arritmias

Agora o meu coração
está cheio de passos
e de vozes falando baixo,
de nomes passados
lembrando-me onde
as minhas palavras não chegam
nem a minha vida
Nem provavelmente o Adalat ou o Nitromint.


Manuel António Pina, Todas as Palavras

atropelamento e fuga

Era preciso mais do que silêncio,

era preciso pelo menos uma grande gritaria,
uma crise de nervos, um incêndio,
portas a bater, correrias.
Mas ficaste calada,
apetecia-te chorar mas primeiro tinhas que arranjar o cabelo,
perguntaste-me as horas, eram 3 da tarde,
já não me lembro de que dia, talvez de um dia
em que era eu quem morria,
um dia que começara mal, tinha deixado
as chaves na fechadura do lado de dentro da porta,
e agora ali estavas tu, morta(morta como se
estivesses morta!),olhando-me em silêncio estendida no asfalto,
e ninguém perguntava nada e ninguém falava alto!


Manuel António Pina, Todas as Palavras

prozac nation

© Aino Kannisto

they eat out

In restaurants we argue
over which of us will pay for your funeral

though the real question is
whether or not I will make you immortal.

At the moment only I
can do it and so

I raise the magic fork
over the plate of beef fried rice

and plunge it into your heart.
There is a faint pop, a sizzle

and through your own split head
you rise up glowing;

the ceiling opens
a voice sings Love Is A Many

Splendoured Thing
you hang suspended above the city

in blue tights and a red cape,
your eyes flashing in unison.

The other diners regard you
some with awe, some only with bordom:

they cannot decide if you are a new weapon
or only a new advertisement.

As for me, I continue eating;
I liked you better the way you were,
but you were always ambitious.


Margaret Atwood

(maria), incendiária

In the burned house I am eating breakfast.
You understand: there is no house, there is no breakfast,
yet here I am.

The spoon which was melted scrapes against
the bowl which was melted also.
No one else is around.

Where have they gone to, brother and sister,
mother and father? Off along the shore,
perhaps. Their clothes are still on the hangers,

their dishes piled beside the sink,
which is beside the woodstove
with its grate and sooty kettle,

every detail clear,
tin cup and rippled mirror.
The day is bright and songless,

the lake is blue, the forest watchful.
In the east a bank of cloud
rises up silently like dark bread.

I can see the swirls in the oilcloth,
I can see the flaws in the glass,
those flares where the sun hits them.

I can’t see my own arms and legs
or know if this is a trap or blessing,
finding myself back here, where everything

in this house has long been over,
kettle and mirror, spoon and bowl,
including my own body,

including the body I had then,
including the body I have now
as I sit at this morning table, alone and happy,

bare child’s feet on the scorched floorboards
(I can almost see)
in my burning clothes, the thin green shorts

and grubby yellow T-shirt
holding my cindery, non-existent,
radiant flesh. Incandescent.


Margaret Atwood

a solidão

Os adolescentes da cidade
deitavam-se cada vez mais cedo.

Faltava-lhes o espaço para a náusea
desse lugar diminuto,
desse tédio
que só no quarto a sós
lhes denunciava a paixão.

Os adultos da cidade
deitavam-se cada vez mais tarde.

Não suportavam a náusea
desse lugar diminuto,
desse tédio
que no quarto só
lhes denunciava a solidão.


Filipa Leal

les nuit de la plein lune

© Sarah Jones

Sometimes the sky's too bright,

Or has too many clouds or birds,
And far away's too sharp a sun
To nourish thinking of him.
Why is my hand too blunt
To cut in front of me
My horrid images for me,
Of over-fruitful smiles,
The weightless touching of the lip
I wish to know
I cannot lift, but can,
The creature with the angel's face
Who tells me hurt,
And sees my body go
Down into misery?
No stopping. Put the smile
Where tears have come to dry.
The angel's hurt is left;
His telling burns.

Sometimes a woman's heart has salt,
Or too much blood;
I tear her breast,
And see the blood is mine,
Flowing from her, but mine,
And then I think
Perhaps the sky's too bright;
And watch my hand,
But do not follow it,
And feel the pain it gives,
But do not ache.


Dylan Thomas

a candle in the thighs

Light breaks where no sun shines;
Where no sea runs, the waters of the heart
Push in their tides;
And, broken ghosts with glow-worms in their heads,
The things of light
File through the flesh where no flesh decks the bones.

A candle in the thighs
Warms youth and seed and burns the seeds of age;
Where no seed stirs,
The fruit of man unwrinkles in the stars,
Bright as a fig;
Where no wax is, the candle shows its hairs.

Dawn breaks behind the eyes;
From poles of skull and toe the windy blood
Slides like a sea;
Nor fenced, nor staked, the gushers of the sky
Spout to the rod
Divining in a smile the oil of tears.

Night in the sockets rounds,
Like some pitch moon, the limit of the globes;
Day lights the bone;
Where no cold is, the skinning gales unpin
The winter’s robes;
The film of spring is hanging from the lids.

Light breaks on secret lots,
On tips of thought where thoughts smell in the rain;
When logics die,
The secret of the soil grows through the eye,
And blood jumps in the sun;
Above the waste allotments the dawn halts.


Dylan Thomas

true stories

I

Don’t ask for the true story;
why do you need it?

It’s not what I set out with
or what I carry.

What I’m sailing with,
a knife, blue fire,

luck, a few good words
that still work, and the tide.

II

The true story was lost
on the way down to the beach, it’s something

I never had, that black tangle
of branches in a shifting light,

my blurred footprints
filling with salt

water, this handful
of tiny bones, this owl’s kill;

a moon, crumpled papers, a coin,
the glint of an old picnic,

the hollows made by lovers
in sand a hundred

years ago: no clue.

III

The true story lies
among the other stories,

a mess of colours, like jumbled clothing
thrown off or away,

like hearts on marble, like syllables, like
butchers’ discards.

The true story is vicious
and multiple and untrue

after all. Why do you
need it? Don’t ever
ask for the true story.


Margaret Atwood

o percurso diário

Eu vou por este sol além
e ele é quotidiano até ao fim
como se até hoje ninguém
tivesse no sol e fora do sol também
morrido a morte por mim


Ruy Belo

Vivo na medida da verdade

e envelheço mais um pouco.
Peço mais uma cerveja e apercebo-me
do tempo - Que o tempo vem.
Na medida do possível.


António Quadros Ferro

life here is getting mad without you

the sun is hot and I can feel your heart beating / like a cold steel drum of the winter / overall, overall the land that spreads across there / seasons and I'm still waiting for you / bring me back to love's surrender

vultos delicados como miniaturas

Chega ao fim do dia
a hora mais lenta, quando o céu
é vago e as luzes se acendem
no prédio da frente.

Vemo-los por vezes
dentro das janelas, vultos
delicados como miniaturas
ou meros reflexos que passam
nos vidros.

Alguns prosseguem encargos
de sombra, outros detêm-se
a olhar a rua, no gesto
a expressão do seu puro
enigma.

E são como provas
de coisa nenhuma. Se acaso
nos fitam, parecem dizer:
a morte não será decerto
mais estranha que a vida.


Rui Pires Cabral

os poemas

Os poemas podem ser desolados
como uma carta devolvida,
por abrir. E podem ser o contrário
disso. A sua verdadeira consequência
raramente nos é revelada. Quando,
a meio de uma tarde indistinta, ou então
à noite, depois dos trabalhos do dia,
a poesia acomete o pensamento, nós
ficamos de repente mais separados
das coisas, mais sozinhos com as nossas
obsessões. E não sabemos quem poderá
acolher-nos nessa estranha, intranquila
condição. Haverá quem nos diga, no fim
de tudo: eu conheço-te e senti a tua falta?
Não sabemos. Mas escrevemos, ainda
assim. Regressamos a essa solidão
com que esperamos merecer, imagine-se,
a companhia de outra solidão. Escrevemos,
regressamos. Não há outro caminho.


Rui Pires Cabral

Cabemos inteiros

no mundo, às vezes
acordamos com os pés
fora da cama:
somos pequenos,
somos tão grandes.


Rui Costa

três figuras

As nuvens desenham figuras.
O céu em volta das nuvens desenha figuras.
Os olhos desenham sempre figuras no céu.


Pedro Mexia

se eu fosse um vídeo

and did you know how much I love you / is a hope that somehow you / you can save me from this darkness