hour.
I cherish the noises which accompany my coffee on the terrace.
I watch helplessly, in exasperation,
These faces of common poems
Which harbours always hold.

Constantin Abaluta, from *It Might Take Me Years

while fishing the stars
in your window
caught my skin eavesdropping
these rhythms: it must be some truth
I came along ahead the cortege of my selves
straight from
the blues of morning

tonight is simply beautiful,
I'm just saying,
heaven & hell
one metaphor away

“sometimes I get nervous
when I see an open door”*

not really in the mood for this
“who are you?”, I was asked
and the prolonged tears suddenly receded from language
shoulders, heels, nails looking for something closer to the happiness of sunken ships or whatever
my antishoulder, antiheel hurts
when you take my face into your hands
to drag my eyes into your cries
it’s just you and me now mother
let’s face it
your dying is my breath
my joy your death bed
temptation your authority
into the cemetery of numb disillusions
you wouldn’t let go of the death of words
you keep your sleeping pills for good
on empty shelves

I’ll stay in the doorway
to watch my birth
catching up with myself

This hospital has a room

for weeping. It has no crèche.
No canteen. No washroom queue.

Only this queue for weeping.
No lost property booth. No

complaints department. Or
reception. No office of second

opinion. Of second chances. Its sons
and daughters die with surprise

in their faces. But mothers
must not cry before them. There is

a room for weeping. How hard
the staff are trying. Sometimes

they use the room themselves. They
must hose it out each evening.

The State is watching. They made
this room for weeping. No remission ―

no quick fixes. A father wonders
if his boy is sleeping. A mother

rakes her soul for healing. Neighbours
in the corridor ― one is screaming

It moved from your child to mine.
More come. Until the linoleum

blurs with tears and the walls
are heaving. Until the place can’t

catch its breath ― sour breath
of pine. And at its heart

this room.

Mario Petrucci, from *Heavy Water: a poem for Chernobyl

Before me, nothing is what
it used to be; all seams getting ready to be;
a child with a hoop runs by, as in De Chirico's paintings
- in the distance the sky's still red, but in the poem it's gray.
I feel the words growing inside my fingers
and for the first time not for my benefit.
In the quiet of evening
the town seems a game with toy bricks
in which matches are struck and flare brightly - music cavorts at
                                                                                                       the windows -
in the distance the sky's gray, but in the poem is red.

Gellu Dorian, from City of Dreams and Whispers
translated by Adam J. Sorkin and Doina Iordachescu

We are the night ocean filled
With glints of light. We are the space
Between the fish and the moon,
While we sit here together.

days revolve in circles and
transparent dilemmas: death and seduction
hours like sirens and full hearts
the conquerer is no winer with his reflexes drawn into eagerness
I saved some slopes into unknown
as they set the table for the unheard screaming
whose is the fierce desire?
what does the poor mind know about
the honest being?
what can your body do with his/hers/theirs?
dangers in the four corners
true love is the hardest thing
those days wouldn't let go of the centre
the full-emptiness of this desire:
give myself to me already devoured
hurt, shame, helplessnes

true love leaves you free
incomplete facing the heart
of darkness
unresolved

In my arms - thought - my words
you are malleable wax, a diamond
that reveals itself. Light of the tunnel, you!
The pyramid catches hold of our hands.
We become transparent, we become translucent.
Alone. I come near you ascending from time's
shadow. Free, free from everything and alone.
Above the city - fiery halo -
bodies float void of fear. The future
becomes present, the present, hope.

Liviu Antonesei
translated by Adam J. Sorkin and Ioana Ieronim

a wheat field
love
even death
one cannot speak about
without enormous risks

and yet about freedom
freedom -

save our souls!

Mariana Codrut
translated by Adam J. Sorkin  and Radu Andriescu

In my native land where some have bread
but others hold the knife, and a rustless
chain of interest links the one to the other,
in my resplendent and sad country,
I'm an aged raven, wingless,
an inconsequential pariah with a white star of distinction on his
                                                                                                                       forehead,
a bottomless vessel into which all would ***** -
all - their bile and powerlessness, their hatred.
And since in my land
I fear nothing,
and since in my land nothing
can happen to me except my hopeless
love of Mary,
I suddenly feel overwhelmed with unfamiliar joy,
by unbounded happiness in my heart's
thought, by limitless ecstasy
like death in gold and blood. Like radiance of flesh.
So, in my native country of murdered thoughts,
of guilty silence, humble elation within,
I admit responsibility and affix my signature hereunto -
Liviu Antonesei.

Liviu Antonesei, from City of Dreams and Whispers
translated by Adam J. Sorkin and Ioana Ieronim

blue insomnia have woken up in my words
seeds of wind, the lament of unknown men, women
the impossible alphabet of terror
daily I pass by the same cemetery
the willow-trees have new leaves now
the words can' swerve while
their faces dissolve slowly deeper and deeper into death
and I’m holding mine into hands smeared with tears

he  loved me like
they loved their neck rope

we see through the night
what we can
empty jars
purple lies
hardly the collection of killings
that makes
the morning sing

death has no words

why aren’t you tired? of changing clothes, make-up, ribs to torment? sometimes when the night stops screaming I feel you like a blind ribbon stumbling our feet, like nervous fists trying in vain to retain some lilac perfume. I used to pray for my knees crushed by gravitational tales, for my ragged heart forcing the tympanum of time

we try to smile and hold hands we dissolve our tears into thunder until the rain stops breathing.

those days - each a capsule
a miniature of an idea
or an emptied truth
your soft lips postponed
bitter fingers knock
on unheard doors
my blood unfolds myself
with wonder

I can't drag the shadow of
the afternoon light back
into its nest
into the bud of silence -
back to its muse

my dreams have caught
*time fever

words stumble between teeth
this house has pitfalls instead of windows
silence is a stethoscope full of tears
in this girdle, the cage of pain
when the day’s edges play hide and seek
with my drained smile
I wait like a statue of salt
for this faraway yearning
to grow
curseless eyes

the end gets harsh. many of you
now fall pray to doubt.
nobody forces anybody, but somebody,
nevertheless, must give the orders.

the acids have grown lazy and fat.
something more cruel than they are must be found.
if you give up now, if you do it now of all times,
neither the tomb nor the sky will cover you sufficiently.

you are the possessors of the alternative and this is
the only one. that's why i've talked to you about her
in so many ways.
the little that is about to disappear lies now
only in you and in your power.

a black shell pulls to the shore.
i didn't say that everybody is climbing aboard.
but the quiet fright with which we work on the stars
will stop them from falling for a while.

Ioan Es. Pop**, from *the livid worlds

we knock on the doors for them to open, to
let us out, but those on the other side don't hear us and
they too knock on the doors for us to open and let them out
and when they open it's ourselves we bump into
but we don't pay attention to ourselves and we say we want out
and they say we want in, don't take the door away with you,
we wouldn't have anything to open on the way out,
there would remain a blank spot in the wall,
we won't find any way to get out.

Ioan Es. Pop**, from *the livid worlds

I like to stroke your hair
till my hands get electric
free in between the echoes, desires
your touch so easy that
I start biting all the half truths
and stop dreaming about the other side
of the moon
your hot soles without breaks:
I feel like a woman
blessed with
love-days

no doors, complete surrender,
this vibrational mode
listening to the silence of your skin
I offer myself as a curb of melting points
you give yourself as screaming locks

don’t stop tearing me with gentleness
I’ll found myself again
into the liquid mercy in the beginning
the solid idea of us

Hypnotic days
hypnotic nights
our bodies have burnt
all clothes
and several lives

we are
as hungry as the world
as old
as young

our bodies
two motionless stones
in a mountain river

Ioana Ieronim, from *The Lens of a Flame

poetry
a blue snake
stretches from one to the other
it breaks the shop window
it coils insiduously
around those driven
from the street into the house

it binds hands and learns to cry
the utterance at the service of power
don't throw the mantle of clouds
off my shoulders
remember
in the beginning was the word
in the last night
distorted

eventually
there remains poetry insinuated
like a blue snake
into the cup full of tears

Carmen Firan
*translated by Andrei Bantas

can’t speak about you in words but
in the heaviness of trees on unrelated stones
or all the things I didn’t chew
the worm of history froze silent
no axis mundi in my blood but
dysmorphic dreams
your rancid placenta

I can’t speak while
you spin around on streets smelling of flesh
and the layers of time squeeze all the screams of me

mother: the furthest language

When
night fades
a little before the springtime
and of a rarity
someone passes

a dark colour
of weeping
thickens over Paris

on a poem
of a bridge
I contemplate
the boundless silence
of a slender
girl

our
ills
flow together

and how, borne away,
she remains

"Like a black leukemia of stars"
my soul turns in on itself
far more lonely, far more sickly in spirit.

Above, the same desolate landscape
of your dark isolation,
and below - blacker landscapes of black!

Neither the far-off cry of love
nor the nostalgic come-hither of death
disturbs anything within me any longer.

... And only the relentless light ray of lucidity
stabs through, colder, even colder, without mercy
without doubt, without hope, without even a shiver!

Nichita Danilov
*translated by Adam J. Sorkin and Cristina Cirstea

ends so ― spiralling after
egg (that other half of our
chains) & setting gills

in gristled knot that buds
legs as tadpoles do & blow-
hole ears halfway down

the back & low-set eye
alien as featherless chick ―
ah we have peered into

that shared **** whose
blasto-flesh runs its gauntlet
of fowl & fish so fused at

the tail nothing can be told
apart ― is this why when i am
late i find in upstairs dark

you ― on placenta duvet &
hunched round self as wom-
bed ones are? ― as though

i had just returned from
all eternity to catch you
naked out sleepwalking

space without even
navel-twisted purpled
rope to hold you

Mario Petrucci, from *i tulips

songs are sleeping in my naked shoulders
he said untranslatable words:
I want to confiscate your lips
aerate your dreams,
and all the rest, you know

I’ve tried my skin today
as if a nest of lazy hours
free spaces I found
patches of unhope,
poppies and
the possibility of you.

joy creates perfect moments
sweet fingers
nothing to take in or out
no shadows inside fists -
I just love how the light rides
the storm of things,
horizons are passing through
my words
and

*nothing louder than the heart

wait

wait
you say
don’t late this day
let it early
away

never

when all my roads
are closing down
you take me to this
never
town

open

you kicked a door open
in my mind
before
your
more

soul

soul is a ball of fire
enclosing memories
which do not
want
to lose the body
they hire

hug

this tired day
at the corner of age
hugging your words
floating in that air
that mediterranean
that balcony over the waves
that
you

Lidia Vianu**, from *My Cup of Light

there are places where no mind
can reach
as far as the gate of winds

I'm counting hours, counting stars
burdened with the exhaustion of difference

see the hand write of time in my silent steps
black wholes in between my thoughts

I can smile, I am in the present tense of home

there are no attributes
in the centre
no spin into the crucifixion of the day

only the tenderness
of the sinking sun

as elusive
as unstoppable
as the Heraclitean wave
around a jug
with the dark void at its core

Ioana Ieronim, from *The Lens of a Flame

read these lines
slowly

let them blow your foliage apart
find your forsaken paths
arrest you
in the whisper of the story before story

cover your feet like freshly mown grass
like the fresh foam of milk
in the dim light
before daybreak

do read
these lines
slowly
locked in their letters and tendrils

as if
an embrace

**Ioana Ieronim

You say: to be penetrated, to penetrate. Sea-sand, sand-sea
verging on the very centre. Words fall between us

like something broken. Listen, I love you.
But you, having it only your way, exist, exist, exist.

You are not being paid for this and still,
Mr. and Mrs. Other, you stroll along the street as if

you’re only a name and have no navel. I
act like you, repeat the movements

which you repeat. Tell me, reflection —
I throw another stone at you — is anyone more actual than me?

I say sand-sea, sea-sand. Like something
broken: a multiplication of faces, legs and hands                 like
something

that’s there. So: enough. Come back to me. I’ll let you go
as often as you like.

Now there’s no longer a difference between us, except this
poem
where some sort of a world lives. Another possibility,

not really different: here, you don’t leave at all.
You don’t stop coming for a moment. I open

a mirror and turn its pages in front of what’s already
written. It’s what you are: sadness in front of the blue evening sky,

anger, insult, longing ******* the blue from your chest
or happiness that suddenly spills in front of the blue of that evening sky;

it’s a voice which accompanies what, looking,
I see now or don’t see. And I see you:

world by world, now by now, one
and yet another one. In this poem that stumbles from page

to page you watch and flicker between letter and letter
and vanish — present in every one of these apparently silent centimeters —

and don’t stop coming, and not really coming. So enough, please,
don’t hide everywhere, talk to me, all of you at once.

Amir Or, from Let's Speak You
translated by Ioana Ieronim

the women burn
their solitude in desolate pans
their underwear smells of blind hands
of running in the sun
of death a little
a moment of silence are wearing
between the legs
these women with still ****** hips
and the maniac blood slowly ascends
into nakedness

all they need is
faith

the poetry of others dissolves me with words like butterflies smashing themselves against solitary windows. flashes of liberty and my grandma's preserve jars get illuminated.
poetry must be freedom, stubborn love-spell. to be in love with your time.
poetry connects me with  the invisible light in my worn out nails - the other me, you and you and him. keep caressing the back of non-existence, the day is new and I'm whistling.
soluble time: poetry or the veneration of the unknown in every word: lover, dawn, pain, bread, together, hatred
let your words be honest, imprudent, rebellious, ET
let your words be

If we do not inhabit our verses,
what is the use of writing?

Eminescu, Rilke, Byron and Mandelstam
succeeded.

Grapes squeezed in a timepress.

If we are not alive in our images
what remains of poets?

Dew and ink,
Labour, symmetries?

Blood is the only colour
That can’t be erased from a book.

Adrian Popescu, from My Cup of Light
translated by Lidia Vianu and Anne Stewart

she has always been much closer
than my palms, my fingerprints.
my prints leave a dam, a stony wail of my being outside in the matter,
but she leaves this dam inside me,
this stony wail, like a secret killing,
she has left her fingerprints everywhere in me.
she is inside of me and I am outside of her, all around her,
the walls, the garden,
the unmistakable halo of the town, the photon crowns
of houses. I am all around her,
outside, one of her fingerprints,
the fingerprint of this dam, this stony wail in the matter.

Ion Mircea, from My Cup of Light
translated by Lidia Vianu and Anne Stewart

closer to the edge
you've never found nakedness
the taste of mirrors
-some turn on the radio-
we need a place full of
not the wrong side of hell
it's years now, it's in vain
to measure the route of light
to the other side of truth

innocent apples have ripened
and you keep excavating time
(love is not enough)

have a taste
there was honesty
in bloom

I am a suggestion
between workings of brain, the solid ridge
of spine ― a curvature
kin to *******, hip, *****.

Almost touchable,
I tender flesh, still, in old acquaintances
who might have been
something more.

To a subtle fingertip
my nap is velvet ― in some strangers
I am a lily’s stem
geisha-cool.

I glow under moons
beneath the wedge-dark, am back door to eyes ―
those hogs of the bone-glint,
of the brink of sharing.

Eased aside, locks
reveal me: curtain raised on my milky
opening night ― or slightly bowed,
offered to the axe.

Mario Petrucci from *love sends itself flowers

silence melts like caramel inside
like an empty-full touch
words travel without meaning
the city indulges its narcosis
all the dumping fights,
jouissance de vivre on the move
and he wants someone
to fill in the blanks:
oh, this is my skin

he carries his cotton touch
on forgotten routes
to vibrant roots
identities combine & depart
some are searching for new pronouns
the silence of silences rejuvenates the city
fresh dreams
new transactions
between truth and reality

and he wants -
fill himself in
and some wonder

let me listen to you
your hidden landscapes
your lives lost
in velvety oblivion

listen to the streams of blood
throbbing at your wrist
in the tender flesh inside your elbow

listen to the vulnerable intensity
in the soft vale at your collarbone

the silence on your lips
the whirls below

listen
listen through you
to these things that one cannot speak

**Ioana Ieronim

you are a stranger, I keep forgetting

forgetting that with you
I do not speak my mother tongue

what do they call it
when we reach toward one another
across the contorted mirror of our senses
and your glance teaches me
that this is the way

what we say seems to relapse into roots
down
down to the seabed that became
a land of many flocks and pastures

and now
here you are
Stranger

caged wings beat in my body
which remembers these things

remembers its winged lightness
of the beginning

when it was promise

when it was
word

Ioana Ieronim, from *Ariadne's Veil

"Here comes the shame."

don't bury me inside your distorted womb
don't leave me outside
to watch the ebb and flood of it
they've stolen everything for me
I was there first, your womb is mine
I dare face the sludgy mornings as you like it
I'm on this vigil: seize the women-wombs
maybe some day I'll be able to honestly
forgive my grunge fists
push, smash, kick the terrible fortress
each of them: you've expunged me
I had to **** the dawn for me
to keep you alive
keep smiling obliterating
the fresh growling
keep myself busy with fear
for you to have clean sheets
in the long winter nights
I'll take it down on you:
look at these secret men

what I cannot feel doesn't exist
they don't exist when I frown my lips
your fat womb doesn't exist
when I grind my teeth

only her can send you under
way behind you
naked

"Daddy! Look at me! Grrr!"
I'll get even
look at them:
unrecognized cocoon-women

only them can pull you under
far behind the level of the seed

"I am you only when I am myself"*
Paul  Celan

night comes like a wave
with eyes full of stones
and your pain is left outside
no earth in your heart
the air blocks the flight when

then
all you want: this old fight
to push everything against the clarity of darkness
push yourself against everything
keep up with the buds of pain
emerging and disappearing
like an unkept promise

somehow
it seems like
the wind in your gaze knows how to
empty a room full of people
but not how to learn new ways of learning
since the mind is a deaf alley
some truths transit the night
to shed their hearts
like stones in a pond
of unknown tears

and
the night comes again like a wave
with blue screams
this stereo pain
this graffiti of anxiety or lack of syntax
and you cannot fill the gap
between self and self
limb and limb
with the (t)error
of having to
die

still
there's much road ahead
and we'll keep loving you
please let the night
carry you
to this strange silence-heart
to some whirlful gravitational words
your own -