The waves have heard of you,
how you caress, how you kiss
how you whisper the “what” and the “hey”;
around the neck at the cove
we were always the light and the shadow.
You always the lil’star and I the dark vessel,
you always the port and I the lateral post the starboard one,
the soppy wharf and the glistening on the oars.
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Η ηλικία της γλαυκής θύμησης
Η θητεία τοῦ καλοκαιριοῦ
Στὰ πεῦκα καὶ στὰ κύματα
Μὲ γυμνές ὧρες
Ποὺ κρατᾶν στὰ δάχτυλα τὴν ὕπαρξη
Κυματιστή
Ξεφυλλισμένη
Ἐλεύθερη
Σὰν φῶς
Ὤ! λυγισμένη εὐωδιά
Ἀγαθό μονοπάτι
Ὀδυσσέας Ἐλύτης
«Προσανατολισμοί»
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Eravamo ti giuro allo specchio
posso dirlo è successo per caso
abbiamo attraversato l'istante
ci siamo davvero passati davanti
.
devo aver visto che ti avvicinavi
eri dietro di me sentivo il tuo sguardo
posarsi caldo sulle mie spalle
.
mi hai abbracciato chiudendo gli occhi
così mi hai stretto anche con gli occhi
e io ti guardavo teneramente sorridere
come se, lo sai tu solo come
.
mi avevi negli occhi
io non lo so come
e dentro lo specchio
io tenevo noi.
.🦋.
🔸Odysseas Elytis
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Marina of the Rocks // Odysseas Elytis
You have a taste of tempest on your lips—But where did you wander
All day long in the hard reverie of stone and sea?
An eagle-bearing wind stripped the hills
Stripped your longing to the bone
And the pupils of your eyes received the message of chimera
Spotting memory with foam!
Where is the familiar slope of short September
On the red earth where you played, looking down
At the broad rows of the other girls
The corners where your friends left armfuls of rosemary.
But where did you wander
All night long in the hard reverie of stone and sea?
I told you to count in the naked water its luminous days
On your back to rejoice in the dawn of things
Or again to wander on yellow plains
With a clover of light on you breast, iambic heroine.
You have a taste of tempest on your lips
And a dress red as blood
Deep in the gold of summer
And the perfume of hyacinths—But where did you wander
Descending toward the shores, the pebbled bays?
There was cold salty seaweed there
But deeper a human feeling that bled
And you opened your arms in astonishment naming it
Climbing lightly to the clearness of the depths
Where your own starfish shone.
Listen. Speech is the prudence of the aged
And time is a passionate sculptor of men
And the sun stands over it, a beast of hope
And you, closer to it, embrace a love
With a bitter taste of tempest on your lips.
It is not for you, blue to the bone, to think of another summer,
For the rivers to change their bed
And take you back to their mother
For you to kiss other cherry trees
Or ride on the northwest wind.
Propped on the rocks, without yesterday or tomorrow,
Facing the dangers of the rocks with a hurricane hairstyle
You will say farewell to the riddle that is yours.
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Bent over papers and bottomless books
climbing down them on a slender rope
night after night
I sought whiteness to the utmost intensity
of blackness, hope to the point of tears,
joy to the outer limit of despair
Odysseus Elytis, Axion Esti: The Genesis, VI
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Alfred R. Mitchell (1888-1972) The Garden Porch
Σ' αυτές τις κάτασπρες αυλές όπου φυσά ο νοτιάς
Σφυρίζοντας σε θολωτές καμάρες, πέστε μου είναι η τρελή ροδιά
Που σκιρτάει στο φως σκορπίζοντας το καρποφόρο γέλιο της
Με ανέμου πείσματα και ψιθυρίσματα, πέστε μου είναι η τρελή ροδιά
Που σπαρταράει με φυλλωσιές νιογέννητες τον όρθρο
Ανοίγοντας όλα τα χρώματα ψηλά με ρίγος θριάμβου;
Οδυσσέας Ελύτης, Η Τρελή Ροδιά
In these all-white courtyards where the south wind blows
Whistling through vaulted arcades, tell me, is it the mad pomegranate tree
That leaps in the light, scattering its fruitful laughter
With windy wilfulness and whispering, tell me, is it the mad
pomegranate tree
That quivers with foliage newly born at dawn
Raising high its colours in a shiver of triumph?
Odysseas Elytis, The Mad Pomegranate Tree
( Translated by: Edmund Keeley and Philip Sherrard )
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Gift silver poem
I know that all this is worthless and that the language
I speak doesn't have an alphabet
Since the sun and the waves are a syllabic script
which can be deciphered only in the years of sorrow and exile
And the motherland a fresco with successive overlays
frankish or slavic which, should you try to restore,
you are immediately sent to prison and
held responsible
To a crowd of foreign Powers always through
the intervention of your own
As it happens for the disasters
But let's imagine that in an old days' threshing-floor
which might be in an apartment-complex children
are playing and whoever loses
Should, according to the rules, tell the others
and give them a truth
Then everyone ends up holding in his
hand a small
Gift, silver poem.
Odysseas Elytis
“The Tree of Light and the Fourteenth Beauty”
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I know that all this is worthless and that the language
I speak doesn't have an alphabet
Since the sun and the waves are a syllabic script
which can be deciphered only in the years of sorrow and exile
And the motherland a fresco with successive overlays
frankish or slavic which, should you try to restore,
you are immediately sent to prison and
held responsible
To a crowd of foreign Powers always through
the intervention of your own
As it happens for the disasters
But let's imagine that in an old days' threshing-floor
which might be in an apartment-complex children
are playing and whoever loses
Should, according to the rules, tell the others
and give them a truth
Then everyone ends up holding in his
hand a small
Gift, silver poem.
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Always us the light and the shadow.
- Odysseas Elytis
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Thusly I speak of you and me;
Because I love you and in love I know
to pervade as a full-Moon
from everywhere, towards your slender leg under the endless sheets;
to pluck jasmines; and I have the power
to blow and carry you half-asleep
through moonlit passages and secret sea tunnels:
trees in a trance lustered by webs.
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Η ισόβια στιγμή
Πιάσε την αστραπή στο δρόμο σου
άνθρωπε· δώσε της διάρκεια· μπορείς!
Από τη μυρωδιά του χόρτου από την πύρα του ήλιου
πάνω στον ασβέστη από το ατέρμονο φιλί
να βγάλεις έναν αιώνα·
με θόλο για την ομορφιά
και την αντήχηση όπου
σου φέρνουν οι άγγελοι μες στο πανέρι
τη δρόσο από τους κόπους σου όλο φρούτα στρογγυλά
και κόκκινα·
τη στενοχώρια σου
γεμάτη πλήκτρα που χτυπούν μεταλλικά στον άνεμο
ή σωλήνες ορθούς που τους φυσάς καθώς αρμόνιο
και βλέπεις να συνάζονται τα δέντρα σου όλα
δάφνες και λεύκες οι μικρές και μεγάλες
Μαρίες που κανείς πάρεξ εσύ δεν άγγιξες·
Οδυσσέας Ελύτης, «Μαρία Νεφέλη», εκδ. Ίκαρος, 1978
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A stupid shipper's guide to the Peloponnese, part 2: Mycenae, my Craigh na Dun
Forgot to mention: Praxiteles' statue of Hermes still has faint cinnabar traces in its curls. Which makes that Hermes a ginger, hehe. You simply can't make this shit up. /end of poetic justice moment
Anyways. The very minute your car, bus or bike crosses the Corinth Canal, even if you cannot see it from the modern, German highway, you just know you are in the Peloponnese. Everything changes: the light, the landscape and even the silence. In summertime, cicadas reign supreme: mercifully, after a while, you don't hear them anymore and sleep like a log in daytime. Summer nights are always for something else, in this land.
Odysseas Elytis, my favorite Greek poet, knew something about all this:
"Drinking the sun of Corinth
Reading the marble ruins
Striding across vineyards and seas
Sighting along the harpoon
A votive fish that slips away
I found the leaves that the sun’s psalm memorizes
The living land that passion joys in opening."
So really, forget about the islands, spare some unsung, almost unknown gems. The heart of this country beats South of Corinth, and once you've realized this, there is no turning back.
Olympia and her little sister, Nemea, are all about joy and cheer and the sort of organized happiness the Ancient World was so adept at. But at Mycenae, we hit a different chord. It is home to this guy - the filthy rich, ruthless, rogue King Agamemnon.
"Look on my works, ye Mighty, and despair":
Mycenae and I go back a couple of years and too many repeated, insistent expeditions to count properly. Even Zorba the car knows the way by himself, so all I have to do is wait for the right week-end, climb at the wheel and enjoy the scenery. Many dinners in town and embassy receptions have been traded for the simple joy to be awaken by kyria Panagiota's impertinent rooster (across the street) at 5 am and open my room's French doors to this view:
A mix of olive groves and vineyards, with the odd cypress tree randomly thrown around. 354 inhabitants. Two churches. Two stone bridges, built somewhere at the narrow end of the Stone Age and still treaded by tractors, cattle and unsuspecting pedestrians. And also this:
The Lions' Gate (the real one, not TPTB related), as photographed by me the day before yesterday, for the umpteenth time, proudly standing at the end of a steep-ish climb cursed daily in tens of different languages by thousands of tourists. As for Angkor Wat, you'd have to see it at sunrise or sunset to fully get the magic, in complete silence. Patience and determination will certainly be rewarded. For this place is rich with all the memories of those who once called it home, back in the day when it was one of the most powerful political and trade centers of the known world. The Cyclopean fantasy of a demi-god, which is all about flawless ownership of space and aggressive affirmation of one's worth. Or, as the obscure Alpheus of Mytilene aptly put it in an epigram, written some time around 0, AD: "a city built by giants and passing rich in gold".
Pic taken by me in late October 2021, that blessed age of innocence when I had no frigging idea of Craigh na Dun. Different light, same arresting view that plunges all the way to Argos and farther away, to the sea.
Cats rule the world. We know that (January 2023):
And then there's the Vault, half a mile down the road. If the Lions' Gate is about Space, the incorrectly named vault - a mausoleum, really - is about Time. Or rather the complete irrelevance of it:
Because I am not only stupid, but also nuts, I sometimes flip a coin, once inside. All binary answers were proven to be eerily accurate, with time. But things like this only show themselves to the believer. Last question asked is still technically up for confirmation, yet I - along with all of you here - know already it's a yes:
And yeah, I did it. What the heck. I had the place just for myself, and that is rare. Wouldn't you?
Mordor, I don't care about your pearl-clutching reaction. There is poetry to be found in the most unlikely of places. Especially in the most unlikely of places.
Walking back, I challenge you to pinpoint an exact year. It is impossible and there is a reason to it. This place and this view are timeless, of course:
In an unexpected, involuntary homage to the Atrides, the 354 inhabitants of modern Mykines still bury their dead all around Agamemnon's Vault.
Around an almost icy jug of Retsina wine, I asked my treasured friend V, the archaeologist: do you really think they ever left?
Are you nuts? And what would we do without them?
Coming back to a sweltering Athens, just imagine my head shake in disbelief watching Lasagna Lady once again clinging to that poor guy's T-shirt, the bickering between C's stans about who is the most telepath of them all and the wailings about the lack of secksay content in Episode 7.
Seriously, Fandom? Is this the best you can give me?
Episode I am hurrying to watch, nevertheless. But first, the laundry. Fair's fair.
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IV, from The Little Seafarer // Odysseas Elytis
IV
I did not find spring so much in the fields, or, say, in a Botticelli, as in a little red Palm Sunday icon. Thus one day, looking at a head of Zeus, I felt the sea.
When we discover the secret connections of concepts and we follow them in depth we shall come to another kind of clearing which is Poetry. And Poetry is always one as the sky is one. The question is from where one regards the sky.
I have seen it from right in the middle of the sea.
translated from the Greek by Jeffrey Carson and Nikos Sarris
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books i read in 2023
Sayaka Murata, Convenience store woman
Kurt Vonnegut, Slaughterhouse-five
Maryam Hassouni, Wat de fak
Margaret Atwood, Oryx and Crake
Juan Rulfo, Pedro Páramo
Margaret Atwood, The year of the flood
Isabel Allende, The house of the spirits
María Gainza, Optic nerve
Piet Paaltjens, Snikken en grimlachjes
Arthur Miller, Death of a salesman
Anja Meulenbelt, Feminisme: terug van nooit weggeweest
Feminism: en antologi
Jean Rhys, Wide Sargasso Sea
Caroline Knapp, Appetites: Why women want
Jean Rhys, Voyage in the dark
Euripides, Electra
Euripides, The Phoenician women
Euripides, The Bacchae
Jean Rhys, La grosse Fifi
Odysseas Elytis, The axion esti
Hilda Newman & Tim Tate, Diamonds at dinner
Julie Orringer, How to breathe underwater
Richard Brautigan, Revenge of the lawn
Jane Campion, The piano (screenplay)
Jean Rhys, Quartet
Emma Cline, The girls
Arnon Grunberg, Tirza
Karen Blixen, Ehrengard
Alain de Botton, Religion for atheists
Arthur Japin, De overgave
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Solo chi combatte contro l'oscurità interiore
domani avrà la sua parte di sole
*
Odysseas Elytis
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Hi do you have a goodreads? I'm just wondering what your favourite books are ?
Rosie
X
:)
hii love, i don’t have goodreads, i use the notion app as my book reading tracker!! here’s an ask from a while ago where i listed my favourite books, but i will (gladly!) add my new favourite ones from what i’ve been reading lately:
Dead Dad Jokes by Ollie Schminkey
Angels Before Man by Rafael Nicolás
The God of Small Things by Arundhati Roy
The Wolf and the Woodsman by Ava Reid
Why Be Happy When You Could Be Normal? by Jeanette Winterson
Calling a Wolf a Wolf by Kaveh Akbar
My Mother’s Sin by Georgios Vizyinos
The Swallows Will Come Back by Alkyoni Papadaki
This Star Is For All Of Us by Tasos Livaditis
The Monogram by Odysseas Elytis
The Moonlight Sonata by Yiannis Ritsos
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