Thursday, June 14, 2012

O dominó que vesti era errado



...

Fiz de mim o que não soube
E o que podia fazer de mim não o fiz.
O dominó que vesti era errado.
Conheceram-me logo por quem não era e não desmenti, e perdi-me.
Quando quis tirar a máscara,
Estava pegada à cara.
Quando a tirei e me vi ao espelho,
Já tinha envelhecido.
Estava bêbado, já não sabia vestir o dominó que não tinha tirado.
Deitei fora a máscara e dormi no vestiário
Como um cão tolerado pela gerência
Por ser inofensivo
E vou escrever esta história para provar que sou sublime.
Essência musical dos meus versos inúteis

...

Álvaro de Campos, 15-1-1928
(extracto da Tabacaria)

Espaço-Tempo-Mar


Espaço-Tempo-Mar, 1976
Water colour (35 elements); Black and white photograph on platex (35 elements);
250 x 206 cm

Um principio




Um principio...um dia no mar


Thursday, June 7, 2012

Um dia um homem



Um dia um homem

Pega numa moeda olha as suas faces

existirão sempre sem saber uma da outra



Um dia um homem

Chega a casa despe-se por completo

Deita-se ao lado da maior janela e deixa-se ficar ali

A sentir o vento a luz a diminuir



Um dia um homem

Caminha por um jardim dá uma flor

a flor é logo comida  o homem pensa :

- Que raro alguém que come flores…



Um dia um homem

Posta-se diante de um quadro e sente

As cores músicas distintas a reverberar nele



Um dia um homem

Acaba como um rio que chega ao mar deixa de ter nome

Um rio mesmo grande dilui-se sempre no mar maior



Um dia um homem

Não ri nem diz mais os nomes que ama

Todos os seus gestos perdidos no mar  


Tuesday, June 5, 2012

The Imaginary Iceberg

The Imaginary Iceberg



We'd rather have the iceberg than the ship,
although it meant the end of travel.
Although it stood stock-still like cloudy rock
and all the sea were moving marble.
We'd rather have the iceberg than the ship;
we'd rather own this breathing plain of snow
though the ship's sails were laid upon the sea
as the snow lies undissolved upon the water.
O solemn, floating field,
are you aware an iceberg takes repose
with you, and when it wakes may pasture on your snows?

This is a scene a sailor'd give his eyes for.
The ship's ignored. The iceberg rises
and sinks again; its glassy pinnacles
correct elliptics in the sky.
This is a scene where he who treads the boards
is artlessly rhetorical. The curtain
is light enough to rise on finest ropes
that airy twists of snow provide.
The wits of these white peaks
spar with the sun. Its weight the iceberg dares
upon a shifting stage and stands and stares.

The iceberg cuts its facets from within.
Like jewelry from a grave
it saves itself perpetually and adorns
only itself, perhaps the snows
which so surprise us lying on the sea.
Good-bye, we say, good-bye, the ship steers off
where waves give in to one another's waves
and clouds run in a warmer sky.
Icebergs behoove the soul
(both being self-made from elements least visible)
to see them so: fleshed, fair, erected indivisible.
Elizabeth Bishop

Thursday, May 31, 2012

os nomes dos ventos




os nomes dos ventos
das árvores e dos pássaros
o valor de um abraço
o momento certo para um beijo
por tudo isto a vida


uma pedra
um "ploc" na água
círculos

um momento

um momento só
Nós

Tuesday, May 29, 2012

Todos os tipos de azul e mais...



Todos os tipos de azul e mais...

Só um sitio
nem nuvem, nem mar
peixes a saltar e votos de boa sorte

um pouco de sombra e recato
as ruas são rios com gente
aqui é coito, uma transversal do tempo

aqui contam todos os tipos de azul e mais...

Lá fora tilias, estranhos a falar do tempo.



Monday, May 28, 2012

fora do eixo



um dia tudo estará centrado, alinhado
       fora do eixo gasto dos dias estérieis e das horas ocas
               um dia embarcaremos no varino "Liberdade" e vogaremos a Sul

                     nesse dia seguir-nos-ão as gaivotas e veremos flamingos e garças
                               enterraremos os pés no lodo e será ainda manhã, um dia cantaremos
                                                    o cantar das andorinhas, sobre casas esquecidas, girassois
                                                                  grandes amarelos seguidores do sol.
                                                       

Friday, May 25, 2012

sonho com cavalos...

ChiaNi          
my father teach me Chinese calligraphy since I were about 7 years old. He told me if I want to be artist. I need learn calligraphy first. Now I agree with him. in the painting. each line carry the artist life in it.

(found in Flickr.com)

Paseantes

Edmond Quinche. Paseantes. 1969-1970. Litografía con lápiz y raspaduras. Fondation William Cuendet & Atelier de Saint-Prex (en depósito en el Musée Jenisch, Vevey Cabinet cantonal des estampes) © Gérard Pétremand, Ginebra

Tuesday, May 22, 2012

Magnificat

Magnificat

Quando é que passará esta noite interna, o universo,
E eu, a minha alma, terei o meu dia?
Quando é que despertarei de estar acordado?
Não sei. O sol brilha alto,
Impossível de fitar.
As estrelas pestanejam frio,
Impossíveis de contar.
O coração pulsa alheio,
Impossível de escutar.
Quando é que passará este drama sem teatro,
Ou este teatro(*) sem drama,
E recolherei a casa?
Onde? Como? Quando?
Gato que me fitas com olhos de vida, que tens lá no fundo?
É esse! É esse!
Esse mandará como Josué parar o sol e eu acordarei;
E então será dia.
Sorri, dormindo, minha alma!
Sorri, minha alma, será dia!
Álvaro de Campos- Contemporânea, 07/11/1933
No original do 1933 diz theatro as duas vezes.

Monday, May 21, 2012

Uma anunciação






Uma anunciação é quando um anjo interrompe a tua errância e te lembra que não deves desperdiçar passos.

Thursday, May 17, 2012

Leda


Um cisne, um homem
Leda
Um deus, um rei
Leda

(de nada servem as altas muralhas contra quem vem dos céus...)

Wednesday, May 16, 2012

The Last Post

By Robert Graves

1895.7.24-1985.12.7



The bugler sent a call of high romance--
"Lights out! Lights out!" to the deserted square.
On the thin brazen notes he threw a prayer,
"God, if it's this for me next time in France ...
O spare the phantom bugle as I lie
Dead in the gas and smoke and roar of guns,
Dead in a row with the other broken ones
Lying so stiff and still under the sky,
Jolly young Fusiliers too good to die."

Monday, May 14, 2012

Lavender pathfinder


Jackson Pollock, Number 1, 1950 (Lavender Mist),1950, National Gallery of Art


Playing a game



We start…and start over again :

Starting and restarting,

It sounds like a pointless game

but it’s one about roads, maps and paths…

ways of getting to places, ways of getting there.



There playing a game

Monday, May 7, 2012

Tuesday, May 1, 2012

Dockery and Son


By Philip Larkin 1922–1985 Philip Larkin
‘Dockery was junior to you,
Wasn’t he?’ said the Dean. ‘His son’s here now.’
Death-suited, visitant, I nod. ‘And do
You keep in touch with—’ Or remember how
Black-gowned, unbreakfasted, and still half-tight
We used to stand before that desk, to give
‘Our version’ of ‘these incidents last night’?
I try the door of where I used to live:

Locked. The lawn spreads dazzlingly wide.
A known bell chimes. I catch my train, ignored.
Canal and clouds and colleges subside
Slowly from view. But Dockery, good Lord,
Anyone up today must have been born
In ’43, when I was twenty-one.
If he was younger, did he get this son
At nineteen, twenty? Was he that withdrawn

High-collared public-schoolboy, sharing rooms
With Cartwright who was killed? Well, it just shows
How much ... How little ... Yawning, I suppose
I fell asleep, waking at the fumes
And furnace-glares of Sheffield, where I changed,
And ate an awful pie, and walked along
The platform to its end to see the ranged
Joining and parting lines reflect a strong

Unhindered moon. To have no son, no wife,
No house or land still seemed quite natural.
Only a numbness registered the shock
Of finding out how much had gone of life,
How widely from the others. Dockery, now:
Only nineteen, he must have taken stock
Of what he wanted, and been capable
Of ... No, that’s not the difference: rather, how

Convinced he was he should be added to!
Why did he think adding meant increase?
To me it was dilution. Where do these
Innate assumptions come from? Not from what
We think truest, or most want to do:
Those warp tight-shut, like doors. They’re more a style
Our lives bring with them: habit for a while,
Suddenly they harden into all we’ve got

And how we got it; looked back on, they rear
Like sand-clouds, thick and close, embodying
For Dockery a son, for me nothing,
Nothing with all a son’s harsh patronage.
Life is first boredom, then fear.
Whether or not we use it, it goes,
And leaves what something hidden from us chose,
And age, and then the only end of age.
 
Philip Larkin, “Dockery and Son” from Collected Poems. Used by permission of The Society of Authors as the Literary Representative of the Estate of Phillip Larkin.

Source: Collected Poems (Farrar Straus and Giroux, 2001)

Simples, é amar uma mulher

Hendrickje Bathing in a River1654 (130 Kb); Oil on panel, 61.8 x 47 cm; National Gallery, London

Friday, April 27, 2012

Verde, faltava aqui verde...

o mar, o mar

vale a pena ver : http://www.ranortner.com/#imagegalleries/Galleries/Painting/11