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Ya va a venir el día; da
cuerda a tu brazo, búscate debajo
del colchón, vuelve a pararte
en tu cabeza, para andar derecho.
Ya va a venir el día, ponte el saco.

Ya va a venir el día; ten
fuerte en la mano a tu intestino grande, reflexiona,
antes de meditar, pues es horrible
cuando le cae a uno la desgracia
y se le cae a uno a fondo el diente.

Necesitas comer, pero, me digo,
no tengas pena, que no es de pobres
la pena, el sollozar junto a su tumba;
remiéndale, recuerda,
confía en tu hilo blanco, fuma, pasa lista
a tu cadena y guárdala detrás de tu retrato.
Ya va a venir el día, ponte el alma.
Ya va a venir el día; pasan,
han abierto en el hotel un ojo,
azotándolo, dándole con un espejo tuyo...
¿Tiemblas? Es el estado remoto de la frente
y la nación reciente del estómago.
Roncan aún... ¡Qué universo se lleva este ronquido!
¡Cómo quedan tus poros, enjuiciándolo!
¡Con cuántos doses ¡ay! estás tan solo!
Ya va a venir el día, ponte el sueño.

Ya va a venir el día, repito
por el órgano oral de tu silencio
y urge tomar la izquierda con el hambre
y tomar la derecha con la sed; de todos modos,
abstente de ser pobre con los ricos,
atiza
tu frío, porque en él se integra mi calor, amada víctima.
Ya va a venir el día, ponte el cuerpo.

Ya va a venir el día;
la mañana, la mar, el meteoro, van
en pos de tu cansancio, con banderas,
y, por tu orgullo clásico, las hienas
cuentan sus pasos al compás del asno,
la panadera piensa en ti,
el carnicero piensa en ti, palpando
el hacha en que están presos
el acero y el hierro y el metal; jamás olvides
que durante la misa no hay amigos.
Ya va a venir el día, ponte el sol.

Ya viene el día; dobla
el aliento, triplica
tu bondad rencorosa
y da codos al miedo, nexo y énfasis,
pues tú, como se observa en tu entrepierna y siendo
el malo ¡ay! inmortal,
has soñado esta noche que vivías
de nada y morías de todo...
Bat
At evening, sitting on this terrace,
When the sun from the west, beyond Pisa, beyond the mountains of Carrara
Departs, and the world is taken by surprise ...

When the tired flower of Florence is in gloom beneath the glowing
Brown hills surrounding ...

When under the arches of the Ponte Vecchio
A green light enters against stream, flush from the west,
Against the current of obscure Arno ...

Look up, and you see things flying
Between the day and the night;
Swallows with spools of dark thread sewing the shadows together.

A circle swoop, and a quick parabola under the bridge arches
Where light pushes through;
A sudden turning upon itself of a thing in the air.
A dip to the water.

And you think:
"The swallows are flying so late!"

Swallows?

Dark air-life looping
Yet missing the pure loop ...
A twitch, a twitter, an elastic shudder in flight
And serrated wings against the sky,
Like a glove, a black glove thrown up at the light,
And falling back.

Never swallows!
Bats!
The swallows are gone.

At a wavering instant the swallows gave way to bats
By the Ponte Vecchio ...
Changing guard.

Bats, and an uneasy creeping in one's scalp
As the bats swoop overhead!
Flying madly.

Pipistrello!
Black piper on an infinitesimal pipe.
Little lumps that fly in air and have voices indefinite, wildly vindictive;

Wings like bits of umbrella.

Bats!

Creatures that hang themselves up like an old rag, to sleep;
And disgustingly upside down.

Hanging upside down like rows of disgusting old rags
And grinning in their sleep.
Bats!

Not for me!
Chapter XXI
Hegira to Patmos

They dropped their moorings from Cala Cogone early, when the tide seemed to be separated from the waters like a head distanced from its body. On a lavish and romantic day they went to Genoa, to continue the logistics of the trip to Piacenza. During the trip Etréstles was stretched out in the bow under a Sun that seemed to be fearsome as it was a digestive task that would make him ingest his own dream, which perhaps he aspired to be more than a journey. While he slept, at the helm Etréstles dressed in a black robe and the comrades also sleeping with dreams that they painted with sign gestures on their faces.

Dream of Etréstles: "With the memory off-center ..., I was still in Izzana, dancing by the clouds on gray tulles of the layers of the sky that tried to stop being a Kingdom without a Crown and Sword". They glimpsed the stones melting and turning into gauze juxtaposed to the aerosolites that unfolded from the Sorcery, landing on the hands and heads of Vernarth and Himself. As he continued his dreamy journey, he dialogued with the auxiliary legate of his own dream. “He tells her that he sees them beyond where their liturgies collide. They cross eroding the vanished and itinerant reason”. He gets up and takes the moorings of the ship and ties them to his neck. Then everyone cooperates to walk along the edge of the ship, which all moved barefoot. This is how I would wake up!

Vernarth tries to wake him up, shakes him, but doesn't wake up. And when he tried to avoid him from sleep, he saw that he had the moorings around his neck, along with two Unicorns who were escorting him and were looking towards infinity, auspicious that Genoa was already coming in front of their horns. The others began to wake up and ate reclining, almost as if without any desire to get up from the deck full of self-sliding linen, which allowed everyone to pass their own meals, including those that were semi-consumed rolling on the deck. Etréstles,  transferred the dream to Vernarth, once he went to his bedroom to rest before they touched the roadstead at the foot of the homonymous promontory, 36 km from Genoa.  Portofino, close to the hydro form of the Portofino Regional Natural Park.  Being able to find different entrance doors through S. Rocco, Portofino Vetta and Nozaregoino  that led you to paths with different levels of accessibility and landscape. On the route of the path that traveled from Northwest to Southwest on the same promontory, he received the full beauty of the Mediterranean vegetation, with its beautiful pines, bluish and clean waters of the Mediterranean, which filled his lungs and especially his stem, which silenced of peace to those who accompany you through this interesting and beautiful Natural Park with deep blue eyes.
Vernarth is wrapped with two layers of linen and stands in between eclipsing each of the Unicorns. They pass her horn through her pectoral, as if wanting to insinuate affection. But her propitiated gesture was to crown her with the Power of her phalanx, the impetus in Gaugamela, an Onyx Crown, to lighten the burden of sleep and wake up before reaching the shores of Genoa.
Calling in Genoa, they all descend in a separate part and say goodbye from afar, gesturing with their hands. Their ramblings revealed multi-level radiographs of the resolved aura that invited them to an enclave hostel, to re-enter the world of their daily chores. The Unicorns who would return back to Sardinia stayed on the ship that was in the blue bay. They positioned themselves at the bow one and at the stern the other, to lighten the sails and return to Izzana.

Vernarth and Etréstles walked with their bags, letting go of their feet towards La Via ** Settembre, they travel in an east-west direction, next to Corso Italia, the promenade that runs along the promenade, which is one of the favorite places to reform the destination of Piacenza. From this road they moved near the adjacent carriage station to the Caruggio neighborhood in Sottoripa. Here they entered an inn to eat and drink liqueurs made from natural herbal recipes and sweet citrus, some fish with bread, sauce and Genovés sourdough. to satisfy their hunger.
They had dinner and opened the exit to the terminal. Before, they went to the Ponte Monumentale where the church dedicated to Santa Rita is, called Iglesia de la Consolación, whose entrance, at the level of the old streets, is slightly lower than the current street. They pass a porch and enter. "Almost like a grand cloister sensation they perceived during their stay, as if centuries had passed, but which never ended in the wanderings of any secular period. It was the impression once entered and soaked on this road, which still remains active. From this original cloister, the invocation of images on the sides placed towards the church towards Via ** Settembre, as well as the closed portal in the market access plaza on Via Galata, recur, while the other two sides are they completed attractions to admire when the eastern market in Genoa appeared before them ”.

When they entered, the masks were passed over the bones of their faces, indulgent towards both faces of the visitors, under a freshness of gravitational atmospheric fragrance, perhaps from the connected baptismal font or the lateral nave or the three naves separated by square pillars illuminating them. This is where Vernarth places his right hand on his forehead and his mouth, as a sign of catechesis detached from The Vault, the central nave and the counter-facade that were painted in fresco in 1874 by Giuseppe Isola, after reading about the intertextual verifying thus Vernarth. (Visioni dell'Apocalisse, Gloria di Nostra Signora della Consolazione and Giuditta rientra trionfante in Betulia), while Etréstles frenziedly admitted the frescoes through the side aisles that are the work of Giovanni Quinzio at an angle close to him. Observing everything, he was already indoctrinating to reprint new vigor to enter Piacenza triumphantly and head to the Region of Patmos. Giuseppe Isola's fresco was the great motive that struck his reason for being where he was to continue the threads upon threads of his lineage as the great Commander of the troops of Gaugamela and his Phalanges. Here is the church in its first tune with the duty of limitlessness before its steps to dominions that will make it recover their powers, from where they were first seen dressing in the clothes of an innocent child.


In the apse, there was the choir singing baroque pieces, and followed by elaborate wooden stalls from the 17th century. In the Altars on the left, on the Fifth Altar, Etréstles, captures a simultaneous vision. From that moment when it was the disappearance of this Santa Maria della Pace church, which could have been one structure on top of the other, perhaps in ruins but if the columns could go further from where their originals are born. Until then both had separated from each other, and they would meet again here in the apse, where they never lose sight of each other again, to turn towards the exit that required them to leave the sacred precinct. In the terminal, a grayish float awaited them, with silver trim on the edges of the structure, at the top of the front roof it said "Where you must never go and be". It was just the transport of an allegorical float. They were theatrical traveling artists, who had places available for travelers to Piacenza. The one that they just approached to move to the home, where they had to register at their own will and rejoin this excellent session "Parapsychological Regression".The Trebbia valley, a few kilometers from Piacenza. Vernarth noted that a shaft of the chariot made a strange sound. To which he notified the driver, telling him what he caught on the rear axle of the carriage. They go down to inspect all; not being able to detect anything that it would suppose would be an anomaly of filming of the instrumental east. Etréstles sees that some steeds were grazing on some meadows and he tells them all. Vernarth warns him and immediately heads to them. It reaches only a sorrel that was running its tongue over its hoof. The others flee. Vernarth approaches, and notices that he had a wound in his left hoof, noticing that in the center there was a strip of Green color, He takes his leg, and examines it. He takes out his dagger and begins to remove the stake that was inserted into his damaged leg. The others were gone, restarting the trip to Piacenza. Etréstles managed to climb a steed, and followed him - The float remained without them supposedly to arrive safely at Piacenza. But at 5 km, before reaching the city they are struck by a lightning bolt from a sudden storm. What misdirects his route - the passengers were left intact, only fatally suffered the loss of the driver. (It was verified by Vernarth when he arrived at his home in Piacenza).   As  Vernarth rode fast in the storm, trying to catch up with the carriage. Stress them towards the same to reach their brother. They rode propagating the pastures that passed near the forests of Val Trebbia. When the storm intensified instantly, it was wise to take refuge and wait for the flood to decrease. They were always close to each other. Etréstles about 18 km from Vernarth, they did not know it, but the horses sensed each other. They already distinguished, that they were close to each other, but it was necessary to take care of the horse, and have to check its hoof again. He checks it and notices that it had a green stripe in the four parts, like a pigment already placed concentrically in the middle of each hoof.


Ellipses Gaugamela - Final War
Vernarth bids farewells farewell. Once the Achaemenides are surrendered, he prepares to review them. Walk with Alikanto across the ****** plain. Reviewing his five hundred dead and three thousand wounded, he goes to recirculate in the footsteps of the attack, manages to see lead as a sentinel gathered wounded horses, but not serious. He approaches him and says Khaire; asking what unit they came from. He tells them of the Hosts of the command of Hefestion. The sentinel tells him, that he was enraptured by the fact before his eyes to see that all the horses of the line of Hefestion, Alexander the Great and Vernarth, to fascinate him that they had a green stripe on his left hoof. Wedge riders are formed, lining up the stable, towards the court of the guards and Macedonian monarchs. She dismounts from Alikanto and checks the chestnut trees, managing to insinuate that it could be Medea's ploy of the smiling charm towards her Hetairoi dancers, whose elite had bracelets on each leg on each chestnut. Also with the offensive weapon, they acted as the Macedonian's personal guard. Vernarth recalled that, before starting the offensive, with his blessed Xifos he inflicted light wounds on the left foot of his Phalanges in the act of "overtaking them before being stained by the enemy"

Vernarth says: Here is the cavalry that has received so much praise for «hammer» in the strategies, because it crushed the enemy units retained by the «anvil» or the «phalanx» that I had to command and lead the charge, intoning the riders. And even more the circumcisions that he gave them before entering combat. With the Hetairoi I was organizing squadrons of 200 to 300 soldiers, while they were checking the chestnut trees. In the campaign, they would ride the best horses, ******* or on the blanket, they were awarded the best weapons available. Each carried his long throwing spear Xyston, accompanied by a Kopis sword, for hand-to-hand combat, which in the interlude would defend his flax and bronze breastplate, with respective protective armbands and helmet, before lightly tackling his aggression . The horses were also partially protected, but not their hooves! I gave them the final instruction by decree to take them to the altarpieces and attend to them, so that they check their left hoof.Thus giving signs of great concern about the green stripe on each of its left hooves. Sentinel Hetairoi, with some of his servants, gather the animals and transport them where they have been ordered to tend and examine them. As the designs collapse over the night in gloomy litanies, Medea bursts into a great green outfit saying:

Medea: Vernarth, rancid are on my memory the potions and designs of those who want to talk about me or offer me in their lust.Where the zeal of anxiety deceives the wishful arms that welcome the victorious pleasure. Hooves are my skeptics and famous decisions, because I am weak in will but not in character. Green is the pouring of my converted powers into the veins of the horses. They were carriers in their eloquent ferocity. Instead of blood, I had sap from the magic vessels that I transferred to them so as not to doubt the doubts. Their object is that a green band was encased in their hooves as a sign of the Hipnos promontory through their Son Clovis, to plunge all the forests of the raging underworld, towards the heart of each "Valiant Hetairoi".


Outside ellipsis / near Piacenza
Vernarth and Etréstles in a post-storm clearing, a soft breeze greets them and they meet again, they greet Khaire! And together they reroute to the empty pastures, which would gradually begin to venture them through the farthest forests of the Val Trebbia. On some brown plains with poor colors that visited him falling as they faded on his mirage. From this unusual crossroads they will supremely perceive the closeness of Piacenza in their breathing.
Now they are in the vicinity of the Cimitero de Piaceza. Then they will have to go home on the Via Giovanni Codagnello, on the calendar of January 2020. The Parapsychological Regression continues.


Piacenza Cemetery, January 20, 2020
Vernarth and Etréstles entered the necropolis long before sunset. They were carrying a cake to celebrate Vernarth's birthday. Night Patrol joined the visit. In particular, they followed a night watch service that was active, trusting their guide Piacenza or the surrounding area, with 3 internal night patrol passages 365 days a year, for the rest of lives beyond all material life, perhaps turned into marble statues.
They hired a special service dedicated to the approved service for 2 people .; They were active during the caretaker's office opening hours (the same opening hours as the cemetery). With this service they overcame difficulties to walk after so much traveling. They leave the green-hoofed horses, now turned into statues. They request authorization from the entrance cemetery offices, to honor their belonging and to please those who visit them on their behalf. In Genoa, after having passed through the exterior without entering, they were ecstatic with the Staglieno Cemetery in Genoa (the most monumental in Italy).But if they enter the Piacenza, where the sanitary monumentality passed through the real function of such an enclosure in the contingency. It was commented by the neighboring offices that the migration of corpses from Bergamos were moved to Modena, Acqui Terme, Domodossola, Parma, Piacenza to carry out the respective ceremonies. Due to the great Viral Pandemic that decimated a great majority of Italian citizens in these areas. Vernarth became aware of the current reality, saw how a gravedigger conversed with the crowds, there was a nurse, a doctor and a prodigal man who concentrated on uploading moods to those who were there, almost like a caster, to relieve them of this transitory despite humanity.
They continue past the pyramidal pines, to the central pavilion. They sit on the edge of some flagstones, and take the cake to celebrate their birthday. They sing a hymn and they both enjoy it lovingly. Etréstles saw that he had a little cream left on his nose and cheekbone, running his hand to remove it. In the instant, the guard calls them; it was time to go because it was time to close the compound. They say goodbye with a monumental hug paying tribute to their brother!


Etréstles says: Honors Vernarth, for your immeasurable Valor! It is a great contribution that we divide our work and commitments. From here I go to the Messolonghi Cemetery. I will only wait for the crescent moon to meet the Charioteer, then leave with him and my beloved Drestnia. My Xifos Sword in my right hand and the head that I cut off in my left hand, in Gaugamela before that rugged fate! Khaire, My honors Commander Etréstles!. It remains in the shadow of some pyramidal pine trees of this sublime night, and then they distance themselves. Vernarth leaves the compound heading towards his house relatively close to the cemetery, on the Via Giovanni Codagnello.


Final session in Vía Codagnello, Piacenza:
Vernarth enters opens the door and everyone is waiting for him. Huge groups of friends, work colleagues, family, their pets, and especially the Parapsychologist, who had commanded this whole great session. They all approach her and in the instant, Vernarth awakes abruptly from the parapsychological session. They stabilize it and check your vital signs. There were many days of this odyssey. His awakening was mediatic, since they were attentive to him to question him and confess everything, but he was clear that his purpose would lead him to the confines of Patmos along with Raeder and Petrobus. It remained only to wait for the tenuity of a simple immortal warrior to assist in the services of John the Evangelist. The parapsychologist says you have to wake up, you can no longer be AND stay here in this temporary tube!
Once he has refused to wake up, he takes the itinerary to return to Macedonia. The visibly worn and stunned parapsychologist demands that he give up and obey his command. The effort was unproductive, only letting himself be carried by the grip of his right hand, taking his other with great vigor to remove it from shamelessness, from whom he does not suppress his pride to who still remains wounded by the swords that bleed his soul in Gaugamela. "Everyone is amazed and resigned !, pointing out that he must have always been in the surroundings of his beloved Macedonia, cutting the bursts of succulent insolence on the same temperate cliffs, where some variation of the sounds of the wind would make him saddle his Alikanto to acclaim the gods who came looking for him ”

Vernarth is engulfed in ambivalence, almost celebrating his birthday and waking up from his parapsychological journey. Both will take place, but the session will continue irrevocably. After a few days close to the first day of the crescent moon, he greeted him from a privileged place on his house Etréstles de Kalavrita who was with the Charioteer in his car and Drestnia, they went in that masterful car to join the chores of the Koumetrium Messolonghi (Editorial Palibrio - USA) .So returning to Messolonghi, to meet his disciples and essences of the foundation of his naturalness.


Hegira to Patmos
On a gray day in July 1820. Piacenza slept under the ambush of the revolution, in Italy there was a situation similar to that of another European nation. Vernarth was preparing his last details with the parapsychologist, to undertake his Hegira to Patmos, since he was a revolutionary and this was of great motivation to emigrate from this constant stage of Wars and sociopolitical processes. Manage to be a participant in this revolt in the Piedmont area. Its ideological axes were liberalism and nationalism. Given that the most affected countries were those of southern Europe (episodes from other areas, such as Germany or France, were much less important), with Spain as epicenter of a movement that extended to Italy and Portugal, and on the other hand Greece; It has been called the Mediterranean cycle as opposed to the Atlantic cycle that had preceded it in the previous generation (the first liberal revolutions or bourgeois revolutions, produced on both sides of the ocean: the Independence of the United States -1776- and the French Revolution -1789- ). As compromised great principalities of much of Europe were banned, it participates in great dissolution of collisions and invasions that involved it. In this way he would liberate his Homeland, especially his province of Piacenza.

Although the "Kingdom of Italy" as such did not exist, there were two great kingdoms that participated in the Revolutions of 1820: the Kingdom of Naples and the Kingdom of Piedmont. However, most of the revolutionary movements were driven by secret societies, such as coal. The Kingdom of Piedmont was also one of the most affected, since it was at the epicenter of Italian nationalism. It was controlled by Víctor Manuel I, member of the House of Savoy and defender of the Old Regime. The monarch had only been on the throne for 6 years, since he returned to Turin in 1814 due to the defeat of Napoleon. Since his return, various factions within the country advocated for a unification of all the Italian kingdoms. The unstable situation of its neighbor, the Kingdom of Naples, caused the carbonarians within Piedmont to revolt in March 1821.

Conclusive Hegira ellipsis to Patmos:
After this great conflict, he orders his parapsychologist to resume his final session in Patmos; he begins the procedure for the era that he had to trespass anachronistically, returning to the era of the Macedonian Empire. The parapsychologist asks him time, place, dates, clothing, customs, and manages to meet his request. He enters the portal, and in the backwaters of Messolonghi he meets Raeder and Petrobus. They were close to this heroic land, Messolonghi in the Gulf of Patras, the capital of Aetolia-Acarnania. Nothing less than in the land of his Brother Etréstles "Koumeterium Messolonghi".


"They all approach the vicinity, pray three times to heaven, and manage to be abducted to the underworld of Messolonghi. When they were snooping through the catacombs, they make out the surroundings of a luminous vault, thus distinguishing a woman passing by with others. It was the beautiful nymph Eurydice inaugurating The Constitution of a new Government”.
Eurydice and the gravediggers worked for the new government to be instituted. They were reviewing the last ground plans that converged on the tenth cemetery.
Eurydice ...: with the absence of Etréstles and Drestnia we will make her awakening continue, whose awakening phase closely relates to her wife.
Grave ...: Where do we start?
Eurydice ...: by the southwestern statue of Ashurbanipal, to pay tribute to Botsaris. Then, we will go up to receive the cordoned off tomb of Bramante and Ghiberti, so that the latter can advise us regarding the work to be erected.
They climb the northeast pavilion to the foundations of a mausoleum. They approach the slab of Ghiberti, who was loosening his fingers, sitting on the shore of a Pyramid-shaped cypress. Bramante vanished into the gray beams of light...

Ghiberti ...: I already know your mission. I am summoned to the Council on the day of the sailors' return. To start, they went to the mines to look for precious stones, stones to build Markos Botsaris.
Eurydice ...: Good! Well, in nine moons and nine suns they will return from the coasts of Morocco, the last docking point, so that they can then return. At the moment they are already warned.
Just back, there was a Lover with her right hand holding her chin.

Inamorada In Love ...: Five centuries ago I awaited my awakening, my lover promised to return ... with these verses...:
"I want to be different,
I want to take you my love...
and tell you that by missing you
there is no greater sadness than not seeing you ...
Forgive me for not coming back...
before my absence caused your death,
Wait for me ... I'm going to tell you ... how I miss you
Along with my immortality of feeling...!  How I miss you...!!

... He still tells me this, but from here, under the embankment of the cemetery I feel that he is far away and I can do nothing. Also, I have it in my memory and one day we will meet here. The Enamorada continues to sit and watch armies of soldiers being thrown into graves, their bodies severed. As she continues; ... there is more life here than on the surface, and the trenches replace the concave wombs, as vessels! As everything here lives, even the flowing and hallucinatory invocations are perceived from the Poets, Alchemists and Astronomers. They make the invisible go in a formidable adventure to the site of their magical hallucinations.
Eurydice ...: Stay on your stone, with your chiffon dress; here you will see the arrival of Etréstles. He will bring news from other lands to answer you. Now dispense if we delay, sadness will fall on the other beings who are being buried and transhumated. The Enamorada remained on the stone with her knees resting on her chest. Eurydice and her assistants went to their rooms. "
All this they manage to witness, and then go in search of Etréstles on the same tenth cemetery floor. Raeder and Petrobus were laughing and at the same time they were impressed, as if wanting to remember him when they have to leave directly from Messolonghi to Patmos, towards the Dodecanese region. In the meantime Vernarth was searching for his brother in all the nearby areas of the catacombs flashing penetrating light, unable to find him. He arrives at the ninth cemetery and is fascinated by a feminine image that would seem like a phantasmagorical chimera ..., it was Drestnia moistening some ferns on some crypts making gestures to see them already grown, even if they had just been planted...!

They approach her intimacy and ask her greetings, Drestnia answers them abstractedly that Etréstles traveled to Patmos to applaud the maiden ceremonies that would be wed in the spring in the nearby meadows. Being able to settle in The Monastery of Zoodochos Pigi, and who later went to the hills of Castelli, as it has been known that everything has been celebrated on a hill that many hundreds of years ago has sheltered our historical fragrances in the unity of the ethereal until the present. Such ruins among some works as well as the Temple of Apollo that will continue to survive with its prevailing mystery not revealed.
Etréstles gives them their congratulations and wraps his arms around Drestnia. They evacuate the cemetery, remaining abstracted in the internal darkness of the catacombs with fewer lights than a feasible twilight of darkness, as if immediately leaving Etréstles to be with him in the spring, shedding light on herself taking them to the Castelli hills, which they would figure in the sweetened exaltation of the pollinations of the nymphs on the maternal and ****** maidens.

They go out and spread their impulses over the promontory of the Koumeterium of Messolonghi with Raeder and Petrobus on Raeder's shoulders. Vernarth invoked the north with her staff where Alikanto would appear with her hooves with greenish stripes.

Raeder says:  Let's go. On those warm currents to follow we will not unite you Vernarth. Smiling, the fantastic boy danced, forming figures that enlivened him to hold on to the legs of Petrobus. They both stared at Vernarth and raised high above the warm clouds. Beneath the Messolonghi miniature, she had Vernarth's sights on them; she was putting reins and her Hoplite tunic, to mount Alikanto. He looks around and makes a big sign to Raeder to follow him to where he was, they suspend themselves and manage to go back to the highest mass of misty airs that would take them against the clock towards Patmos to meet Saint John and Etréstles.
HEGIRA TO PATMOS  /  COPYRIGHT
Nigel Morgan Oct 2013
They sat like two birds roosting in a tall tree. Only the tall tree was a room where a fire had been made up, but was not yet alight. It was early autumn and a mild evening. She had not drawn the curtains because there was a still a little light left in the sky. She enjoyed watching the darkness gather before she would light the lamp to sew, to stitch. He had lit a candle on the small table by his chair in preparation for an evening’s reading. He was looking at her slight shape in the candlelight, looking at her small hands folded in her lap, then stroking the cat beside her, then touching her hair lightly; finally she opened her sewing basket.

He rose deliberately, shaking off the stiffness felt in his limbs from a day on their small-holding, and went to the bookshelf behind his chair. As the lamp was as yet unlit the rows of books slept in darkness. He felt their spines, many he knew, and many knew his touch, and as he moved his forefinger nail from book to book there was momentarily an irregularity, a surface he did not recognize. He pulled out the book and took it into the light: Inferno Dante Alighieri.

He thought he knew all his books, most he had read many times over. They were his dear friends, their dear friends because her books were there too. Their library made up a world of thought and imagination. He did not know Dante’s Inferno. He knew of it. He had read many an inscription from it. He had even learned a terzetto from the Paradiso, once, many years ago, in a different life than he led now:

Tu non se' in terra, sì come tu credi;
ma folgore, fuggendo il proprio sito,
non corse come tu ch'ad esso riedi".

You are not on the earth as you believe;
but lightning, flying from its own abode,
is less swift than you are, returning home."

Holding Inferno in his hands he realised the woman had now drained from her gaze the last dregs of the evening light, and seemed suddenly changed. She was wearing something other than he had thought she had worn previously. Her dress was silk, and long and cream and gold, and securing her hair, a thin golden band. Her shoes were slippers  . . . but she rose from her chair and their colour and texture were lost in the dark shadows that covered the floor. And he, he was changed too: a long green cloak, a toga-like cloak, some kind of cap on his head, his hair, his hair long and grey, and sandals on bare feet.

She lit the lamp and immediately they both saw the painting above the empty fireplace had changed, had been transformed, replaced by Henry Holiday’s masterpiece Dante and Beatrice. The painting shows the couple at the bridge of Santa Trinità in Florence. Beatrice deep in conversation with her friend Monna Vanna ignores Dante’s impassioned stare and stance.

The woman held the lamp to the painting. She knows this painting and remembers in an instant standing before it in the Walker Art Gallery in Liverpool. That day, that lunchtime, she was in love, and her lover stood next to her. She was so in love, and her lover, she knew, adored her. She recognized Dante’s stance and stare because she had seen her lover stand and stare so. Many times. It had been a lunchtime assignation and she had worn all black with almost-pink shoes. And here, and now, they stood again, still lovers, but also the dearest friends, and for the rest of their lives they had so sworn.

He still held the Inferno in his hands, and it was as if commanded by a voice that wasn’t any recognizable voice but a silent message from beyond and afar. ‘Whatever you read will come to pass.’

And so opening the book at random he read, ‘We drew now closer . . .’

He turned to her and said these words aloud. He placed the book on his small table and brought his body in its unusual costume to stand facing this finely dressed woman who wore her fine clothes with the scent of roses mixed with some eastern aloed fragrance. He brought his hand to her pale cheek and noticed the gold ring on his finger and the finely manicured nails, hands that had not laboured today in the 12-acre pasture.

She opened her lips to speak and, rather breathlessly said:

"Le cose tutte quante
hanno ordine tra loro, e questo è forma
che l'universo a Dio fa simigliante.

"All things, among themselves,
possess an order; and this order is
the form that makes the universe like God.

She knew no Italian, a little German from singing Schubert lieder to his tentative fumblings on the parlor piano, but certainly no Italian.

She picked up the Inferno from his small table, and just as he had, opened a page at random and read:

‘We drew aside and found a space . . .’

And so they did, draw aside, and she, with the Inferno in her hand, led him out of their sitting room along the stone-flagged passage to their front door, and lifting the latch opened the door . . . onto daylight, a Florentine street. They were close to the Ponte Santa Trinità, but also to the church that bares its name, with its celebrated Sassetti Chapel brim-full with sumptuous frescos telling stories from the life of St Francis and considered Domenico Ghirlandaio's masterwork.


*To be continued . . .
Maggie Emmett Sep 2014
I catch the rapido train from Milano and edge slowly westward through the stops and starts of frozen points and village stations. The heating fails and an offer of warmer seats in another compartment. I decide to stay here. I put on my coat, scarf, hat and gloves and sit alone. In my grieving time, I feel closer to the cold world outside as it moves past me, intermittently. Falling snow in window-framed landscapes.            

Sky gun metal grey
shot through
with sunset ribbons.
                                                                                                          
Dusk eases into black-cornered night. After Maghera, the train seems to race to the sea. It rumbles onto the Ponte della Ferrovia, stretching out across the Laguna Veneta. Suddenly, a jonquil circle moon pulls the winter clouds back and shines a lemony silver torch across the inky waters. Crazed and cracked sheets of ice lie across the depthless lagoon. The train slows again and slides into Santa Lucia. I walk into the night.                                                                                               
Bleak midwinter      
sea-iced night wind
bites bitter.
                                                                                                      
No. 2 Diretto winding down the Canal Grande.  The foggy night muffles the guttural throb of the engine and turns mundane sounds into mysteries. Through the window of the vaporetto stop, the lights of Piazza San Marco are an empty auditorium of an opera house. Walking to Corte Barozzi, I hear the doleful tolling of midnight bells; the slapping of water and the *****-***** of the gondolas’ mooring chains. Faraway a busker sings Orfeo lamenting his lost Eurydice, left in Hades.
I wake to La Serenissima, bejewelled.                                                                                                                           
Weak winter sunshine
Istrian stone walls
flushed rosy.
                                                                                                          
Rooftops glowing. Sun streaming golden between the neck and wings of the masted Lion. Mist has lifted, the sky cloudless; I look across the sparkling Guidecca canal and beyond to the shimmering horizon.          
Molten mud
bittersweetness demi-tasse
Florian’s hot chocolate                    

I walk the maze of streets, squares and bridges; passing marble well-heads and fountains, places of assignation. I walk on stones sculpted by hands, feet and the breath of the sea. Secrets and melancholy are cast in these stones.                                                                  

At Fondamente Nuove, I take Vaporetto no.41 to Cimitero. We chug across the laguna, arriving at  the western wall of San Michele.  I thread through the dead, along pathways and between gravestones. At the furthest end of the Cemetery island, Vera and Igor Stravinsky lie in parallel graves like two single beds in an hotel room. Names at the head, a simple cross at the foot of the white stone slab. Nearby, his flamboyant mentor Serge Diaghalev. His grave, a gothic birdbath for ravens, has a Russian inscription; straggly pink carnations, a red votive candle and a pair of ragged ballet shoes with flounces of black and aquamarine tulle tied to their the ribbons. So many dead in mausoleums; demure plots; curious walled filing cabinets, marble drawer ossuaries.
                                                                                                      
Bare, whispering Poplars
swaying swirling shadows
graves rest beneath          

I walk to the other end of the island and frame Venezia in the central arch of the Byzantine gateway.  I see that sketchy horizontal strip of rusty brick, with strong verticals of campaniles and domes. It is here, before 4 o’clock closing time, I throw your ashes to the sea and run to catch the last boat.                                                                                          

Beacon light orange
glittering ripples
on the dove grey lagoon.

© M.L.Emmett
First published in New Poets 14: Snatching Time, 2007, Wakefield Press, Kent Town SA.
To view with Images: Poems for Poodles https://magicpoet01.wordpress.com
I wanted to write a Haibun (seasonal journey poem interspersed with haiku). I love Venezia but only in Winter.
tangshunzi Jul 2014
Ogni giorno si arriva a caratterizzare splendido lavoro di Lindsay Madden su SMP è un buon giorno .Ma un giorno in cui si arriva a caratterizzare un intero weekend di festeggiamenti splendidamente fotografato in Turk e Caicos ?Ebbene .non vi è un aggettivo nell'intera dizionario che può descrivere questo.Ma non significa che non si può godere fino all'ultimo abiti da sposa 2014 secondo della loro ripresa amore .cena di benvenuto e matrimonio sotto - e naturalmente c'è ancora di più vi aspetta qui .Oggi è un buon giorno davvero .


Da Lindsay Madden Fotografia .. Chris \u0026Laura ha optato per un amore tiro tropicale prima del giorno delle nozze per documentare il loro tempo speso su Turks e Caicos .Questi vestiti da sposa due erano così felice .rilassato ein amore .Mi è piaciuto molto trascorrere il pomeriggio catturare il loro amore bello sulla morbida sabbia fine e le acque turchesi di Grace Bay .


Da Lindsay Madden Fotografia.Come l'azzurro del cielo ha dato rapidamente il posto a un tramonto pesca.Laura .Chris \u0026i loro ospiti si stabilirono in sul ​​ponte ovest del Seven Stars Resort per Chris e la cena di benvenuto di Laura .Lanterne appeso da una palma all'altra e gli ospiti aveva una vista mozzafiato del tramonto sulla Grace Bay .Questo è stato Chris \u0026Weekend di nozze di Laura calcio d'inizio !Dopo una deliziosa cena tutti hanno fatto la loro strada verso la spiaggia per un falò completo di smores \u0026uno dei principali dance party grazie alla fascia isole Junkanoo .abbiamo FUNK .

Condividi questa splendida galleria

Da Lindsay Madden Photography.Turks e Caicos è un posto davvero speciale per avere un matrimonio di destinazione .Laura \u0026Chris sono nativi newyorkesi e condividere il mio amore \u0026affetto per i Caraibi .Così.quando mi hanno chiesto di volare giù per il paradiso per il loro matrimonio .io .ovviamente .ha detto di sì !Hanno scelto di sposarsi presso il Seven Stars Resort che si trova proprio sulla Grace Bay .La loro cerimonia ha avuto luogo sulla sabbia calda circa un'ora prima del tramonto del sole e il loro cocktail ora / ricevimento si è tenuto in Apollo suite dell'hotel.La suite in sé era un attico con vista sull'oceano e questo ha offerto Chris e ospiti una vista mozzafiato di Laura del tramonto durante l' ora del cocktail e posti in prima fila per la loro sorpresa fuochi d'artificio alla fine della notte .Fiori per Arts ambientali decorato la suite con bellissimi fiori dell'isola \u0026candele.L'atmosfera era calda einvitante che era perfetto per la loro storia intima.Chris \u0026Laura sorrise e si mise a ridere per tutta la giornata



e ** avuto la fortuna di catturare il loro sforzo bel matrimonio di destinazione.
Fotografia : Lindsay Madden Fotografia | Event Planner : NILA Eventi - Lynne Watts | Cake: Seven Stars Resort | Inviti : Jessica Leigh Paperie | Scarpe da sposa : Nine West | Wedding abiti da sposa 2014 Bands : Cartier | Scarpe sposo : Louis Vuitton | vestito dello sposo :su ordine dalla My.Suit | Bikini : lavanderia da Shelli Segal | Dress \u0026 Velo da sposa : Cymbeline | Chris ' Swim Trunks : Vilebrequin | Fuochi d'artificio : Seven Stars Resort | Fiori \u0026 Lighting : Fiori per Arte ambientale { Turks \u0026 Caicos } | Hair \u0026Make Up : Sheque da Shenique | Pantaloni di Laura : Letarte | Località : Seven Stars Resort .Turks e Caicos | Località : West Deck .Seven Stars Resort .Turks e Caicos | Posizione : Grace Bay.Turks e Caicos | Cappello per il sole : Joe FreshLindsay Madden Fotografiaè ñ/ a> e Nila Le destinazioni sono membri del nostro Little Black Book .Scopri come i membri sono scelti visitando la nostra pagina delle FAQ .Lindsay Madden Fotografia vedi portfolio Nila Meta vedi
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Turks e Caicos Wedding Weekend da Lindsay Madden Fotografia_abiti da sposa corti
everly May 2019
the heavens looking down see
black ominous umbrellas
scurrying about- the animals we are
seeking refuge beneath bodega quality umbrellas
flimsy like the faith i had in you
but may you prove me wrong, loved one
in this cluttered concrete jungle

familiarity
conformity
unoriginal-ality but in reality we
all have places to be and why stand out in the rain?

uninvited water droplets from sky
penetrate pantyhose and
the window plants of overpriced brownstones
the allure of rain by all natural individuals
see nourishment soon to unfold
beauty in baby’s toes stomping in mud
fishing for worms that wriggle with discomfort
gardener of words
rain or shine
she knew how to put a feeling into
gentle yet tasteful prose.
l - DELÍRIOS ORGIÁSTICOS & ASTRAIS
    
    Participei da festa de Dionísio & as grandes estátuas de Leão plasmático, ergueram – se sobre a Terra. O precipício & o primeiro sinal da despedida cantando juntos a trilha sonora da invasão dos Profetas urrando a serviço das letras. Para todo o sempre o trono partido por ninfas histéricas! Crises contra o amuleto. Gnose fumacê participando celebrando a queda das pirâmides. Alquimistas do Verbo cantem o grito profano da Inquisição! Os sete pergaminhos caíram semeando a destruição da pedra Xamânica. Diadorim buscando solução em Fausto & Orfeu...? (inaudível psicopatia irradiada na vestimenta da alma). Exagerados, contemplavam mensagens infernais de Blake em vozes imagens melancólicas de Rimbaud. Logo as marés baixaram & sobre as ondas a Lua levitava em direção ao rugido do fogo; Dionísio em chamas bacantes! Ausência da queda no tempestuoso ninho levando aos portais da tormenta. Sete anjos cantando o mantra da lágrima metamorfoseada em dor.                                                             ­       
   Dionísio em voz de trovão: Oh! Se a voz do Tudo emanar a língua em torpor saqueando o princípio da guerra; Quando os sentidos estão sacudidos & a alma está dirigindo- se à loucura; quem pode permanecer? Quando as almas estiverem aprisionadas, lutando contra as revoltas do ar, na cor do som, quem poderá permanecer? Quando a brisa da fúria vier da garganta de Deus, quando as fábulas da persistência guiarem as nações, quem poderá permanecer?
    
    Quando baladarem o pecado, acabarem na batalha & navios dançarem em volta do último regozijo no espaço da morte: quando as almas estiverem embriagadas no fogo eterno & os amigos do inferno beberem antes do traço do infinito: Oh! quem poderá permanecer? Quem pode causar isto? Oh! Quem poderá responder diante do trono de Deus? Os Reis & os nobres poetas malditos repousando na caverna por dois séculos, têm permanecido?
    Não escutem, mas o Grito leva à ponte do não-ouvir. Não escutem, mas prazeres congestionados devem esperar. Amanhã. Só amanhã pensando se o tempo foge ao futuro ou se as árvores choram no Tempo & o Vento cantando a antiga canção da essência. A Terra deve esperar as lendas memoráveis sentindo passado & liberdade entre velhas histórias do coração descompassado em dia de vitória movendo ilusões da criação do mundo. Nem um sorriso noturno tremendo escrevendo cartas no oceano desejando amar & morrer ébrio no mar sonoro! Vamos celebrar sua dor& as novas despedidas & as páginas manchadas no lago desespero procurando asas no inferno análogo à soberba contemplando como um feiticeiro histórias orgiásticas em dias perdidos!
||- IMPRESSÕES DO INFINITO
Pequena ninfa exala virtude
Nova percepção é velha chuva
Intrépido céu em força à beira da tormenta
Tempo escasso frente do Tudo!
    Paradoxo abissal em finais absurdos. Doutrinas anti-socráticas poeira do nada embebecido forjado  para a volta. Um caminho é serpente fria salto com Ícaro destoando nobre silêncio ainda que duas palavras atravessem é sinal mágico psiconitróide em míticos fragmentos complexos da grande barriga virtual grande momento, enfim personagens pensantes na corrente capital ilustre ideológica. Nietzsche disse: “ não a intensidade, mas a constância das impressões superiores é que produz os homens superiores”. Dionísio ausente sibilo missionário resquício da grande tempestade transformando nada em músicas eternas músicas pós-Tudo música póstuma aquém de princípios de aura. É grande o Banquete na eternidade alucinógena da erva platônica. Lembranças unidas outras vidas presentes no barulho da dor. A carruagem sem asas foi  o veículo de Dante no purgatório encontrando Beatriz dito anjo de pele sutil com olhos da noite. Ou não. O primeiro grito do mundo foi o verbo, a morte do mundo foi a palavra.

    Acostumei a encontrar palavras atravessando o outro lado realizando caótico passo ao começo do ato simétrico pairando no ar buscando Tudo. Se a palavra antes fim fosse real sem ser palavra psia apenas causadora empírica dos dilemas tristes recortes de outrora pigmentados sem nome em precipício do fim! A ilha colorida geme! É o sinal da passagem da vida filosofal alfa poética plenos estados iluminados na sombra abissal de Rimbaud em crise  de riso & esquecimento sendo expulso da fumaça purgatório vivendo entre o sagrado & o profano com queda para o profano escutando vozes em terríveis silêncios metapsicofísicos abundantes pausas noturnas no vôo da maré. Salve a iluminação mágica fixada na irradiação transcendenastral! Dissonâncias filosóficas,  venham todos! Lamentos proféticos entorpecidos beberei do seu vinho! Indício do apocalipse! Profana histeria caótica levando a contatos xamânicos primitivos míticos em desertos & portais circulares!
             Serei eternamente condenado ao arco-íris do absoluto infinito!
Evan Stephens Jun 2019
In the green morning
I wanted to be a heart.
          Heart

And in the late afternoon
I wanted to be a nightingale.
          Nightingale.

(Soul,
wear an orange color.
Soul,
wear the color of love)

In the living morning
I wanted to be myself.
          Heart.

And in the falling evening
I wanted to be my voice.
          Nightingale.

Soul,
wear orange!
Soul,
wear the color of love!

*

Cancioncilla del primer beso

En la mañana verde,
quería ser corazón.
Corazón.

Y en la tarde madura
quería ser ruiseñor.
Ruiseñor.

(Alma,
ponte color de naranja.
Alma,
ponte color de amor)

En la mañana viva,
yo quería ser yo.
Corazón.

Y en la tarde caída
quería ser mi voz.
Ruiseñor.

¡Alma,
ponte color naranja!
¡Alma,
ponte color de amor!


by Federico Garcia Lorca
translated to English by Evan Stephens
Mafe Oct 2012
“Compus uma canção para dizer:
‘Amo-te descontroladamente!’
De ações tangentes; da equação complexa que é te amar.
E mesmo pacificamente;
Minha alma sem ti, não pode se encontrar.

Como contra o céu paradisíaco que constrói o tempo e investe areia contra mim;
Mesmo no pior dos casos, nos meus últimos gritos, altissonante direi:
’ EU VIM!’

Me encontre na beira de meu coração,
na ponte que causa essa estranha paixão;
E direi que não sabia que um anjo poderia possuir tão rápido todo meu sentimento assim.

Vem que em laços de eternos amantes, cada consoante, dirá e recitará meu amor celeste;
Rolando em campos grandes e em flores campestres

O céu sussura uma sinfonia recém escrita para o nosso caso infindável;
E jamais ouvi a voz dos anjos num tom tão amável

As lágrimas que derramo não reclamam de nenhuma tristeza desconhecida;
Mas sim da alegria pela qual minha alma foi tingida

Novamente nos encontraremos eternamente e direi mais um trilhão de vezes:
’ Amo-te descontroladamente!”
Santiago May 2015
Yo no paro hasta que todos mueran
Los ultimos que cuedan
Del satanas tienen que murir
Todos esos malvados tienen que sufrir
El machete, con un balazo en el cachete
Los mando pa su muerte la tumba
Los ahogo con una funda en silencio
Se mueren despacio dia tras dia cayendo
Estos cobardes les buelo la mazeta
Como el rey azteca, les saco el corazon
Por ser culo mamon, el pendejo cabron
Soy un maestro chingon, estes mi canton
Para siempre sera, hoy y manana lo veras
Te lo puedo comprovar no soy esclavo
Pero si un bago, so ponte a un lado
Porque estas bien lejos del clavo
Hechate para tras porque te dejo enterrado
Por dejabo, ah carrajo eres un pinchi chango
Vete a comer un mango, pinchi tango caprisun, you better run and go have some fun, before I lay your *** out with this laser gun, leave you fast asleep, you should listen to your peeps, porfavor hasme el favor
Cuitate la a chingada, ya me encabronastes
Mi mente me corruptistes y borastes
Mucha intelligencia que cargaba guardada
Pero te voy a lanzar con la plebada
Lista y armada, para una buena chingisa
Te den un buen banio, y buena vaniada
Victor Marques Nov 2012
Sentir Deus

Sentir nosso Deus celestial e bendito,
Orvalho e bela ponte…
Quando me levanto contemplo o horizonte,
Anónimos em quem eu acredito.

Sentir o nosso Deus sempre,
Salgueiro no riacho tão bonito,
As vozes de teu reino infinito,
Outono de folha cadente.

Sentir Deus na água cristalina,
Caminhar por entre areia tão fina.
Ninfas pueris bem-amadas,
Nuvens no céu esbranquiçadas.

Sentir Deus que dá amor e pão,
O relógio do tempo que nunca para,
O toque de uma guitarra,
Silêncio de bela constelação.

Victor Marques
sentir , Deus
Como é escasso o sorriso
sem brilho e frio
Há alguma coisa ebulindo
uma bomba
Mas não, eles não sairão de lá
nunca explodirão
pois não existem sorrisos
bocas se movem em formatos semelhantes
sem dentes e podres
toxinas exalam-se,
o veneno é o licor divino
o paraíso é logo abaixo da ponte
não se dorme no paraíso
se ao menos conseguissem dormir...
mas os putrefatos corpos que andam parasitando
consumindo restos e ruínas
patifes e loucos bailam a vida
vida que não é vida
O perfume está no ar
as flores são tão belas
as abelhas não tem ferrões
e se tivessem não ferroariam
a jovem virgem caminha exuberante
fotografias da bela matriz
onde a arquitetura supera a fé
mas ao lado, no canto escuro
onde ninguém vê
canta o homem escuro
que a todos observa
observa e observa....
Max Alvarez Mar 2016
Aún la novedad
Mi soledad
Será cierto ser
Le pregunte a un señor
Hombre vago
Barba blanca
"Porque soy así"
Me dijo
"Cuéntame de la última vez que abriste los ojos y vistes"
Me quede callado
Subió la voz y pregunto otra vez
"Cuéntame de la última vez que abriste los ojos"
Y al terminar sentí mi sangre revolver
"VAGO TU, VAGO YO"
Empezó a reír y grito
"SOY UN ESPEJO, LO QUE VEES ES UN REFLEJO"
Y se quebró
Mis venas agarraron la tierra
Empecé a crecer
Salio el vago otra vez
Estirándose en un árbol de nuez
Lo alcance
Me dijo
"Logras lo que tu quieras, lo que tu puedas, ponte las pilas, agarra la tierra, y verás"
Crecí otra vez
Al tercer cielo
Vi los siete mares
La luna y sus lunares
Mi mujer y el sol
El futuro en su infancia
Mis manos y la mercancía
Empecé ahogando en el mar
Ahora vivo en nuevo hogar
Jesibell arz Mar 2015
Tu bebe y bebe sin motivo, yo Nama me pongo pensar que lo que contigo. Me hablas mal sin ningun rason, tu me majas el dia de FelizIdad a enojada Como un ajo al pelon..
  Mejor dejarte trankila en tu propio mundo, porque parece que tu y yo ya no podemos andar juntos. Y lo que me molesta es que somos prima de Sangre, pero cono a ti te gusta peliar y poner la situacion bien grande. Tu dices que ya uno es grande y somos adultos, so Deja tu mierda y ponte pa lo tuyo.
Enverdad ya yo estoy jarta de ti con la bebidas que tomes, tu cuando esta borracha hace mal aciones. Te quiero pero en esto no quiero esta en relajos, porque me imajino que algun dia nos fajamos.. So me voy a quedar 5000 milas de ti, porque la Vida tuya sera mejor sin mi. No me voy a poner Triste para na, ya lo dejo aki esto sera el final.  

                                      *me fui
Si vas a beber, bebe porque te hace bien no mal.
Se la ruota si impiglia nel groviglio
delle stesse filanti ed il cavallo
s'impenna tra la calca, se ti nevica
fra i capelli e le mani un lungo brivido
d'iridi trascorrenti o alzano i bambini
le flebili ocarine che salutano
il tuo viaggio e i lievi echi si sfaldano
giù dal ponte sul fiume
se si sfolla la strada e ti conduce
in un mondo soffiato entro una tremula
bolla d'aria e di luce dove il sole
saluta la tua grazia-hai ritrovato
forse la strada che tentò un istante
il piombo fuso a mezzanotte quando
finì l'anno tranquillo senza spari.

Ed ora vuoi sostare dove un filtro
fa spogli i suoni
e ne deriva i sorridenti ed acri
fumi che ti compongono il domani;
ora chiedi il paese dove gli onagri
mordano quadri di zucchero dalle tue mani
e i tozzi alberi spuntino germogli
miracolosi al becco dei pavoni.

(Oh, il tuo carnevale sarà più triste
stanotte anche del mio, chiusa fra i doni
tu per gli assenti: carri dalle tinte
di rosolio, fantocci ed archibugi,
palle di gomma, arnesi da cucina
lillipuziani: l'urna li segnava
a ognuno dei lontani amici l'ora
che il gennaio si schiuse e nel silenzio
si compì il sortilegio. È carnevale
o il dicembre s'indugia ancora? Penso
che se muovi la lancetta al piccolo
orologio che rechi al polso, tutto
arretrerà dentro un disfatto prisma
babelico di forme e di colori... )

E il natale verrà e il giorno dell'anno
che sfolla le caserme e ti riporta
gli amici spersi e questo carnevale
pur esso tornerà che ora ci sfugge
tra i muri che si fendono già. Chiedi
tu di fermare il tempo sul paese
che attorno si dilata? Le grandi ali
screziate ti sfiorano, le logge
sospingono all'aperto esili bambole
bionde, vive, le pale dei mulini
rotano fisse sulle pozze garrule.
Chiedi di trattenere le campane
d'argento sopra il borgo e il suono rauco
delle colombe? Chiedi tu i mattini
trepidi delle tue prode lontane?

Come tutto si fa strano e difficile
come tutto è impossibile, tu dici.
La tua vita è quaggiù dove rimbombano
le ruote dei carriaggi senza posa
e nulla torna se non forse
in questi disguidi del possibile.
Ritorna là fra i morti balocchi
ove è negato pur morire; e col tempo che ti batte
al polso e all'esistenza ti ridona,
tra le mura pesanti che non s'aprono
al gorgo degli umani affaticato,
torna alla via dove con te intristisco
quella che mi additò un piombo raggelato
alle mie, alle tue sere:
torna alle primavere che non fioriscono.
Ponte Sant’Angelo,
my thumb brushes
her crimson emblem.

Images slosh in my head of her
cycling, channelling
her inner Hepburn,

sleep and poetry on the steps,
talcum swirl of a *** and raisin gelato,
tiddlywinking a Euro into the Trevi.

This is stop four
on her grand tour,
gap year girl

glugging the lingo. I touch again
her Ciao in curly black,
her **, her airmailed red peck.
Written: 2018/19.
Explanation: A poem that was part of my MFA Creative Writing manuscript, in which I wrote poems about cities that have staged the Eurovision Song Contest, or taken the name of a song and written my own piece inspired by the title. I have received a mark for this body of work now, so am sharing the poems here.
Amy Blanchette Nov 2014
I walk up the stairs so slow and afraid

This is not the place I used to know

Not the way I remember

I expect to see your smiling face
waiting for me to take your hand
and bring you to that place

You tried to tell me that your work here was done
I smiled at you and told you how silly you were to think the cancer won

You were so strong
so nonchalant
I hope you know you'll always have a special place in my heart

When I got that call that day, I swear my heart stopped
your daughter loves you more than life itself
I only wish I could've helped
Taken her pain away
All I can do is be there for her
Life is short, we say this all the time
make sure you love yours before you run out of time.
R.I.P. Victor Ponte
A poem I wrote for my hospice patient when he passed
La ciudad, silenciosa,
En sueño profundo reposa.

Parpadean los luceros
En la bóveda tranquila;
En los viejos reverberos
Gas indigente vacila.
Entre negros nubarrones
La luna empieza a brillar,
y hace en rejas y balcones
Las vidrieras fulgurar.

La noche en los castaños de la plaza suspira,
La noche en donde un resto de fulgor flota y gira;
Todo es quietud y sueño bajo el boscaje umbrío...
¡Alma!, ponte de codos en el puente, y aspira
La frescura que sube, la frescura del río.

Tan grande es el silencio, que siento miedo y frío...
Sólo en la calle se oyen mis pasos... Está llena
De silencio mi  alma... La media noche suena.

Sobre los altos muros del convento
Mueve las ramas susurrando el viento.
Huérfanas... Colegialas parlanchinas...
Cintas azules en las esclavinas...
Jardín fragante de las Ursulinas.

Por la verja del parque abandonado
Pasa el aura con trémulo suspiro;
y una estrella, con brillo opalizado,
Parpadea al través del emparrado,
Como una lamparilla de zafiro.

¡Oh los techos de pizarra, negros y altos campanarios,
Vírgenes que en hondo sueño reclinasteis la cabeza,
Cuellos que lleváis pendientes azules escapularios,
Oh los cuerpos sin pecado sobre lechos de pureza!

Aquí la hora que pasa de igual hora va seguida,
y en paz la inocencia duerme sobre el umbral de la vida .

A la incierta
Claridad
De la luna, más desierta
y más triste, en esta calma,
Mira el alma
La plaza de la ciudad.

Una ventana brilla sobre una oscura casa;
En la alcoba una lámpara riega su claridad,
y a la luz que tamiza velo de nívea gasa,
Furtiva, por instantes, se ve que pasa y pasa
De una mujer la sombra, con íntima ansiedad.

Los brazos levanta al cielo
Por la ventana entreabierta.
Es un alma que solloza, es un alma en hondo duelo,
Que deja caer sus lágrimas sobre una esperanza muerta.

¡Oh secretos ardores en noches provinciales,
Almas que se consumen, almas no comprendidas!..
¡Oh senos devorados por deseos carnales!
¡Oh desoladas súplicas, jamás de nadie oídas!

¡Yo os evoco en las sombras, amantes ignoradas,
Cuya carne se agosta, bajo contraria suerte,
Que en solitarias noches lloráis desesperadas,
y para amar nacidas, y de amor devoradas,
Iréis a dormir vírgenes en brazos de la muerte!...

y el alma pensativa.
En esta noche azul de primavera,
Fija está en la vidriera
Dónde pasa la sombra fugitiva.

La cortina al viento vaga.
y la lámpara se apaga.

En las tinieblas no hay luz que irradie.
Se hunde la luna...
                            Suena la una
y en la calle triste, nadie                 nadie... nadie.
M'affaccio alla finestra e vedo il mare:
vedo le stelle passare, onde passare:
un guizzo chiama, un palpito risponde.
Ecco sospira l'acqua, alita il vento:
sul mare è apparso un bel ponte d'argento.
Ponte gettato sui laghi sereni,
per chi dunque sei fatto e dove meni?
Musa, la máscara apresta,
ensaya un aire jovial
y goza y ríe en la fiesta
    del Carnaval.Ríe en la danza que gira,
muestra la pierna rosada,
y suene, como una lira,
    tu carcajada.Para volar más ligera
ponte dos hojas de rosa,
como hace tu compañera
    la mariposa.Y que en tu boca risueña,
que se une al alegre coro,
deje la abeja porteña
    su miel de oro.Únete a la mascarada,
y mientras muequea un clown
con la faz pintarrajeada
    como Frank Brown;mientras Arlequín revela
que al prisma sus tintes roba
y aparece Pulchinela
    con su joroba,di a Colombina la bella
lo que de ella pienso yo,
y descorcha una botella
    para Pierrot.Que él te cuente cómo rima
sus amores con la Luna
y te haga un poema en una
    pantomima.Da al aire la serenata,
toca el auro bandolín,
lleva un látigo de plata
    para el spleen.Sé lírica y sé bizarra;
con la cítara sé griega;
o gaucha, con la guitarra
    de Santos Vega.Mueve tu espléndido torso
por las calles pintorescas,
y juega y adorna el Corso
    con rosas frescas.De perlas riega un tesoro
de Andrade en el regio nido,
y en la hopalanda de *****,
    polvo de oro.Penas y duelos olvida,
canta deleites y amores;
busca la flor de las flores
    por Florida:Con la armonía te encantas
de las rimas de cristal,
y deshojas a sus plantas,
    un madrigal.Piruetea, baila, inspira
versos locos y joviales;
celebre la alegre lira
    los carnavales.Sus gritos y sus canciones,
sus comparsas y sus trajes,
sus perlas, tintes y encajes
    y pompones.Y lleve la rauda brisa,
sonora, argentina, fresca,
¡la victoria de tu risa
    funambulesca!
Tal vez se le olvidó tu santo y seña
después de todo no es tan importante
no va a flamear el cielo por su ausencia
ayúdate secúndate solázate
búscate en la quimera de los otros
inventa tus estrellas y repártelas
besa los nombres en sus dos mejillas
deja que el corazón te elija el mundo
abrázate del miedo y no lo sueltes
vuélvete sombra pero no te envicies
sálvate de turbiones y de nieblas
ponte el otoño con su sol de gala
libérate en las manos que te avisan
descúbrete en los ojos que te nombran
ya no vendrá deslígate distánciate
de su resuello de sus sortilegios
de sus malas noticias de su rabia
no dejes que te ensalme de amargura
defiende como loba tu alegría
el tiempo no diseña el pasatiempo
el canto no reclama el desencanto
el viento no vindica el aspaviento
la fiesta no perdona al aguafiestas
Alyssa Aug 2019
teñida de rojo llegas a casa
todas las noches, todas las mañanas
de agua salada creció un río en mi alma
y un sepulcro debajo de tu cama
a la hora de dormir cuento puñaladas
y me arrulla el crujir de tu espina fracturada
el eco reverbera en el cañón de mis entrañas
en mis sueños con tus últimas palabras
niña ponte tu falda favorita
y suelta a tu hermana
no le temas a la noche
que muerta ya no pasa nada.
Mariana Seabra Mar 2022
Ó vida!

Que de ti se apagou a luz

Da escrita criativa.



Não foi de ti, vida,

Foi de mim.



Foi de mim que se extinguiu!

E a mim que ela levou,

                Depois que me partiu…

Como se me levasse a vida!

Toda!

            a que existia.



E como é criativa,

A musa que me inspira à escrita!

Foi de mim;

Levou-me a vida;

                              Mas conseguiu deixar-me viva.



“Tem tanto de triste

Como de cruel:

Ser peso morto que respira.”



Escrevi isso em algum papel…

Que logo depois perdi,

Ou se molhou,

Ou o esqueci,

Em algum lugar

Ao qual não pretendo voltar.



Mais tarde, estava de frente com o Mar

Quando dei por mim a chorar…



Em algum momento pensei:

“Talvez a dor da sua partida

Seja outra faísca perdida no ar

À qual me vou agarrar,

E sentir entre os dedos

Antes de a transformar  

Em algo mais.”



O “algo mais” que me referia,

Creio que seja esta desordenada poesia.



É o sangue quente, frio, vermelho, azul, é rio, és fogo,

Sou maresia, és eu, sou tu, somos nós, é o mundo,

É a fantasia, é a verdade disfarçada de ironia,

É dor, é amor, é tudo o que caiba num poema,

É tudo o que faça encher; se possível, transbordar!



Foram tantos!  

Os que me imploraram para os escrever.

Era eu que ia buscar a inspiração;

Ou era ela que me vinha socorrer?!



No frenesim da escrita maldita

Ficou outra questão por responder.



A caneta tornou-se um órgão essencial

Que não pedi para transplantarem cá dentro;

Sentia a sua forte presença nos momentos de maior alento;

Era a ponte que eu percorria, entre o sentir e o saber;

Assisti enquanto se estendia; dobrava! mas nunca partia;

Até encontrar na página branca uma saída

Para poder florescer; e florescia!

Nascia uma folha que era tecida; com uma teia tão fina que ninguém via;

Só brilhava quando a luz lhe batia; resplandecia!

Quando existia uma ligação direta entre mim e a magia;

De estar na beira do precipício entre a morte e a armadilha;

A que escolhem chamar de vida.



Ah! Musa criativa…

A única que me inspira à escrita!

Sei que um dia te irei reler,

Mas só quando estiver pronta para te entender.



Prometo que vou fazer por o merecer!



Talvez quando esta agonia paradoxal

De ser

Tão humana e sentimental

De ter

De amar à distância  

Uma humana tão excecional

Fizer sentido;  

                        Ou então desaparecer!



Foi um “adeus” que nem te cheguei a dizer…



Nem vou tentar romancear

Toda a angústia que vivi; contida

Numa simples despedida.  



Foi como se dissesse adeus à vida!



Pois nem toda a tinta

Alguma vez já vertida

Serviu para camuflar o *****

Que saiu da minha espinha

Quando a adaga me acertou.



Até hoje, nem eu sei como me atingiu!

Se fui eu que não a vi,

Ou se fui eu quem a espetou?!



Mas era *****, muito *****,

Tudo o que de mim sangrou;

Quando descobri,

Num mero dia, num inferno acaso,

Que no final das contas

A única que eu tanto amava

Se tinha entregue a um alguém tão raso.



Tapei os olhos com terra suja!...

Tal como decidiu fazer a minha musa.



“O pior cego é o que não quer ver!”

Prefere fechar os olhos porque abri-los é sofrer!



Induzi-me à cegueira;

Amnésia propositada;

Alma bem trancada;

Tudo para a tentar esquecer.



Tudo para lhe pagar na mesma moeda!



Então, claramente, o desfecho da narrativa só poderia ser:

De olhos bem fechados se deu a queda…



Foi assim que aprendi:

A vingança tal como o ódio,

É veneno para quem a traz!



Parei…

Dei um, dois, três, quatro, cinco mil passos atrás.

Relaxei…

Segui em frente.

                                         Lá ia eu  

                                                        com a corrente…



Inspirei amor e paz.



E foi assim que os abri,

Com uma chapada de água fria.



Não posso dizer que não a mereci.



Foi à chuva, nua, de frente com a verdade pura e crua,  

que descobri do que era capaz; e quando soltei ar de novo,  

expeli branco, afastou-se um corvo, brilhou o sol com a lua atrás, e:



Ahhhhh! Lá estava ela, exatamente ali!



Onde sempre tinha estado.

No lugar que lhe era reservado,

Onde estava eu também.



Olhamo-nos;

Com um olhar triste; influenciado

Por restos de terra suja

Que ainda não se tinham descolado.



                                                             Quase não aguentei;

                               Contrariei

                              A vontade de fugir;

                                                               ­                                                                 ­      
                                                                ­      E sorri-lhe…



Já fui um ser não tão humano,

Que até para amar estava cansado!

Preso por correntes de ilusões;

Ego;

Egoísmo;

E muito mais do que considero errado.



Como tudo na História

Isso pertence apenas ao passado.



Ah! Musa criativa…

A única que me inspira à escrita!

Ela, melhor que ninguém, o deveria saber;

Que me tornei um ninguém melhor,

Só por a conhecer.



Fiquei mais ardida

Que a Roma Antiga!

Quando aquela louca,

Tal musa criativa,

Me pegou na mão

E fez-me a vida colorida.



(Despertou-me fogo no coração!)



Alastrem-se cores de cinza!

Espalhem-se! Que os vamos fazer ver:

Mesmos os templos em ruína

São possíveis de reerguer.
Dagli atrii muscosi, dai fori cadenti,
Dai boschi, dall'**** fucine stridenti,
Dai solchi bagnati di servo sudor,
Un volgo disperso repente si desta;
Intende l'orecchio, solleva la testa
Percosso da novo crescente romor.
Dai guardi dubbiosi, dai pavidi volti,
Qual raggio di sole da nuvoli folti,
Traluce de' padri la fiera virtù:
Ne' guardi, ne' volti, confuso ed incerto
Si mesce e discorda lo spregio sofferto
Col misero orgoglio d'un tempo che fu.
S'aduna voglioso, si sperde tremante,
Per torti sentieri, con passo vagante,
Fra tema e desire, s'avanza e ristà;
E adocchia e rimira scorata e confusa
De' crudi signori la turba diffusa,
Che fugge dai brandi, che sosta non ha.
Ansanti li vede, quai trepide fere,
Irsuti per tema le fulve criniere,
Le note latebre del covo cercar;
E quivi, deposta l'usata minaccia,
Le donne superbe, con pallida faccia,
I figli pensosi pensose guatar.
E sopra i fuggenti, con avido brando,
Quai cani disciolti, correndo, frugando,
Da ritta, da manca, guerrieri venir:
Li vede, e rapito d'ignoto contento,
Con l'agile speme precorre l'evento,
E sogna la fine del duro servir.
Udite! Quei forti che tengono il campo,
Che ai vostri tiranni precludon lo scampo,
Son giunti da lunge, per aspri sentier:
Sospeser le gioie dei prandi festosi,
Assursero in fretta dai blandi riposi,
Chiamati repente da squillo guerrier.
Lasciar nelle sale del tetto natio
Le donne accorate, tornanti all'addio,
A preghi e consigli che il pianto troncò:
Han carca la fronte de' pesti cimieri,
Han poste le selle sui bruni corsieri,
Volaron sul ponte che cupo sonò.
A torme, di terra passarono in terra,
Cantando giulive canzoni di guerra,
Ma i dolci castelli pensando nel cor:
Per valli petrose, per balzi dirotti,
Vegliaron nell'arme le gelide notti,
Membrando i fidati colloqui d'amor.
Gli oscuri perigli di stanze incresciose,
Per greppi senz'orma le corse affannose,
Il rigido impero, le fami durâr;
Si vider le lance calate sui petti,
A canto agli scudi, rasente agli elmetti,
Udiron le frecce fischiando volar.
E il premio sperato, promesso a quei forti,
Sarebbe, o delusi, rivolger le sorti,
D'un volgo straniero por fine al dolor?
Tornate alle vostre superbe ruine,
All'opere imbelli dell'**** officine,
Ai solchi bagnati di servo sudor.
Il forte si mesce col vinto nemico,
Col novo signore rimane l'antico;
L'un popolo e l'altro sul collo vi sta.
Dividono i servi, dividon gli armenti;
Si posano insieme sui campi cruenti
D'un volgo disperso che nome non ha.
Adiós, pues. ¿Nada olvidas? Está bien. Puedes irte.
Ya nada más debemos decirnos... ¿Para qué?
Te dejo. Partir puedes. Pero aguarda un momento...
está lloviendo. Espera que deje de llover.
Abrígate. Está haciendo mucho frío en la calle.
Ponte capa de invierno. Y abrígate muy bien.
¿Todo te lo he devuelto? ¿Nada tuyo me queda?
¿Tu retrato te llevas y tus cartas también?
Por última vez mírame. Vamos a separarnos.
Óyeme. No lloremos, pues necedad sería...
¡Y qué esfuerzo debemos los dos hacer ahora
para ser lo que fuimos... lo que fuimos un día!
Se habían nuestras almas tan bien compenetrado,
y hoy de nuevo su vida cada cual ha tomado.
Con un distinto nombre por senda aparte iremos,
a errar, a vivir solos... Sin duda sufriremos.
Sufriremos un tiempo. Después vendrá el olvido,
lo solo que perdona. Tú, de mí desunida,
serás lo que antes fuiste. Yo, lo que antes he sido...
Dos distintas personas seremos en la vida.
Vas a entrar desde ahora por siempre en mi pasado;
tal vez nos encontremos en la calle algún día.
Te veré desde lejos con aire descuidado,
y llevarás un traje que no te conocía.
Después pasarán meses sin que te vea. En tanto,
habrán de hablarte amigos de mí. Yo bien lo sé;
y cuando en mi presencia te recuerden, encanto
que fuiste de mi vida, «¿Cómo está?» les diré.
Y qué grandes creímos nuestros dos corazones,
¡y qué pequeños! ¡Cómo nos quisimos tú y yo!
¿Recuerdas otros días? ¡Qué gratas ilusiones!
Y mira en lo que ahora nuestra pasión quedó.
Y nosotros, lo mismo que los demás mortales,
en promesas ardientes de eterno amor creyendo.
¡Verdad que humilla! ¿Todos somos acaso iguales?
¿Somos como los otros? Mira, sigue lloviendo.
Quédate. ¡Ven! No escampa. Y en la calle hace frío.
Quizá nos entendamos. Yo no sé de qué modo.
Aunque han cambiado tanto tu corazón y el mío,
tal vez al fin digamos: «¡No está perdido todo!»
Hagamos lo posible. Que acabe este desvío.
Vencer nuestras costumbres es inútil. ¿Verdad?
¡Ven, siéntate! A mi lado recobrarás tu hastío,
y volverá a tu lado mi triste soledad.
Se la ruota si impiglia nel groviglio
delle stesse filanti ed il cavallo
s'impenna tra la calca, se ti nevica
fra i capelli e le mani un lungo brivido
d'iridi trascorrenti o alzano i bambini
le flebili ocarine che salutano
il tuo viaggio e i lievi echi si sfaldano
giù dal ponte sul fiume
se si sfolla la strada e ti conduce
in un mondo soffiato entro una tremula
bolla d'aria e di luce dove il sole
saluta la tua grazia-hai ritrovato
forse la strada che tentò un istante
il piombo fuso a mezzanotte quando
finì l'anno tranquillo senza spari.

Ed ora vuoi sostare dove un filtro
fa spogli i suoni
e ne deriva i sorridenti ed acri
fumi che ti compongono il domani;
ora chiedi il paese dove gli onagri
mordano quadri di zucchero dalle tue mani
e i tozzi alberi spuntino germogli
miracolosi al becco dei pavoni.

(Oh, il tuo carnevale sarà più triste
stanotte anche del mio, chiusa fra i doni
tu per gli assenti: carri dalle tinte
di rosolio, fantocci ed archibugi,
palle di gomma, arnesi da cucina
lillipuziani: l'urna li segnava
a ognuno dei lontani amici l'ora
che il gennaio si schiuse e nel silenzio
si compì il sortilegio. È carnevale
o il dicembre s'indugia ancora? Penso
che se muovi la lancetta al piccolo
orologio che rechi al polso, tutto
arretrerà dentro un disfatto prisma
babelico di forme e di colori... )

E il natale verrà e il giorno dell'anno
che sfolla le caserme e ti riporta
gli amici spersi e questo carnevale
pur esso tornerà che ora ci sfugge
tra i muri che si fendono già. Chiedi
tu di fermare il tempo sul paese
che attorno si dilata? Le grandi ali
screziate ti sfiorano, le logge
sospingono all'aperto esili bambole
bionde, vive, le pale dei mulini
rotano fisse sulle pozze garrule.
Chiedi di trattenere le campane
d'argento sopra il borgo e il suono rauco
delle colombe? Chiedi tu i mattini
trepidi delle tue prode lontane?

Come tutto si fa strano e difficile
come tutto è impossibile, tu dici.
La tua vita è quaggiù dove rimbombano
le ruote dei carriaggi senza posa
e nulla torna se non forse
in questi disguidi del possibile.
Ritorna là fra i morti balocchi
ove è negato pur morire; e col tempo che ti batte
al polso e all'esistenza ti ridona,
tra le mura pesanti che non s'aprono
al gorgo degli umani affaticato,
torna alla via dove con te intristisco
quella che mi additò un piombo raggelato
alle mie, alle tue sere:
torna alle primavere che non fioriscono.
M'affaccio alla finestra e vedo il mare:
vedo le stelle passare, onde passare:
un guizzo chiama, un palpito risponde.
Ecco sospira l'acqua, alita il vento:
sul mare è apparso un bel ponte d'argento.
Ponte gettato sui laghi sereni,
per chi dunque sei fatto e dove meni?
Se la ruota si impiglia nel groviglio
delle stesse filanti ed il cavallo
s'impenna tra la calca, se ti nevica
fra i capelli e le mani un lungo brivido
d'iridi trascorrenti o alzano i bambini
le flebili ocarine che salutano
il tuo viaggio e i lievi echi si sfaldano
giù dal ponte sul fiume
se si sfolla la strada e ti conduce
in un mondo soffiato entro una tremula
bolla d'aria e di luce dove il sole
saluta la tua grazia-hai ritrovato
forse la strada che tentò un istante
il piombo fuso a mezzanotte quando
finì l'anno tranquillo senza spari.

Ed ora vuoi sostare dove un filtro
fa spogli i suoni
e ne deriva i sorridenti ed acri
fumi che ti compongono il domani;
ora chiedi il paese dove gli onagri
mordano quadri di zucchero dalle tue mani
e i tozzi alberi spuntino germogli
miracolosi al becco dei pavoni.

(Oh, il tuo carnevale sarà più triste
stanotte anche del mio, chiusa fra i doni
tu per gli assenti: carri dalle tinte
di rosolio, fantocci ed archibugi,
palle di gomma, arnesi da cucina
lillipuziani: l'urna li segnava
a ognuno dei lontani amici l'ora
che il gennaio si schiuse e nel silenzio
si compì il sortilegio. È carnevale
o il dicembre s'indugia ancora? Penso
che se muovi la lancetta al piccolo
orologio che rechi al polso, tutto
arretrerà dentro un disfatto prisma
babelico di forme e di colori... )

E il natale verrà e il giorno dell'anno
che sfolla le caserme e ti riporta
gli amici spersi e questo carnevale
pur esso tornerà che ora ci sfugge
tra i muri che si fendono già. Chiedi
tu di fermare il tempo sul paese
che attorno si dilata? Le grandi ali
screziate ti sfiorano, le logge
sospingono all'aperto esili bambole
bionde, vive, le pale dei mulini
rotano fisse sulle pozze garrule.
Chiedi di trattenere le campane
d'argento sopra il borgo e il suono rauco
delle colombe? Chiedi tu i mattini
trepidi delle tue prode lontane?

Come tutto si fa strano e difficile
come tutto è impossibile, tu dici.
La tua vita è quaggiù dove rimbombano
le ruote dei carriaggi senza posa
e nulla torna se non forse
in questi disguidi del possibile.
Ritorna là fra i morti balocchi
ove è negato pur morire; e col tempo che ti batte
al polso e all'esistenza ti ridona,
tra le mura pesanti che non s'aprono
al gorgo degli umani affaticato,
torna alla via dove con te intristisco
quella che mi additò un piombo raggelato
alle mie, alle tue sere:
torna alle primavere che non fioriscono.
κλείω Apr 2022
They learned to rebuild
Carrying the bricks on their backs
Memorized a whole new language and ignored people’s attacks

Nos enseñaron español
Visitamos Mexico cada año
Nos dicen “ponte un suéter
Porque el frío hace daño”

They made us who we are
A mosaic of two places
Feet firmly planted in both
Pride written across our faces
M'affaccio alla finestra e vedo il mare:
vedo le stelle passare, onde passare:
un guizzo chiama, un palpito risponde.
Ecco sospira l'acqua, alita il vento:
sul mare è apparso un bel ponte d'argento.
Ponte gettato sui laghi sereni,
per chi dunque sei fatto e dove meni?
Dans l'amoureux, qu'Éros grise,
L'imbécile est ébauché ;
La ponte d'une bêtise
Suit le rêve d'un péché.

Crains les belles. On se laisse
Vaincre aisément par Lola.
Dieu compose de faiblesse
Ces toutes-puissances-là.

C'est en jouant que la femme,
C'est en jouant que l'enfant,
Prennent doucement notre âme.
Le faible est le triomphant.

La vertu, de sa main blanche
Et de son beau fil doré,
Recoud sans cesse la manche
Par où Joseph fut tiré.

— The End —