Tentang Mengajari Anak Perempuanku Berkuda | Teaching My Daughter to Ride a Horse

Tentang Mengajari Anak Perempuanku Berkuda

Di atas kuda,
Anak perempuanku menjadi makhluk lain
pegasus bersayap
anak-api yang berkata:
Ayo, jalan, mama, jalan! Dan,
Apa tak bisa lebih cepat?
Kaki anak perempuanku menjepit tubuh si kuda
persis seperti dulu menjepit tubuhku
ketika aku menggendongnya di pinggulku
atau membungkuk untuk menurunkannya
(tak mungkin begitu lagi; sudah terlalu berat)
Jerit suaranya seperti ringkik tawa kuda,
tendangan tumit,
suara rumput-padang membuktikan
sang pencipta anak-anak perempuan dan
kuda pun sadar pada keanggunan keduanya;
bagaimana keduanya melemparkan surainya ke angin,
kulit mereka, buluh mereka selembut beludru (tidak ada kata lain!),
hembusan nafas-jerami mereka yang manis,
dan masih banyak hal lain.


On Teaching My Daughter to Ride a Horse

Up on the horse,
she is another kind of creature;
equine and winged,
this fire-lit child who says:
Trot, mama, trot! And,
Are we galloping yet?
Her legs clamp around the horse’s girth
the way they used to clamp to me
when I’d support her on my hip
or stoop to put her down
(too heavy for that now).
Her squealing trill like a horse’s laugh,
a kicking up of the heels,
meadow-grass sound that proves
whoever invented daughters
and horses knows their grace;
the way both toss their manes to the wind,
their velvet (no other word for it)
pelt and skin, their sweet hay-breath,
and a lot of other things.

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Newlywed from the Coast | Penganten Pesisir

Newlywed from the Coast

I come dressed as a groom from the coast
in a procession as in days long past
accompanied by trumpets, drums, gongs, and carbide lamps

at the lead masked acrobats turn somersaults,
a wild boar, a tiger, a mouse-deer, a monkey
as roman candles burst and color the sky

I come in the origins of being in love
as before when we mutually owned the morning,
when together we harvested catfish roe

which later we dried and then fried
when twilight crept into the lines
of your poems which are now only a whisper

and do you know what I hated the most?
it was when we both went to school
and everyone called us “sea folks”,

people who were deemed to be exceedingly coarse
uncivilized folk with a fishy smell
the very smell of the same snappers they relished

I come intent to establish a household
to bend the bridal bough, create a diary of joy
and hope for children to be born of your shores

yet, like the lighthouse whose base is all that remains
and the fishermen who’ve lost their vessels and nets
have we still a chance to make love with the waves

meanwhile, sheets of receipts
have transformed our sperm into mosses
whose names no one even knows …

Penganten Pesisir

Aku datang dalam seragam penganten pesisir
seperti arak-arakan masa silam
jidor, kenong, terbang, lampu karbit mengiring

di depan para pesilat bertopeng monyet,
celeng, macan dan juga kancil berjumpalitan
mercon sreng sesekali mewarnai langit

aku datang dalam muasal bercinta
seperti dulu ketika kita sama-sama punya pagi
sama-sama mengumpulkan telur-telur sembilang

lalu dikeringkan kemudian digoreng
ketika senja menyelinap di jajaran
macapat-macapatmu yang kini tinggal bisik

dan tahukah kau yang paling aku benci?
adalah ketika kita sama-sama ke sekolah
dan sama-sama disebut: “Orang Laut,”

orang yang dianggap sangat kosro
kurang adat dan keringatannya pun seamis
lendir kakap yang sebenarnya sangat mereka sukai

aku datang dalam itikad berumah tangga
melengkungkan janur, membikin primbon bahagia
dan mengharapkan lahirnya bocah-bocah pantaimu

tapi, seperti juga mercu suar yang kini tinggal letak
dan para nelayan kehilangan jaring dan perahu
adakah masih sempat kita lakukan persetubuhan ombak

sementara itu, kertas-kertas kwitansi
telah mengubah sperma-sperma kita menjadi
lumut-lumut yang entah siapa panggilannya …

Gresik, 1993

English translation by Deborah Cole

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Bersyarat | Conditionals

Bersyarat

Jurang pemisah membuka
dan di sekitarnya retakan-retakan bumi
menggigit sulur
rasa

dari
mulut
tinggal mengering,
simbiosis
retakan tepi merah.

Perkataan perempuan itu terlepas dan
berlari menertawai
lainnya tak berlipat,
lengan sang lelaki kokoh
dan hangat
bila

dipegang
menggerogot
memompa
dengan gigi patah
dan lidah tumpul paling keji.

Dimakamkan di cincangan berdaging,
sebuah perjanjian
membungkus masing-masing bagian
dalam panas,
nyaman

sementara
cerita
tergelincir keluar
dari tanda-tanda manis dan rahasia,
mengundang semua

melahap selaput.


Conditionals

The divide is sprung
and all around
split earth nips
tendril
tastes

of
a mouth
left drying,
symbiosis
cracking red edges.

Her words escaped and
ran laughing to
seamless other,
his arms firm
and warm
to

hold,
gnawing
leverage
with broken teeth
and bloodied dead tongue.

Entombed in meaty
shards, a treaty
wraps each piece
in heat,
snug

while
stories
slip from our
secret, sweet signs,
inviting all to

devour the membrane.

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Batavia Centrum | Batavia Centrum

Batavia Centrum

1933:
Chinese women, young and old
Totter beneath
Buckets of sweat
Treading narrow lanes
between shops in Pintoe Ketjil

1942:
The Japanese arrive
Stupid bastard, they say
To the Chinese man in calico
Miserable from having
his godown plundered
No New Years this year
Moon cakes stuffed with coconut pulp

1954:
Chinese girls and boys
Unlatch their doors
And wait for coins
To fill donation baskets

1963:
Chinese men and women
Prop open their doors
To let the smoke of incense
Waft into their homes
Quietly, they calculate
Bad days on an abacus

1979:
Tapeikong cooks are envious
To see the god of gambling
Offered incense every day
The Tans and Lies control the chiefen
Some of them visit the temple
Others kneel before Mother Mary

1992:
Elderly Chinese women and men
Walk unsteadily hand in hand
To the square for tai-chi
As their grandchildren in Singapore
Remain soundly asleep

1998:
As the iron curtain crumbles
Jade statues of the goddess Kwan Im
And the tiger Pa Kua shatter
And are scattered with ancestors’ ashes

Batavia Centrum

1933:
Beberapa encek dan encim
Tergopoh-gopoh memikul
Keranjang keringat
Menyusuri lorong sempit
Pertokoan Pintoe Ketjil

1942:
Jepun datang
Bagero, katanya
Kepada babah berbaju blacu
Yang memelas saat gudangnya
Dikuras
Tahun ini tanpa Sin Chia
Kue Pia hanya berisi ampas kelapa

1954:
Beberapa amoy dan akew
Membuka grendel pintu
Dan menunggu recehan
Untuk mengisi pundi-pundi abu mereka

1963:
Sebagian enci dan engkoh
Mengganjal pintu
Dan membiarkan asap hio
Masuk ke rumahnya.
Diam-diam mereka menghitung
Hari-hari sial dengan sipoanya

1979:
Taipekong dapur iri
Melihat dewa judi
Diberi dupa wangi setiap hari
Marga Tan dan Lie mengikat chiefen
Sebagian sampkai ke vihara
Sisanya bersimpuh di hadapan Bunda Maria

1992:
Beberapa encim dan empe
Tertatih bergandengan
Menuju emperan untuk senam Tai-Chi
Sementara cucu mereka
Masih tertidur pulas di Singapura

1998:
Tirai-tirai besi koyak berderak
Bersamaan dengan itu
Batu giok Dewi Kwan Im dan Macan Pa Kua
Jatuh berserakan bersama abu leluhur mereka

1998

English translation by Deborah Cole

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Impian Tentang Kerja | A Dream of Work

Impian Tentang Kerja

Tengkorak kita yang tersesat saling mengitari
geloyor lapisan lemak dalam cahaya lampu kantor
yang meredamkan cahaya. Kita di sini
demi ada di sini, senantiasa siap sedia.
Kerja yang membara
keterdesakan yang tak begitu mendesak
– suara-suara manusia memadamkannya,
rekan-rekanku, saudara-saudaraku!
Suara kita menggertak udara, kisah kita
adalah kisah dunia, pacar-pacar lelaki
membereskan kebun belakang rumah demi cinta,
mencemooh diri terlalu kurus atau terlalu gemuk.
(Dalam urusan bobot tubuh
kita menyadari posisi kita.)

‘Makna kerja?’
pekerjaan menghasilkan topeng, kerangka,
rumah, yang menjadi milik kita

Mengharap pengakuan seperti
anak sekolah dengan gambar baru berwarna-warni,
berharap ikhtiar kita
selamanya tak bergeser dari rak di ruang,
namun dicatat dan diletakkan di sebuah taman
istilah setempat, menyuapi bahasa-bahasa kantoran
dan manajer-manajer berbaik hati yang menegur kita
saat kita tidak bekerja, dan mengawasi saat kita bekerja.
(Dan departemen yakin sebagaimana mestinya,
lintasan manusia dapat diatur, dimulai
dari benih terkecil sebuah kelahiran.)
Yang kita inginkan dari kerja hampir serupa cinta.

Bagaimana otak kita di masa kanak-kanak dibakukan:
hutan suara-suara, gerakan cahaya
menyentuh dan menggelitiki kita,
cinta yang menentukan kita,
tak pernah berubah, selamanya.
Kita diciptakan dari apa yang kita cintai:
lorong pikiran kita dilekuk jempol-jempol buruk
oknum yang mengakali dengan cara sehalus-halusnya
Sebagai orang dewasa, kita hampir tak bisa diubah,
namun mendambakan perubahan, semacam
kemendadakan dalam pembuluh darah.

Di tempat inilah kita pikir diri kita disia-siakan,
saban hari melangkah keluar dari lift
masuk ke dalam dunia-harian yang berpura sebagai dunia betulan,
berujar selalu tidak-pernah-ada-cukup-waktu-dalam-satuhari,
kelelahan yang hampir makrifat
perubahan, tapi terus terkenang-kenang
kehilangan barang, tak pernah bisa kembali
kecuali dalam bentuk kurang sempurna
lenyap sudah, berubah.
Dan kejemuan adalah rasa bersalah dengan beban berat
Aku duduk terikat pada kursi dalam setelan pakaianku
seperti balon di seutas tali
menjulang dan terombang-ambing di jendela,
dimana seekor anjing menyalak di sebuah balkon di tengah kota.
Aku seharusnya terlibat, aku seharusnya peduli,
namun pekerjaan menuntut begitu sedikit dariku sehingga
aku menyerah, aku membiarkannya mengambang di udara.


A Dream of Work

Our lost skulls orbit one another
in their fleshfolds, in the office’s
light-eating light. We are here
to be here, reliable as mustard.
Work smoulders
a not quite urgent urgency
– human voices quench it,
my colleagues, my brothers!
Our voices grind the air, our tales
are the tales of the world, boyfriends
shovelling backyards for love,
self-jeers of too-skinny, too-fat.
(We know our place
in the hierarchy of weight.)

‘The meaning of work?’
It makes us a mask, a shell,
builds us a house, it is ours.

Needing recognition like
a child at school with a bright new painting,
wishing that our efforts
did not slide forever on a shelf in space,
but were noted and added to a garden
of local meaning, feeding office languages
and kindly managers who straiten us
when we are not working, and notice when we are.
(And the department believes as it must, it can adjust
human trajectories, beginning
with the smallest seed of birth.)
What we want from work is almost love.

How our brains in infancy are worlded:
forests of voices, the moving light
touching and tickling us,
the love that sets us,
never to change, forever.
We are made by what loves us:
our thought-paths grooved by the terrible
thumbs of those who try their best.
Adults, barely changeable,
we long for change, some quick
suddenness in the veins.
Here we think ourselves wasted,
stepping each day off the elevator
into a day-world farcing as whole-world,
saying never-enough-hours-in-the-day,
exhaustion almost spiritual,
change, but not sleep
the thing given up, never to be returned
except inexactly,
already gone, already changed.
And boredom is a terrible guilt.
I sit tied to a chair in my suit
like a balloon on a string
looming and bobbing at the windows,
where a dog yaps on a city balcony.
I should be involved I should care,
but work requires so little of me
I give it up, I let it float into the air.

Posted in 53: INDONESIA | Tagged ,

Red Pools in Beutong Ateuh | Kolam Merah di Beutong Ateuh

Red Pools in Beutong Ateuh1

people come and express their greetings
people shake hands
people walk with gloom on their faces
people hold rifles, cocked and ready
people don’t hear the Quranic recitation
people forget to announce the call to prayer
people hear the sound of gunfire
people hear howls of terror
people hear moans of pain
people see blood turn into red pools

people count, with teeth chattering from fright,
the number of men martyred at Friday noon
people recall anxiously how many men were taken
and how many returned home
people begin to dig holes
so very soon soon filled
people begin to give witness;
witnesses wheeze with fear

and I and the thousands of others here
cannot be bought
I have an instinct
a conscience
although long besieged
I choose death
and I too give witness
(that the massacre really did occur)

Kolam Merah di Beutong Ateuh2

orang-orang datang mengucap salam
orang-orang berjabatan tangan
orang-orang berkeliling wajahnya suram
orang-orang di tangannya senjata siap kokang
orang-orang tak mendengar pengajian
orang-orang lupa mengumandangkan azan
orang-orang mendengar suara tembakan
orang-orang mendengar raungan kengerian
orang-orang mendengar rintihan kesakitan
orang-orang lalu melihat darah merah menjadi kolam

orang-orang menghitung dengan gigi gemerutuk ketakutan
berapa lelaki syahid Jum’at siang
orang-orang mengingat dengan harap cemas
berapa lelaki dibawa pergi kembali pulang
orang-orang mulai menggali
lubang-lubangpun berisi
orang-orang mulai bersaksi
saksi-saksi berdesah ngeri

dan aku serta ribuan orang disini
tak dapat dibeli
aku punya naluri
hati nurani
walau lama terkepung
aku memilih mati
akupun bersaksi
(bahwa pembantaian itu benar-benar terjadi)

English translation by Debra Yatim, edited by John H. McGlynn

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Dalam Berjalan | On Walking

Dalam Berjalan

Selalu dan senantiasa sama,
satu kaki di depan yang lain:
suatu tindakan pemberontakan
pada masa emisi karbon:
kau mengklaim kembali waktu
yang telah hilang
ketika kau berjalan.
Demikianlah caranya jarak, hari dan impian dilewati
dengan irama langkah yang pasti,
satu kaki, di depan
yang lain.

Aku telah berjalan melewati
sebuah rumah yang tertutup rimbun kebun,
jendela berkilau lindap melewati
gesekan daun-daun yang saling bertumbukan
Seorang ayah bermain kriket dengan anaknya
di taman, di luar waktu, sebuah peringatan
bahwa itulah yang seharusnya kulakukan:
Orang-orang tak bersuara dalam keremangan
gereja yang pintunya terbuka, menunggu
kabar yang tak akan membantu mereka.

Berjalan itu semudah menarik nafas, namun lebih penting:
Berjalan menjaga jarak yang sama antara
kelahiran
dan kematian.


On Walking

It is only ever
one foot in front of the other:
an act of rebellion
in the age of emissions:
you claim back time
you’ve lost
when you walk.
In this way,
distances, days and dreams are crossed
in the rhythm of the deliberate step,
one foot, in front
of the other.

I have walked past
A house being swallowed by its own garden,
windows glinting defiantly through the
violence of collided leaves:
A father playing cricket with his son
in the park, outside time, a reminder that
that’s what I should be doing:
People quiet in the shadows
beyond open church doors, waiting
for the news that won’t help them.

Walking is as simple as breathing, though more important:
Walking maintains an equal distance between
birth
and death.

Posted in 53: INDONESIA | Tagged ,

Mythology | Mitologi

Mythology

As a child he like looking at himself in the mirror in his mother’s room.
“That’s you,” his mother said as she released a bird inside him. The bird
was beautiful, with clear pupils and a rose colored beak. “It will be your
friend even when I’m not here.”

As a teenager, his mother moved the mirror into his room. Each time he
looked at himself, the bird cooed and circled above his head. What was
it saying? What did it want? When he wasn’t there, her was sure the
bird suffered and felt lonely.

As an adult, maybe because he was constantly busy with work, he rarely
looked at the mirror. And the bird, maybe because he often gave it no
mind, rarely showed itself to him. For years, for tens of years, they
seemed no longer to be part of each other. But then one day, after he’d
reached middle age, he saw it again: an ugly disheveled thing, much like
the gloom that had taken hold of his life. Was that really it?

Now, as an elderly man, in front of the mirror, he bitterly longs for it.
But the bird, that bird, never actually existed.

Mitologi

Saat kanak-kanak, ia gemar melihat dirinya dalam cermin
di kamar Ibu. “Itulah kamu,” kata si Ibu seraya melepaskan seekor
burung ke dalamnya. Burung itu cantik, pupilnya terang, paruhnya
merah muda. “Sebagai teman, tentu, bila Ibu tak ada.”

Saat ia mulai remaja, cermin itu dipindahkan Ibu
ke kamarnya. Setiap ia berkaca, burung itu berkicau berputar
putar di atas kepala. Apakah yang dikatakannya? Adakah
yang diinginkannya? Bila dirinya tak ada, ia merasa
burung itu kesepian; dan tentu menderita.

Saat dewasa, sebab entah sibuk bekerja, ia mulai
jarang berkaca. Burung itu, entah memang karena ia lupa,
jarang pula tampak olehnya. Bertahun-tahun,
berpuluh-puluh tahun, mereka bagai bukan bagian
dari bersama. Tapi suatu ketika, dalam usia separo baya, ia
melihatnya. Burung jelek, kusam, tak ubahnya kelebat muram
dalam hidupnya. Betulkah itu dia?

Kini ia telah tua. Di depan cermin, pedih,
ia sering merindukannya. Burung itu—burung itu,
memang, sebenarnya tak pernah ada.

Payakumbuh, 1997

English translation by John H. McGlynn

Posted in 53: INDONESIA | Tagged ,

Istana Windsor | Windsor

Istana Windsor

tak ada seorang pun membangunkan sang Ratu
yang menelungkup di atas meja di antara makanan yang tinggal sedikit
tak banyak yang masih tersisa namun tetap mengotori tangannya saat dia hendak masukkan tangan ke dalam jubah

kilau tajam serupa kapak pemenggal kepala berkilat di Teras Timur
pelayan sang Ratu berdiri dekat tembok dengan nampan
tapi tak ada gerak isyarat atau petunjuk sedikit pun
walau sosis-sosis berbentuk hidung anjing corgi mulai menjadi dingin

dimanakah suara terompet, dimanakah bahtera sang Ratu
dimanakah rakyatnya yang berjajar berjam-jam di jalan-jalan
dimanakah pelayan yang mencuri bendera lambang sang Ratu
dan kabur ke Sungai Thames di atas karton-karton susu

berakhir dengan serbukan bedak dari tubuh
di antara pawai ceceran pil
pelindung atas Kompetisi Ibu Tenang
hingga sang Ratu melemparkan domba dari Menara penjara sendiri

akhirnya–lihatlah–petugas dengan nampan tadi
melangkah ke dalam tiang cahaya itu
dan menghadapi wajah yang berubah jadi biru megah
akan bertahan seperti itu selama-lamanya

untuk belaian paling lembut pada rambut yang tergerai itu
tegukan dingin dari cangkir saat ia
mengeluarkan pena dari kantong dan menggambar helai kumis
sepotong roti baguette di atas bahu—Penghormatan

bagi tangan yang memerintah Inggris—sebuah cinderamata
harus diambil kini bersih dari pergelangan tangan
dengan pisau tajam nafas mengepul
bagaimana itu tumpah di atas kain meja.


Windsor

no one resuscitates the Queen
she just slumps at the table so common
few have remained and everything spoiled
the arm she was trying to slip into her robe

a guillotine of light from the Eastern Terrace
her attendant at the wall with the tray
but no gesture now not the slightest cue
now the corgi-nose sausage going cold

where are her trumpeters her amphibious ships
her subjects who lined the streets for hours
where is the Yeoman who stole her flag
and escaped down the Thames on milk cartons

ending with a puff of talc from the body
amongst a pageant of scattered pills
patron of the Calm Mother’s Competition
until she threw lambs from the Tower herself

finally—watch—the attendant with the tray
stepping into that mast of light
to the face that is turning a royal blue
the only state the body will lie in

for the gentlest stroke of that unkept hair
a cold sip from the cup as she
a texta in the pocket to draw a pen moustache
a baguette upon the shoulders—the Accolade

for the hand that ruled Britain—a souvenir
to be taken now clean from the wrist
with a sharper knife a steaming breath
how it spills upon the cloth

Posted in 53: INDONESIA | Tagged ,

Patiwangi: Renunciation | Patiwangi

Patiwangi: Renunciation1

this is my new land
a spring guarantees its existence
fish embark on new love affairs
branches bearing budding leaves
fashion a burial ceremony

I can smell all kinds of flowers
and ritual offerings curse the feet I sink into soil
the tinkling of bells arrests the compass
powerless to guide the gods home

In the temples I make a map
to carry my colors to the sun’s family tree
the earth broods, the soil buries its wrath
no fragment of sound remains
to set my colors free

the men who are present challenge the sun
awaiting their chosen woman’s hue
no temple rites exist for them to perform

the officiants can only inhale the incense
required to recognize too many gods
and still the men press their suits for my hand

because of my name
I need to possess a ritual history

of this selection
I will bathe posterity’s children clean

Patiwangi2

inilah tanah baruku
mata air menentukan hidupnya
ikan-ikan memulai percintaan baru
batang-batang yang menopang daun-daun muda
membuat upacara penguburan

telah kucium beragarn bunga
dan sesajen mengutuk kaki yang kubenamkan di tanah
suara genta menyumbat mata angin
tak mampu mengantar dewa pulang

kubuat peta di Pura-Pura
mengantar warnaku pada silsilah matahari
bumi mengeram, tanah memendam amarah
tak ada pecahan suara
menyelamatkan warnaku

para lelaki menantang matahari
menunggu warna perempuan pilihannya
tak ada upacara untuknya di setiap sudut Pura

para pemangku hanya mencium bangkai dupa
terlalu banyak dewa yang hams diingat
dan para lelaki terus meminang

karena namaku
kuharus punya sejarah upacara

anak-anak
kelak kumandikan dari pilihan ini

1995

English translation by Deborah Cole

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Kuburan Suamiku | My Husband’s Grave

Kuburan Suamiku

Aku merobek widuri kapas dari rumput di samping kuburanmu.
mungkin kau injak hamparan rumput itu menjelang kepergianmu yang terakhir,
menarik duri dari celanamu, mengagumi bunga ungu menawan.
Alangkah jauh kau berjalan, lewat tumpukan jerami terbakar
dan rumah-rumah kosong, lewat mata perempuan yang menatapmu
lalu memalingkan muka. Aku yakin kau memimpikan beranda yang teduh
di rumah, lebah-lebah beterbangan di taman, selai plum yang baru kumasak mendingin
di dapur, sebuah surat panjang berdiam dalam saku mantelmu, sebuah puisi
tertulis di bagian belakang surat edaran iklan minyak hati ikan kod.
Teman baikmu, Miklós Lorsi, ditembak di sampingmu,
peluru mengiris dagunya saat ia mengistirahatkan biolanya.
Andaikata kau, Miklós Radnóti, berbaris dengan unit berikutnya kau masih hidup,
seperti puisi-puisimu – puisi-puisi yang tidak dimakan
cacing tanah, cinta setegar widuri dan sukar dibasmi.


My Husband’s Grave

I ripped a cotton thistle from the grass beside your grave.
No doubt you stepped on them on your last march,
pulled the spines from your trousers, admired the lovely
purple flowers. How far you walked, past burning haystacks
and deserted houses, past women who looked at you
and looked away. I’m sure you dreamt of the shady verandah
at home, bees flitting about the garden, my plum jam cooling
in the kitchen, a long letter safe in your overcoat pocket, a poem
written on the back of a handbill advertising cod-liver oil.
Your dear friend, Miklós Lorsi, was shot beside you,
the bullet slicing into his chin where he once rested his violin.
If you’d marched with the second unit you would have lived,
Miklós Radnóti, like your poems—poems the earthworms
did not eat; love as tough as a thistle and as hard to eradicate.

Posted in 53: INDONESIA | Tagged ,

Married to a Knife | Nikah Pisau

Married to a Knife

i have arrived somewhere, spinning
in a labyrinth, it was a long journey,
without a map. and the darkness
is perfect. I followed a lane
between a river and a chasm.

there was a scream. it sounded like a song.
perhaps it came from my mouth. there was a moan,
like a lullaby. perhaps it came from my mouth.

but i have landed in a place
of perfect alienation: your body is covered with maggots
which i ignore. until i find complete
sexual satisfaction. then i finish you too,
i stab you in the heart and
tear off your prick
in my pain.

Nikah Pisau

aku sampai entah di mana. berputarputar
dalam labirin. perjalanan terpanjang
tanpapeta. dan inilah warna gelap paling
sempurna. kuraba gang di antara sungai
dan jurang.

ada jerit, serupa nyanyi. mungkin dari
mulutku sendiri. kudengar erangan, serupa
senandung. mungkin dari mulutku sendiri.

tapi inilah daratan dengan keasingan paling
sempurna: tubuhmu yang bertaburan ulatulat,
kuabaikan. sampai kurampangkan kenikmatan
sanggama. sebelum merampungkankanmu juga, menikam
jantung dan merobek zakarmu, dalam segala
ngilu.

1992

English translation by Harry Aveling

Posted in 53: INDONESIA | Tagged ,

Tempat Tali | Timber Hitch

Tempat Tali

Perempuan itu terlipat ke dalam sinar matahari dan aku putuskan untuk memanfaatkannya. Matahari, cahaya, merupakan pelajaran mengenai bangunan. Pelajaran atas sinar matahari yang mengena sekarung goni gandum gorden tertutup, menjadi. Aku memintanya mengisi air pada bak mandi dan geli. Perempuan itu menunjukkan-kartu hati. Lalu di menelpon kembali akudi rumah dan aku membayangkan dia di luar, di lapangan tempat seekor kuda mencari rumput. Di tengah hutan. Pokok pohon retak. Meninggalkan pintu dengan kertas pesan kehilangan bertulisan pensil: Ashberry. Inilah hidup tenang. Inilah lukisan benda mati.


Timber Hitch

She folds over into the sunlight and I decide to use it. Sun, light, is a
study of buildings. Study of sunlight intercepting a hessian bag of oats
the shade drawn, drawing. I tell her to draw a bath and laugh. She
points it out – cards hearts. She calls me back on the landline and I
imagine her in a paddock. The centre of the woods. The tree splintered.
Leaves the door pencilled losses: Ashbery. It is a still life. A still life.

Posted in 53: INDONESIA | Tagged ,

Mei | Mei

Mei

Jakarta, 1998

To the fire, Mei,
I offered your beautiful body.
You went to take a bath that evening.
You bathed in fire.

Fire loves you, Mei, so very much.
Fire laps at your body
even its most hidden spaces.
Fire loves your body so very much,
nothing is left but color,
flesh and illusion.

Your body, Mei, writhing and melting in the fire,
is our body too.
The fire wishes to cleanse virtual body
but the body, your beautiful body, Mei
deceives us and burns completely

You’ve taken your bath, Mei.
You’ve bathed in fire.
With your body’s destruction and its union
with the body of this earth;
the fire has revealed its secret love
when there are no longer questions, Mei
about your name or the color of your skin.

Mei

Jakarta, 1998

Tubuhmu yang cantik, Mei
telah kaupersembahkan kepada api.
Kau pamit mandi sore itu.
Kau mandi api.

Api sangat mencintaimu, Mei.
Api mengucup tubuhmu
sampai ke lekuk-lekuk tersembunyi.
Api sangat mencintai tubuhmu
sampai dilumatnya yang cuma warna
yang cuma kulit yang cuma ilusi.

Tubuh yang meronta dan meleleh dalam api, Mei
adalah juga tubuh kami.
Api ingin membersihkan tubuh maya
dan tubuh dusta kami dengan membakar habis
tubuhmu yang cantik, Mei

Kau sudah selesai mandi, Mei.
Kau sudah mandi api.
Api telah mengungkapkan rahasia cintanya
ketika tubuhmu hancur dan lebur
dengan tubuh bumi;
ketika tak ada lagi yang mempertanyakan
nama dan warna kulitmu, Mei.

2000

English translation by John H. McGlynn

Posted in 53: INDONESIA | Tagged ,

Hujan Tropis | Tropic Rain

Hujan Tropis

Daun telinga gajah laksana talam sajian
sempoyongan di bawahnya, hujan tropis memecut ke samping,
tersandung seperti kibaran terpal di pohon palma,
rimbun, simfonik, tak ada gambar di dalamnya. Bara api yang tersulut
dari pukulan air-tempaan pada tepian pakis,
terhempas ke daun mangga.
Hujan yang kukenal itu laksana musik, oratorio kaleng
gagap seperti katak dengan tenggorokan penuh
lalu luber ke dalam sumber air pokok pinus,
suara seperti jarum kait dipercepat menjadi irama Kuba
retakan pecut di kaca jendela, menyayati
kulit pepaya, berselancar dalam pancuranhijau.
Hujan memejamkan kelopak mata pinggiran kota,
hujan melenceng ke kisi-kisi butiran, irisan hujan
dengan zat warna besi di dalamnya, hujan angin muson
demikian lebat engkau berhenti di tepi beranda
dekat dunia buram, semua pandangan dikaburkan
diratakan seperti di ambang tidur.
Lalu hujan di kejauhan pun datang, hanya bisa didengar
oleh telinga serangga, menetes melalui semak belukar,
hujan yang mungkin kau tak perhatikan di selingan hujan gerimis
seperti kegagapan rentetan senjata dari magasin api
yang bersuara kemudian berdiam lalu bersuara lagi.


Tropic Rain

Elephant ears like serving plates
stagger under it, tropic rain lashing down sideways,
tripping like flapped tarp on tree palm,
lush, symphonic, no image in it. Embers sparked
from the water-forge hammer fern brim
and fling starwards into mango leaf.
Rain I have known like music, a tin oratorio
stammering like a frog into full throat
then overspilling into pinewood soakage,
crotchets quickened into Cuban beat,
whipcrack on windowpane, slashing
down pawpaw skin, sledding in the green eaves.
Rain shuttering a suburb’s eyelids,
rain in slant to louvre grain, sliced rain
with tinctures of iron in it, monsoon rain
so sheeted you stop at the verandah’s brink
by a blurred world, all detail drummed,
tempered flat like the verge of sleep.
Then comes outpost rain, audible only
to insect ear, a trickle through weed thicket,
rain you might miss in an intermittent mizzle
like the stutter of magazine fire
that starts and stops and starts up again.

Posted in 53: INDONESIA | Tagged ,

A Poet Once More | Menjadi Penyair Lagi

A Poet Once More

I found strands of your hair, Melva, in Karang Setra
On the smooth ceramic floor. I always think of you
When I see ads for soap, shampoo, and toothpaste
Or dangdut singers on the tv.
Now, alone in this hotel, I feel myself to be
A poet once more. The intoxicating scent of your perfume
Slipping suddenly through the bathroom door
Attacks me like lines of poetry.
You know, Melva, words always make me tremble
And the strange scents from your nape, neck, and armpits
Have now turned into words.

Now, alone in this hotel, I feel myself to be
A poet once more. I carefully place the brown strands of hair
On the table, alongside the papers,
The cigarettes, and the cup of coffee. And then,
Still feeling your lips on my mouth
Your voice still filling my ears and mind, I write a poem.
Remembering the color of your shoes,
Your underwear, your bra, and the belt
You once left beneath the bed
As a way of saying goodbye, I write a poem.

No, Melva, a poet is not sad for being abandoned
Or from the pain because in the end such things do pass
The poet does not weep for being betrayed
Or fall unconscious because his mouth has been silenced
A poet does not die from his words’ loss of strength
Or because his powerful words will have turned into prose:
Becoming, for instance, unending war
Hijackings, plane crashes, floods, and earthquakes
Or, for instance, the never-ending corruption of this country
The mayhem, the looting, the rapes, or whatever

It’s just that I am alone here and feel myself to be a poet once more

Menjadi Penyair Lagi

Melva, di Karang Setra, kutemukan helai-helai ratnbutmu
Di lantai keramik yang licin. Aku selalu terkenang kepadamu
Sedap melihat iklan sabun, shampo atau pasta gigi
Atau setiap menyaksikan penyanyi dangdut di televisi
Kini aku sendirian di hotel ini dan merasa
Menjadi penyair lagi. Bau parfummu yang memabukkan
Tiba-tiba menyelinap lewat pintu kamar mandi
Dan menyerbuku bagaikan baris-baris puisi
Kau tahu, Melva, aku selalu gemetar oleh kata-kata
Sedang bau aneh dari tengkuk, leher dan ketiakmu itu
Telah menjelmakan kata-kata juga

Kini aku sendirian di hotel ini dan merasa
Menjadi penyair lagi. Helai-helai rambutmu yang kecoklatan
Kuletakkan dengan hati-hati di atas meja
Bersama kertas, rokok dan segelas kopi. Lalu kutulis puisi
Ketika kurasakan bibirmu masih tersimpan di mulutku
Ketika suaramu masih memenuhi telinga dan pikiranku
Kutulis puisi sambil mengingat-ingat warna sepatu
Celana dalam, kutang serta ikat pinggangmu
Yang dulu kautinggalkan di bawah ranjang
Sebagai ucapan selamat tinggal

Tidak, Melva, penyair tidak sedih karena ditinggalkan
Juga tidak sakit karena akhirnya selalu dikalahkan
Penyair tidak menangis karena dikhianati
Juga tidak pingsan karena mulutnya dibungkam
Penyair akan mati apabila kehilangan tenaga kata-kata
Atau kata-kata saktinya berubah menjadi prosa:
Misalkan peperangan yang tak henti-hentinya
Pembajakan, pesawat jatuh, banjir atau gempa bumi
Misalkan korupsi yang tak habis-habisnya di negeri ini
Kerusuhan, penjarahan, perkosaan atau semacamnya

O, aku sendirian di sini dan merasa menjadi penyair lagi

English translation by John H. McGlynn

Posted in 53: INDONESIA | Tagged ,

Dari Kereta di Connecticut | From a Train in Connecticut

Dari Kereta di Connecticut

Kapling Bengkel Petrillo, penjajah suku cadang mobil di pinggir kota New Haven
terisi ribuan mobil yang tak begitu tua
namun semuanya rongsokan, berkarat, dengan roda tanpa ban
dan kaca jendela berkatarak
Tak ada jiwa yang tampak, hanya sungai
mengalir pelan dalam lubang-lubang lembut
menabrak satu tepian ke tepian lain
Di kantornya duduklah John Petrillo, cemas pada bobot tubuhnya
saat mendengarkan radio, takut
pemain-pemain bintang tim baseball The Mets tidak berhasil dibujuk bermain lagi
sebelum babak penyisihan pertandingan.

Berabad yang lalu di lokasi kota New Haven sekarang
dua suku Indian, Quinnipiac dan Pequot, meluncurkan sejumlah pertempuran
yang sebenarnya lebih pantas disebut perkelahian dengan kekalahan di pihak suku
     Quinnipiac
yang akhirnya menjual sebagian tanah mereka ke kaum pendatang orang Eropa
hanya demi sekeping ketentraman.
Tak jauh dari tempatnya, pepohonan pinus berderet-deret di atas bukit,
mirip suasana di luar Munich
tempat dimana belum begitu lama diadakan negosiasi perdamaian serupa.
Sulit dibayangkan keadaan di sini yang begitu damai ,
meskipun pepohonan yang merayap itu sebenarnya meniru
kekerasan, penuh dengan kehidupan dan tujuan yang lembab.

Semalam Joe bermimpi, dia membunuh teman lamanya,
bertahun-tahun yang lalu, dan berhasil lolos selama ini.
Ketika bangun, dia ingat dia belum melihat temannya itu
selama beberapa tahun, sejak sang teman pindah ke kota Mystic di Connecticut.
Atau apakah dia bersalah? Siapa tahu
mungkin ada darah di tangannya.
Kini, dalam waktu yang longgar pada dinihari, berhadapan dengan laporan-laporan
     akutansi
yang belum disusun rapi angkanya, dia tak begitu yakin lagi.
Inilah inti masalahnya, bukan bisnisnya atau berat badannya–
dia seakan-akan tidak pernah bisa klop
dengan dirinya sendiri. Setiap kali dia menemukan dirinya sendiri,
selalu kesementaraan, seperti titian di sungai yang sedang pasang. Yang jelas, dia takut.
Silau matahari menerang,
menggerigi benang asap yang timbul dari rokok Brancusi.


From a Train in Connecticut

Petrillo’s Used Auto Parts just outside New Haven
contains about a thousand newish cars
all wrecked, rusting, with tyreless wheels
and cataracted windscreens.
There’s not a soul in sight, just the river
flowing slowly in mild lobes
swapping one bank for another.
In his office sits Joe Petrillo, worried about his weight
and listening to the radio, sweating
on the Mets getting back their stars
in time for the playoffs.

Centuries ago near what became New Haven
the Quinnipiac and the Pequot fought a series of battles
or skirmishes, really, the Quinnipiac coming off second best,
eventually selling their land to some Europeans
in exchange for a peace of sorts.
Nearby, firs serry up a hill, just as near Munich,
where not as long ago there was a similar appeasement.
It’s hard to imagine, it being so peaceful here,
although the creeping greenery is a clear imitation
of violence, full of life and humid intent.

Last night Joe dreamt he’d killed his oldest friend,
years ago, and had been getting away with it all this time.
Awake, he remembers that he has not seen him
for several years now, not since the friend moved to Mystic, Connecticut.
Or was that a mistake? Perhaps
there’s blood on his hands after all.
He can’t be sure, now, in the wide hours
of early morning, unbalanced accounts
before him in a yet to be ordered pile.
This is the problem, not his business or his weight
but that he never seems to coincide
with himself. Whenever he finds himself,
it’s always provisional, like a ford
in a rising river. Most of all he is afraid.
The blinded sun lights up,
serrates his thin Brancusi tube of smoke.

Posted in 53: INDONESIA | Tagged ,

Poetry Suppressed by News | Puisi Tertindas Berita

Poetry Suppressed by News

There’s a crock-pot inside me. Something always cooking
Its inner walls blistering thinner and thinner
Fire. You roast me with self-concealment

Temptations of friendship always arrive early in the morning
I am wont to embrace. Only to be shunted aside a list of interviews
News. News in a rush to be written. No time to wait

Whining will definitely drag out bedtime
But even the best-managed households have yet to be evaluated
Seeming instead to fall apart on the streets every day

I see that a heap of news fills my saucepan
The lighted stove scorches all feeling
Broadcast formulae crowd my mind.

Awareness. You say awareness will help
But it seems the entire country is pressing in on my fading years.
My children’s mouths are agape. Mouths always begging for something.

Puisi Tertindas Berita

Ada belanga dalam diri. Selalu bergolak
Dindingnya melepuh semakin tipis
Api. Kau panggang aku dengan ketertutupan diri

Rayuan pertemanan selalu datang di awal pagi
Ingin kurangkul. Tapi tertepis segala daftar wawancara
Berita. Berita tergesa ditulis. Tak ada waktu menunggu

Kecengengan pasti memperlama masa tidur
Sementara tangga tertinggi belum terukur
Seakan terbelah diri di jalan-jalan setiap hari

Seonggok berita kulihat memenuhi panci
Kompor menyala menghanguskan keharuan
Rumus berita merangkul kepala

Kesadaran. Katamu kesadaran akan membantu
Tapi tanah seakan menjepit usia kuningku
Anak-anak menganga. Mulutnya terus meminta segala.

English translation by Deborah Cole

Posted in 53: INDONESIA | Tagged ,

Hitunglah Kebaikan Yang Pernah Kau Berikan | Pony Up Your Beatitudes, Homeboys

Hitunglah Kebaikan Yang Pernah Kau Berikan,
wahai teman-teman sepermainanku

Hitunglah kebaikan yang pernah kamu berikan, wahai teman-teman sepermainanku.
     Nujuma
dari penasehatku – yang bilang niat itu tak terlalu penting
untuk semua yang telah diniatkan – cukup untuk menjelaskan gagasan
tentang sebuah niat. Toponimi, hatinya berkedip-kedip bimbang menentukan pilihan,
di wilayah abu-abu, seperti notasi dari patung effigy di kuncinada G terbuka.
Apakah ini kelemahan kritik autobiografi?
Setelah satu dasawarsa merantau, tahun-tahun beliaku muncul dalam pandangan
bentanganlaut. Hati bisa berubah.
Santai saja, wahai teman-teman sepermainanku, dan jelaskan dengan cahaya
syarat-syarat kesempurnaan. Dalam pengucapan yang sama akan terlihat
keanekaragaman aset. Kita sama sekali tidak
menyerupai orang-orang suci yang pernah menjadi harapan kita.

Patung effigy: dalam konteks politik bisa berarti semacam boneka yang dibuat cepat-cepat untuk mewakili
seorang tokoh yang tidak disukai dan lalu boneka itu dibakar.


Pony Up Your Beatitudes, My Homeboys

Pony up your beatitudes, my homeboys. Auguries
of my mentors – for whom intention isn’t necessary
for all intentional – suffice for or elucidate the idea of
intending. The toponymy of flickering hearts in
swing states is a tablature of effigy in open G tuning.
Are these foibles of autobiographical criticism?
After a decade away, a return to the seascape of
my formative years swells. Hearts can change.
Slow down, my homeboys, and explicate with light
the conditions of completeness. In these same
utterances the diversification of assets. We don’t
look a thing like the saints we set out to be.

Posted in 53: INDONESIA | Tagged ,

Rats | Tikus-tikus

Rats

Rats stop me in my path
The rats now hoisting a flag
and looking cynically my way
The rats embracing a flagpole
legs planted stiffly on the garbage bin
The flag, of indeterminate colors
flutters in the night
Which way the wind blows is uncertain
The rats that cross my path and the gutter
fly their flag high, as high as a minaret
as high as a church steeple
as high as a temple’s peak.
Whose national flag is it anyway
that flutters in the night.
Field rats, kitchen rats, gutter rats, garbage rats
tree rats, rice rats, city rats,
stand in formation at the flagpole’s base
paying respect to the night rats
on their memorial day.

The rats that bar my way as I go home
together carrying the multi-colored flag
Laugh giddily to see me stop in my tracks.

Tikus-tikus

Tikus-tikus memotong jalanku
Tikus-tikus yang yang mengangkat bendera
Dan melirik sinis ke arahku
Tikus-tikus yang memeluk tiang
Tegar kakinya menopang di tong sampah
Bendera itu, tak jelas warnanya
Berkibar tengah malam
Tak jelas ke arah mana angin bertiup
Tikus-tikus yang memotong jalan dan parit
Mengibar benderanya, setinggi menara masjid
Setinggi toreng gereja
Setinggi puncak kuil dan pura.
Bendera kebangsaan siapa sebenarnya,
Berkibar di tengah malam itu.
Tikus tanah, tikus dapur, tikus parit, tikus-tikus tong sampah
Tikus pohon, tikus sawah, tikus-tikus kota,
Berbaris di kaki bendera
Memberi hormat
Hari agung tikus-tikus tengah malam.

Tikus-tikus yang menghadang langkahku pulang
Menggotong bendera warna-warni
Tertawa gembira melihat langkahku yang terhenti.

GGB, Sawangan 12/08/97

English translation by John H. McGlynn

Posted in 53: INDONESIA | Tagged ,

Pendaratan yang Salah | False Landing

Pendaratan yang Salah

Membeli barang-barang yang dia inginkan
perhiasan hati di angin –
Minum krim brendi, bernyanyi bersama
sesuai irama tusukan-tok jam.
Tempatkan hasil uang kemenangan di bawah tumpukan kotoran sapi
Menebar lavender ke dalam setiap baris
Memasang kawat peledak bom di antara dawai-dawai biola
yang berhadapan denganku dalam kegelapan.
Nada yang sama jatuh
menjadi aksen irama musik yang sama
Aku adalah sebuah aksen –
Pantat yang ingin kau tepuk
Sepak ke samping
Koboi berpistol palsu
Madame Bovary, ya itulah aku
Namun ini bukan sebuah pengakuan
Tentang Paris, atau apa pun.
Sila mendesah, sesuka hati.
Kita akan selalu memiliki teknologi.
Perkenalkan perasaan apa saja –
Rasa spermento, spearmint, serpent atau sea spray semprot laut?
Aku akan meminta rejeki nomplok lain –
Sebuah rumah besar yang nyaman di antara pohon-pohon, tetapi
Kau akan memberiku sesuatu yang lain:
Sebuah moncong lentera yang tidak melepaskan satu pun cahaya nyasar.
Perlu berhari-hari untuk sebuah ketiadaan
Untuk mulai mengartikan sesuatu yang lain.


False Landing

Buy the things she wants
A bauble heart in the wind––
Drink cream-brandy, sing along
To the pin-pricks of the clocks.
Place the jackpot under a cow patty
Sow lavender into each row
Thread trip wires into the violins
I move in the dark against.
Same notes falling
into the same accent
I’m an accent––
An arse you want to pat
Kick it aside
Pop gun cowboy
Madame Bovary, yes it’s me
However this is not a confession
About Paris, or anything else.
Sigh all you like
We’ll always have technology viz.
Any promotional feeling––
Spermento or spearmint or serpent or sea spray?
I’ll ask for another windfall––
A warm mansion amongst the trees, but
You’ll give me something else:
A lantern jaw which sheds not a single
stray of light.
It takes days for the absence
To start to mean something else.

Posted in 53: INDONESIA | Tagged ,

The Centre Cannot Hold: 6 Contemporary Filipino Poets

Ynna Abuan
Infinite Possibilities | Ynna Abuan | 24in x 34in | acrylic on canvas | 2008

More than 92 million people live in the Philippines, making it the world’s 12th most highly-populated country. Given that many of these millions speak English as a second language, the Philippines is also one of the world’s largest English-speaking nations. Most Filipino writers publish in English, or in English as well as in other languages like Tagalog or Cebuano. This doesn’t take into account the millions of Filipinos who live overseas, particularly in the United States, where there’s a rich tradition of Filipino literature that begins with poets like the magnificent José Garcia Villa (1908-1997). In this light, Filipino literature is one of the world’s major English-language literatures.

Contents:

Three Poems by Conchitina Cruz
Four Poems by Marc Gaba
Three Poems by Marjorie Evasco
Three Poems by Francisco Guevara
Three Poems by Mabi David
Two Poems by Ricardo M. de Ungria

If for the fact that there are hundreds of thousands of Filipinos living in Australia wasn’t reason enough to take an interest in Filipino poetry, the fact that Filipino poetry shares a tremendous amount in common with Australian poetry should. Those fissures that have dominated so much of the past half-century of Australian poetry – between ‘the tradition’ and ‘the postmodern’, between an indigenous or nationalist poetry and a poetry that stretches to North America and elsewhere, between poetry that centres on the nation’s landscapes and poetry that sees in its cities and other locations a manifestation of global and/or North American trends – are quite central to poetry in the Philippines, too. As many of the poems in this chapbook demonstrate, what links much of contemporary Australian and Filipino poetry is a shared tendency to confront these issues not as a set of delimiting restrictions, but as entries into investigations that interrogate those most basic assumptions about who is writing, where s/he is writing and why writing in this particular language, in this particular time and place must occur at all.

More than anything else, perhaps, it’s a close but uneasy relationship to the United States of America that produces so much synergy between Filipino and Australian poetries. This involves anything from a wary ambivalence of cultural homogenisation to a fierce enthusiasm for the literature and culture of the world’s largest, wealthiest nation. Many of the poets in this selection have spent – or are spending, as in the case of Conchitina Cruz – long periods in the USA, and maintain close connections to its literary and scholarly currents. Their work shows traces of Steinian repetitions, Olsonian fields and Spicerean grammars. Yet in their willingness to unsettle the object, the speaker, and the situation of the poem, reveals a commitment to experiences of dislocation and homelessness – to a ‘revolution’, as Kokoy Guevara puts it, of people moving ceaselessly away from, towards, across territories.

This shared Filipino-Australian proximity to the USA provokes a much deeper uncertainty about the English language and how appropriate it is for speaking in and/or about Filipino or Australian concerns. It suggests that as we yearn for the cosmopolis, we are also rather appalled by it.

In the case of Filipino poets, this is glaringly obvious. Nationalist organisations like LIRA promote the writing of poetry in native Filipino languages and in forms derived from traditional oral poetries. LIRA has been highly critical of avant-garde groups like High Chair, whose poets would share much in common with many of the contributors to Cordite Poetry Review. In both countries there’s a strong sense that American English is not, and cannot be our English. Nevertheless, as we try to resist the imperialist momentum of the American version, we are only made more aware of the inherently colonialist, uniformalising tendencies of our own state-sanctioned codes. If our home isn’t to be found there, then where is it?

***


I’m ashamed to say that prior to my Asialink residency I knew next to nothing about the Philippines, let alone Filipino poetry. I had some extraneous ideas floating around to anchor my imagination (as an avid martial artist, I’d done some Eskrima training over the years, and after so much time in Latin America I was aware of the Philippines as a satellite of the old Spanish Empire) but I knew nothing of the ways Filipinos represented themselves, or of the ways they spoke about time, space and their long, turbulent history of successive colonisations. What I learned, the image I flew home with, was nothing short of extraordinary.

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Picture Becomes Text, Becomes Writing: Software as Interlocutor

While co-teaching a class titled TOO MANY COOKS at UnderAcademy College, our common interest in writing with the assistance of spell-check emerged. Sonny Rae Tempest’s Daily Motion Art blog post ‘A Picture Worth 11,739 Words’ provoked our idea to collaborate on a presentation for students during the course.

Allowing Microsoft Word and other programs or processing techniques to have non-trivial control over the content of a piece of writing is nothing new. In the mid-1990s, poets such as Joel Kuszai began to conceive processes which employed Word to help perform authorial tasks through the use of spell-check operations, and many others have invented methods for using the device as a compositional tool. In these mechanical poems, software serves as a type of interlocutor that sustains the writer’s experimental objective.

What is required in any type of spell-check writing is an input text, which can be anything prepared in a language a word processing program (e.g., Microsoft Word) understands. Though many approaches are possible, generally speaking an author proceeds by removing from the input text anything that is not an alphabetic character, including spaces, so as to have a block of letters to work with. From there, the block is uniformly recast into word-sized fragments – typically by use of automated processes (see A D Jameson’s HTMLGIANT blog post ‘Another way to generate text #1’ for a description of his lesson, which involves using macros for breaking text into chunks).

One can take many approaches in styling such works. In most cases, unless a strict replacement order is imposed, the end result combines objective aspects, such as Word’s analysis and consequent suggestions, with the author’s subjective choices. For this issue of Cordite Poetry Review, we derived our text, ‘Exit Ducky?’, from the issue’s cover images: a triptych of blurred faces.

After acquiring the alphanumeric code of the image by opening it in a text editor, the data was translated (via translate.google) from Chinese to English. The original coded output consists of thousands upon thousands of random characters. Encoding the binary in Chinese, a pictographic language, ensures that each character becomes its own individual word. Any other language encoding, except Japanese, will not accomplish this. We removed all non-alphabetic and non-basic punctuation characters, and then working with Word’s spell-check mechanism stylised the text. In this example, which is rare, the machine translation produced an abundance of excellent phrases. Thus, in addition to our spell-check work we also engaged in preserving and editing some machine-translated text.

This simple but time consuming process blends the creative and uncreative. The exercise obviously contains destructive qualities, but we prefer to emphasise its multi-level transformative properties. Allowing the software to dictate, at least in part, or steer the direction of this type of writing serves to provide the author with unexpected vocabulary and unforeseeable textual encounters in which compositional decisions must be made. One text, through programmatic filtering, expands into another. It is worth mention, however, that despite our use of a number of software programs (and different versions thereof) to conduct this text, the number of hours we humans spent shaping it for Cordite numbers in the range of dozens. In the end, it is by no means trivial ‘Uncreative Writing’. Certain forms of late-stage literature veer wildly from norms.

     Exit Ducky? Exit Ducky?

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INTERLOCUTOR Editorial

INTERLOCUTOR, guest edited by Libby Hart

Libby Hart

Before you do anything else today, I want you to stop and listen. I want you to close your eyes and listen to your surroundings. What is it that you can hear? Birdsong? Is it the sound of passing cars? The wind whispering? Is it the muffle of dead of night? Are you on a train? Are you listening to music while you read these words? Can you hear yourself breathing? Or is there someone else breathing beside you? Are they sleeping? Did the telephone just ring? Is that someone having an argument?

Regardless of what it is that you are listening to, you are experiencing something quite magnificent – and funnily enough, it goes on all around you at every moment of every single day. Its rules change frequently, but I think its premise goes a little something like this: to live is to experience the world and to experience the world is to commune with and within it. We are, all of us, in a conversation this very minute.

And sure, such magnificence is not always so marvellous. I am writing this editorial in an old house that is shared by creative types during waking hours. Unusually, I am here on a weekday during daylight hours – unusual because I typically come here most evenings to work or spend long days on the weekends. During interloping hours, I tend to have the place to myself. Yet today, a Friday afternoon, I am here with a small group of pianists who reside downstairs.

I have grown accustomed to sharing this space with several pianos that get a regular tinkering. And I am trying my best to ignore this as much as I can, now, while I write these words to you. The pianists also have a tendency to turn off the lights on the nights they visit the house. I’m left stumbling about the stairs when ready to go home, but that’s not really the problem. So what is? The problem is that there’s a woman downstairs who is talking very loudly to the group. I have not heard her before. She is opinionated and her voice is grating, tiresome.

What do I do about it? I listen to birds outside my studio window. I listen to the endless cars passing a busy intersection that rests at the edge of this old house. I put on some earphones without playing music. I listen to my own breathing. I decide to have a dialogue with my current surroundings and I begin to concentrate.

Poetry can act much in the same way. It beavers away quietly and then, when it’s ready, it perks up and listens. It sits up and wants to speak. Poetry can be shrill like a boorish woman. It can be mean like a stray cat in the alley. It can be tired, unwanted and looking for a bite to eat, much like the man who came by here last Sunday afternoon. It can be gentle and polite or layered as an onion. Or an opinion. Whatever poetry may be, it has personality. It has a voice that speaks endlessly of the world and how we experience it. And although I write ‘voice’, I mean voices. I mean diversity. I mean array.

So it is fitting that I now present to you poems I have selected for this interlocutor-themed issue. I deliberately chose only one poem per poet to allow as many conversations to unfold as was allowed. I have also grouped these poems into a sequence of loosely connected exchanges and, if willing, you can follow these threads by reading the poems from left to right, line by line on the issue index page.

I would like to express my thanks to all the poets who spent time and energy submitting their work for this issue. I read every poem that arrived at Cordite Poetry Review and I am extremely grateful to you for sharing your work with me. Before taking on this guest editorship, I had no idea of just how many poems are submitted to Cordite, but all that changed swiftly once I was in the thick of selecting work. It was a hard job selecting less than five per cent of submitted poems and I must thank Kent MacCarter for being one hell of a Managing Editor.

I will not mention any of the selected poets directly in this editorial as I’m a firm believer that if you name one poet you ought to name them all. Discussing forty-three poets would take up the entire section of this already bursting issue. The selected poems are wide-ranging in tone. Many deal with the body, with interaction and with being ‘in dialogue’ with the environment the words find themselves in. Other pieces explore the self as nature, while some discuss animals or mountains and the elements, and how such symbols come to represent loss or offering. Dialect, language, translation and the naming of things are ever present. This extends to body language, to legacies, to memory and the inner voice. There are soliloquies, two-way conversations, differences of opinion and rumination on the endless complexities we navigate so regularly. A sense of communion evolves in each poem. Let the conversations begin.

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