{"id":34445,"date":"2017-12-28T08:41:06","date_gmt":"2017-12-28T08:41:06","guid":{"rendered":"http:\/\/www.marianagurza.ro\/blog\/?p=34445"},"modified":"2017-12-28T08:47:02","modified_gmt":"2017-12-28T08:47:02","slug":"mary-cresswell-poetical-bridges-%e2%80%93-poduri-lirice","status":"publish","type":"post","link":"https:\/\/www.marianagurza.ro\/blog\/2017\/12\/28\/mary-cresswell-poetical-bridges-%e2%80%93-poduri-lirice\/","title":{"rendered":"Mary CRESSWELL: Poetical Bridges \u2013 Poduri Lirice"},"content":{"rendered":"

\"\"<\/a>In this book, Valentina Teclici<\/strong> has assembled, edited and translated three poems each from 12 Romanian and 12 New Zealand poets. This first volume of Poetical Bridges \u2013 PoduriLirice<\/em><\/strong>is published in New Zealand and printed in Romania; it has been reviewed (in print and on the radio) in Greece, Australia and Canada, as well as in its two parent countries. The Romanian\/New Zealand community numbers several thousand people, and \u2013 in a country that professes support for community languages \u2013 bilingual publishing should be supported wherever it exists or is trying to exist.<\/p>\n

So, about the poems. As far as the translations go, I can\u2019t comment. Certainly the translator has matched lines, structures, and rhyme patterns, but it\u2019s for more educated reviewers than I am to judge. It looks like an amazing job, not least in that the poems are presented in such as way that no one language looks like the dominant one.<\/p>\n

The content, however, is a different matter entirely \u2013 I had a lot of surprises and learned a lot, always a good thing. First of all, the scenery. I have been many years in New Zealand and had stopped noticing how pervasive the landscape is in poetry. Nature is out there all over the show, and there is no getting away from her. Ever.<\/p>\n

Reading the Romanian selections is a reminder that the world contains buildings, cities, skies:<\/p>\n

\u00a0For a while I feel my wings growing<\/em><\/p>\n

And I try them out \u2013 as a young lark,<\/em><\/p>\n

Stolen by misunderstood bravery,<\/em><\/p>\n

That bolts him into an unnatural sky.<\/em><\/p>\n

\u00a0I am distancing myself from people, rising vertically<\/em><\/p>\n

Towards a shore of infinite joy \u2026\u00a0 <\/em>(\u2018\u201cThe Burden\u201d of Today\u2019s World \u2026\u201d, Tudor Opri\u015f, p 23).<\/p>\n

\u00a0Paul S\u00e2n-Petru\u2019s forest moves away from us and is not part of us:<\/p>\n

Too dark the forest is stretching<\/em><\/p>\n

Take care, woodman, leave room,<\/em><\/p>\n

For this swan wood of moonlight<\/em><\/p>\n

And don\u2019t look at it as being good for fire.\u00a0 <\/em>(\u201cAt the Edge of the Grove\u201d, p 37).<\/p>\n

Mariana Gurza\u2019s images of love are entirely structural:<\/p>\n

My love, you are a foundation<\/em><\/p>\n

of the new era\u2019s monastery \u2026<\/em><\/p>\n

I\u2019ll answer you through a bell<\/em><\/p>\n

every clink is a whisper, \u2026\u00a0 \u00a0\u00a0\u00a0 <\/em>(\u201cMonastery\u201d, p 115).<\/p>\n

Compare these with Dorothy Wharehoka\u2019s very Kiwi \u201cMidwinter\u201d (p 28), where<\/p>\n

We are enclosed<\/em><\/p>\n

in a giant deepfreeze. \u2026<\/em><\/p>\n

The crisp<\/em><\/p>\n

crackling<\/em><\/p>\n

crunchy frost
\nhas gripped us<\/em><\/p>\n

in his hands.<\/em><\/p>\n

\u00a0<\/em>Another surprise was the sound level. The New Zealand poets are surrounded by noise. \u201cOn Te Mata Peak in summer\u201d (p 38), Marie Dunningham hears:<\/p>\n

\u00a0Up there somewhere unseen<\/em><\/p>\n

skylarks warble their incessant, English song<\/em><\/p>\n

\u00a0<\/em>as boys explore a wilderness that could be the Australian desert<\/em>. Bill Sutton\u2019s remembered girl<\/p>\n

\u2026 stripped off all her clothes<\/em><\/p>\n

and rushed out into lake<\/em><\/p>\n

splashing and squealing\u00a0<\/em>(\u201cThe lake\u201d p 76).<\/p>\n

For Ian McQuillan:<\/p>\n

Birdsong bursts the bubble of night<\/em><\/p>\n

Cracks open the can of day \u2026<\/em><\/p>\n

We have to sing<\/em><\/p>\n

How can you remain silent?<\/em><\/p>\n

\u00a0<\/em>Most of the selections originally written in Romanian seem very quiet \u2013 in most of the poems there is unremarked silence, occasionally broken with a whisper:<\/p>\n

\u00a0It\u2019s impossible to fly with you, you whispered. \u2026<\/em><\/p>\n

\u00a0Everything is possible, I whispered,<\/em><\/p>\n

Receiving an echo from four horizons.<\/em><\/p>\n

I flew away, on a blue colt<\/em><\/p>\n

And planted a water lily in the desert.\u00a0\u00a0 <\/em>(\u201cFrom Impossible to Possible\u201d, Valentina Teclici, p 91).<\/p>\n

\u00a0Even the dance is silent; vivid motion is described in the preceding poem, and also by Monica S\u0103vulescu Voudouri, but neither mentions sound:<\/p>\n

\u00a0Then, <\/em><\/p>\n

the dances, suddenly leans towards the ground,<\/em><\/p>\n

not kneeling,<\/em><\/p>\n

\u00a0but gathering strength<\/em><\/p>\n

to start again.\u00a0\u00a0 <\/em>([Poem 3], Monica S\u0103vulescu Voudouri, p 49).<\/p>\n

For Ana Anton,<\/p>\n

Your soul sneaks in one evening<\/em><\/p>\n

Into the hut of my silence<\/em><\/p>\n

To heal me.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>(\u201cJourney\u201d, p 105).<\/p>\n

Why these differences? It would be too easy (and most likely wrong) to set up yahooing outdoor Kiwis against murmuring urbane Romanians, and I would expect there to be excellent social or political reasons behind each way of going about things.<\/p>\n

I did feel that there were a couple of cross-over poets (the translator and Alexandra Balm) who have a foot in both camps. Perhaps they can tell us \u2013 it\u2019s a language\/society matter, not a lit crit one, and we need their experience. Maybe the second volume (now in preparation) will tell us more. I look forward to seeing it, and I\u2019m happy to have had a chance to read this collection.<\/p>\n

 <\/p>\n

\"\"<\/a>Mary Cresswell<\/strong> is from Los Angeles and lives on the Kapiti Coast. Fish Stories, <\/em>a collection of ghazals and glosas, was published by Canterbury University Press in 2015.\u00a0<\/strong><\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

\u00cen aceast\u0103 carte, Valentina Teclici<\/strong> a selectat, editat \u015fi tradus c\u00e2te trei poezii ale 12 poe\u0163i rom\u00e2ni \u015fi 12 poe\u0163i din Noua Zeeland\u0103. Acest prim volum Poetical Bridges \u2013 Poduri Lirice <\/strong>este publicat \u00een Noua Zeeland\u0103 \u015fi tip\u0103rit \u00een Rom\u00e2nia; volumul a fost prezentat (\u00een scris \u015fi la radio) \u00een Grecia, Australia \u015fi Canada, \u015fi de asemenea \u00een cele dou\u0103 \u0163\u0103ri de origine. Comunitatea rom\u00e2n\u0103 din Noua Zeeland\u0103 num\u0103r\u0103 c\u00e2teva mii de persoane \u015fi \u2013 \u00eentr-o \u0163ar\u0103 care favorizeaz\u0103 sprijinul pentru limbile comunit\u0103\u0163ii \u2013 publicarea bilingv\u0103 ar trebui s\u0103 fie stimulat\u0103 oriunde exist\u0103 sau \u00eencearc\u0103 s\u0103 existe.<\/p>\n

Deci, despre poezii. \u00cen ceea ce prive\u015fte traducerile, nu pot s\u0103 comentez. Cu siguran\u0163\u0103 c\u0103 traduc\u0103torul a p\u0103strat linia versurilor, structurile \u015fi tipurile de rime, dar astea pot fi analizate de criticii mai educa\u0163i dec\u00e2t mine. Ele arat\u0103 ca o realizare uimitoare, nu \u00een ultimul r\u00e2nd prin faptul c\u0103 poeziile sunt prezentate \u00een a\u015fa fel \u00eenc\u00e2t nici una dintre limbi nu pare a fi cea dominant\u0103.<\/p>\n

Con\u0163inutul, \u00eens\u0103, este cu totul o alt\u0103 problem\u0103 \u2013 am avut o mul\u0163ime de surprize \u015fi am \u00eenv\u0103tat multe, ce-i \u00eentotdeauna un lucru bun. \u00cen primul r\u00e2nd, peisajele. Locuiesc de mul\u0163i ani \u00een Noua Zeeland\u0103 \u015fi am \u00eencetat s\u0103 observ c\u00e2t de vast este peisajul \u00een poezie. Natura este acolo, peste tot \u015fi nu se poate sc\u0103pa de ea. Vreodat\u0103.<\/p>\n

Lecturarea poeziilor rom\u00e2ne\u015fti este o reamintire a faptului c\u0103 lumea con\u0163ine cl\u0103diri, ora\u015fe, cer:<\/p>\n

De-un timp simt aripile cum \u00eemi cresc<\/em><\/p>\n

\u015ei cum le-ncerc \u2013 un pui de cioc\u00e2rlie<\/em><\/p>\n

Furat de ne-n\u0163eleasa vitejie<\/em><\/p>\n

Ce-l \u00een\u015furub\u0103-n cerul nefiresc.<\/em><\/p>\n

\u00a0<\/em><\/p>\n

M\u0103 rup de oameni, vertical \u0163\u00e2\u015fnesc<\/em><\/p>\n

Spre-un \u0163\u0103rm nem\u0103rginit de bucurie<\/em>\u2026 (\u00ab\u00a0\u201eGreul\u201d lumii de azi\u2026\u00a0\u00bb, Tudor Opri\u015f,<\/p>\n

    \n
  1. 23)<\/li>\n<\/ol>\n

    \u00a0P\u0103durea lui S\u00e2n-Petru se \u00eendep\u0103rteaz\u0103 de noi \u015fi nu face parte din noi:<\/p>\n

    Prea-ntunecat p\u0103durea se-ntinde<\/em><\/p>\n

    Ai grij\u0103, p\u0103durare, las\u0103 loc,<\/em><\/p>\n

    Acestui lemn de leb\u0103d\u0103 lunatic<\/em><\/p>\n

    \u00a0 \u015ei nu-l privi cu ochiul dinspre foc! (\u201e<\/em>La marginea cr\u00e2ngului\u201d, p. 37)<\/p>\n

    Imaginile de dragoste ale Marianei Gurza sunt \u00een \u00eentregime structurale:<\/p>\n

    Iubitul meu, tu e\u015fti o temelie
    \na m\u0103n\u0103stirii noii ere, (\u2026)<\/em><\/p>\n

    prin clopot eu \u00ee\u0163i voi r\u0103spunde
    \n\u015fi fiecare clinchet e o \u015foapt\u0103, (\u2026) (\u201e<\/em>Ctitorie\u201d, p. 115)<\/p>\n

    Compara\u0163i-le cu foarte kiwi \u201e<\/em>Mijlocul iernii\u201d a lui Dorothy Wharehoka (p. 28)<\/p>\n

    \u00a0<\/strong><\/p>\n

    Suntem \u00eenchi\u015fi<\/em><\/p>\n

    \u00eentr-un congelator gigantic. (\u2026)<\/em><\/p>\n

    Gerul ascu<\/em>\u0163<\/em>it<\/em><\/p>\n

    trosnind<\/em><\/p>\n

    pocnind<\/em><\/p>\n

    ne-a prins<\/em><\/p>\n

    \u00een m<\/em>\u00e2<\/em>inile sale.<\/em><\/p>\n

    \u00a0Alt\u0103 surpriz\u0103 a fost nivelul sunetului. Poe\u0163ii din Noua Zeeland\u0103 sunt \u00eenconjura\u0163i de zgomot. \u201e<\/em> Pe v\u00e2rful Te Mata, vara\u201d (p. 38) Marie Dunningham aude:<\/p>\n

    Acolo, deasupra, undeva nev\u0103zute<\/em><\/p>\n

    Cioc\u00e2rliile ciripesc ne\u00eencetat c\u00e2ntecul lor, c\u00e2ntec englezesc.<\/em><\/p>\n

    \u00cen timp ce b\u0103ie\u0163ii exploreaz\u0103 o s\u0103lb\u0103ticie care ar putea fi de\u015fertul australian<\/p>\n

    \u00a0Fata de care-\u015fi aminte\u015fte Bill Sutton:<\/p>\n

    (..) ea \u015fi-a scos toate hainele<\/em><\/p>\n

    \u015fi a alergat \u00een lac<\/em><\/p>\n

    stropind \u015fi hlizindu-se <\/em>\u00a0(\u00a0\u201e<\/em>Lacul\u201d p. 76)<\/p>\n

    \u00a0Pentru Ian McQuillan:<\/p>\n

    C\u00e2ntecul p\u0103s\u0103rilor sparge balonul nop\u0163ii,<\/em><\/p>\n

    Cr\u0103p\u0103turile deschid cutia zilei (\u2026)<\/em><\/p>\n

    \u00a0<\/em><\/p>\n

    Trebuie s<\/em>\u0103 <\/em>c<\/em>\u00e2<\/em>nt<\/em>\u0103<\/em>m<\/em><\/p>\n

    Cum po<\/em>\u0163<\/em>i s<\/em>\u0103 <\/em>r<\/em>\u0103<\/em>m<\/em>\u00e2<\/em>i t<\/em>\u0103<\/em>cut!<\/em> (\u201e<\/em>C\u00e2ntec de p\u0103s\u0103ri diminea\u0163a\u201d, p. 67)<\/p>\n

    Cele mai multe dintre poemele scrise ini\u0163ial \u00een limba rom\u00e2n\u0103 par foarte lini\u015ftite \u2013 \u00een majoritatea poeziilor exist\u0103 o t\u0103cere neobservat\u0103, uneori spart\u0103 cu o \u015foapt\u0103:<\/p>\n

    E imposibil s\u0103 zbor cu tine, ai \u015foptit. (\u2026)<\/em><\/p>\n

    Orice-i posibil, am \u015foptit<\/em><\/p>\n

    Primind ecou din patru z\u0103ri.<\/em><\/p>\n

    Zbur\u00e2nd pe-un m\u00e2nz albastru,<\/em><\/p>\n

    Am plantat un fir de nuf\u0103r \u00een de\u015fert<\/em>. (Valentina Teclici \u2013 \u201e<\/em>De la imposibil la posibil\u201d, p. 91).<\/p>\n

    P\u00e2n\u0103 \u015fi dansul este t\u0103cut: mi\u015fcare plin\u0103 de via\u0163\u0103 este descris\u0103 \u00een poemul precedent, \u015fi de asemenea de Monica S\u0103vulescu Voudouri, f\u0103r\u0103 s\u0103 men\u0163ioneze vreun sunet:<\/p>\n

    \u00a0Apoi,<\/em><\/p>\n

    dansatorul se-apleac\u0103 brusc la p\u0103m\u00e2nt,<\/em><\/p>\n

    nu-ngenunchiaz\u0103,<\/em><\/p>\n

    dar \u00ee\u015fi adun\u0103 puterile,<\/em><\/p>\n

    ca s-o ia de la cap\u0103t\u2026 \u00a0 <\/em>([Poem 3], Monica S\u0103vulescu Voudouri, p. 49).<\/p>\n

    Pentru Ana Anton,<\/p>\n

    Sufletul t\u0103u vine ho\u0163e\u015fte<\/em><\/p>\n

    P\u00e2n\u0103-n coliba t\u0103cerilor mele<\/em><\/p>\n

    S\u0103 m\u0103 t\u0103m\u0103duiasc\u0103\u2026<\/em> (\u201e<\/em>C\u0103l\u0103torie\u201d, p. 105)<\/p>\n

    De ce aceste diferen\u0163e? Ar fi prea u\u015for (\u015fi cel mai probabil gre\u015fit) s\u0103 compar g\u0103l\u0103gio\u015fii kiwi, iubitori de natur\u0103 cu murmurul rom\u00e2nilor urbani \u015fi m-a\u015f a\u015ftepta s\u0103 existe motive sociale sau politice excelente \u00een spatele fiec\u0103rui mod de a vedea lucrurile.<\/p>\n

    Am observat c\u0103 au existat c\u00e2\u0163iva poe\u0163i transversali (traduc\u0103torul \u015fi Alexandra Balm) care au un picior \u00een ambele lumi. Poate c\u0103 ne pot spune \u2013 este o chestiune de limb\u0103 \/ societate, nu una critic\u0103, \u015fi avem nevoie de experien\u0163a lor. Poate cel de-al doilea volum (acum \u00een preg\u0103tire) ne va spune mai multe. A\u015ftept cu ner\u0103bdare s\u0103-l v\u0103d \u015fi sunt fericit\u0103 c\u0103 am avut ocazia s\u0103 citesc aceast\u0103 antologie.<\/p>\n

    \u00a0 \"\"<\/a>Mary Cresswell<\/strong>\u00a0este din Los Angeles \u015fi locuie\u015fte \u00een Kapiti Coast. Cartea ei de gazeluri \u015fi glose \u201cPovestiri despre pe\u015fti\u201d a fost publicat\u0103\u00a0de Canterbury University Press \u00een 2015.<\/p>\n

      \n
    1. 91, Valentina Teclici, translator and editor, Poetical Bridges\u00a0\u2013 Poduri Lirice<\/li>\n<\/ol>\n

      http:\/\/www.takahe.org.nz\/t91\/valentina-teclici-translator-and-editor-poetical-bridges-poduri-lirice\/<\/a><\/p>\n


      \nPoetical Bridges \u2013 PoduriLirice<\/em><\/strong> by Valentina Teclici, translator and editor.
      \nNapier: Scripta Manent Publishing House Ltd (2016).
      \nRRP:\u00a0$20. Pb, 213pp.
      \nISBN: 9780473382667.
      \nReviewed by Mary Cresswell.<\/strong><\/p>\n

      \u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014<\/p>\n

      Traducere de Valentina Teclici<\/strong><\/p>\n

      Noua Zeeland\u0103<\/strong><\/p>\n

      28 decembrie 2017<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

      In this book, Valentina Teclici has assembled, edited and translated three poems each from 12 Romanian and 12 New Zealand [&hellip<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-34445","post","type-post","status-publish","format-standard","hentry","category-articole"],"_links":{"self":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/34445","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/comments?post=34445"}],"version-history":[{"count":2,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/34445\/revisions"}],"predecessor-version":[{"id":34449,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/34445\/revisions\/34449"}],"wp:attachment":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/media?parent=34445"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/categories?post=34445"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/tags?post=34445"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}