egan-krist u ulici connaught
DESCRIPTION
Pjesme Desmonda Egana, čuvenog irskog pjesnika. Dvojezično.TRANSCRIPT
DESMOND EGAN KRIST U ULICI CONNAUGHT/CHRIST IN CONNAUGHT STREET
Biblioteka “Elita”
NAKLADNIK/PUBLISHER
Naklada E. Čić
Siget 16B, 10020 Zagreb
Za nakladnika/For the Publisher: Emil Čić, M.A., Th. M.
Urednik/Editor:
Nikola Đuretić
Prijevod/Translated by:
Nikola Đuretić
Andy Jelčić
Oprema naslovnice/Cover design:
N. D. Jesenski
Prijelom knjige/Layout:
N. D. Jesenski
Tisak/Printed by:
Ekološki glasnik d.o.o.
Tiskanje ove knjige financijski je pomogla zaklada
Ireland Literature Exchange (zaklada za prijevode), Dablin, Irska.
www.irelandliterature.com
Sva prava pridržana. Nijedan dio ove knjige ne smije se reproducirati u bilo
kojem obliku bez prethodnog dopuštenja nakladnika.
ISBN 978-953-55176-4-1
CIP zapis dostupan u računalnom katalogu
Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 708917
Printed in Croatia, August 2009.
DESMOND EGAN
KRIST U ULICI
CONNAUGHT(Izabrane pjesme)
Christ in Connaught Street(Selected Poems)
Naklada E. Čić
5
Proslov
Desmond Egan gotovo je potpuno nepoznat hrvatskom
čitatelju usuprot činjenici da je jedan od najcjenjenijih i
ponajboljih suvremenih irskih pjesnika, kojega mnogi kritičari
uspoređuju s nobelovcem Seamusom Heaneyjem. Neki, štoviše,
poput Hugha Kennera, drže kako Eganovo djelo pomiče granice
irskog pjesništva još i dalje. Ono ga, kako veli Kenner, potiče na
pomisao “da je načinjen iskorak za cijeli jedan naraštaj čak i od
Heaneyevih postignuća”.
Desmon Egan rođen je 1936. u mjestu Athlone u
središnjoj Irskoj. Obrazovao se na Irskom narodnom sveučilištu
Maynooth te Sveučilištu u Dublinu. Godine 1972. osnovao je
nakladničku kuću Goldsmith Press te je bio urednik književnog
časopisa Era. Godine 1983. prima nagradu Nacionalne pjesničke
zaklade SAD, a 1987. postaje prvi pjesnik-gost dublinskog
sveučilišta. Godinu je dana poslije pjesnik-gost na japanskom
sveučilištu Kansai. Naslov počasnog doktora književnosti
dobiva 1998. godine na Washburn sveučilištu u Kanzasu, SAD.
Od 1998. godine član je Odbora za kulturne veze pri irskom
Ministarstvu vanjskih poslova. Idejni je začetnik i umjetnički
voditelj međunarodne književnoumjetničke smotre Gerard
Manley Hopkins u Monasterevinu, prema Oxford Companion
to Irish Studies, “najboljeg književnog festivala u Irskoj”. Pjesme
su mu prevedene na dvadesetak jezika. Već godinama je redoviti
sudionik Zagrebačkih književnih razgovora.
6
Izabrane pjesme pod naslovom Krist u ulici Connaught,
odražavaju širok tematski dijapazon Desmonda Egana, od
njegovih najnovijih pjesama u kojima propituje suodnos
povijesti i sjećanja, preko niza uradaka o holokaustu u kojem se
ne usteže pisati o takozvanim “velikim” temama, (ili kako je to
zapisao hrvatski pjesnik Mile Pešorda: “Eganovo je pjesništvo
stanovitim poetičkim otporom svijetu bezvrijednosti i vanjske
ugroze ljudskosti, diskretno prožeto mironosnom pjesnikovom
spoznajom o cjelovitosti života, sazdana i od takvih grozota kao
što su to bili holokaust i Hirošima.”), do elegija, pjesničkog oblika
u kojemu Egan dosiže vrhunac poetskog diskursa, a koje gotovo
sve nose i onaj metafizički aspekt, tako rijedak u suvremenom
sekulariziranom irskom pjesništvu. Izbor je stoga i podijeljen u
tri dijela: Krist u ulici Connaught, U holokaustu jeseni te Elegije.
U globaliziranom svijetu današnjice, koji se bez imalo
grižnje savjesti odriče svega duhovnoga te kao nove vrijednosti
nudi samo ono materijalno, trivijalno i banalno, Eganova
vjera u poeziju, u jezik, u ono što je prije svega duhovno pa
čak i transcendentalno, predstavlja pravo osvježenje kako u
kontekstu samog irskoga pjesništva, tako i u kontekstu svjetskih
postmodernističkih pjesničkih previranja. Možda to najbolje
definira sam autor kada kaže: “Ja vjerujem u Poeziju, jezik emocija
(što, dakako, ne isključuje misao). Vjerujem u čin pokušaja da
se ovlada iskustvom, ma kako kratak ili nezadovoljavajući taj
pokušaj bio; da se nešto osjeti i spozna u potpunosti i izrazi što
je moguće potpunije. I vjerujem da će nam, kroz hladan prozor
riječi, pokatkad biti dopušteno da samo na trenutak ugledamo
7
ono stvarno.”
Osim sporadično objavljivanih Eganovih pjesama po
hrvatskim časopisima (Republika, Hrvatsko slovo), ovo je prvi
sustavni izbor iz pjesništva toga velikog irskog književnika
objelodanjen na hrvatskome jeziku u formi knjige.
Desmond Egan do sada je objavio sljedeće zbirke pjesama:
Midland, Goldsmith Press,1972.
Leaves, Goldsmith Press, 1974.
Siege, Goldsmith Press, 1976.
Woodcutter, Goldsmith Press, 1978.
Athlone?, Goldsmith Press, 1980.
Seeing Double, Goldsmith Press, 1983.
Collected Poems, Orono, Maine, USA, 1983.
Terre et Paix – Poemes d’Irlande, Presses Universitaires de
Lilles, Lille, France, 1988.
A Song for my Father, The Kavanagh Press, Newbridge, Ireland,
1989.
Peninsula, Poems of the Dingle Peninsula, The Kavanagh Press,
Newbridge, Ireland. 1992.
Snapdragon Little Rock, Milestone Press, Arkansas, USA, 1992.
Sellected Poems, Creighton University Press, Omaha, Nebraska,
USA, 1992.
Poems for Eimear, Milestone Press, Little Rock, Arkansas, USA,
1994.
In the Holocaust of Autumn – a sequence in eight parts witn an
8
Epilogue, Goldsmith Press, Newbridge, Ireland, 1994.
Elegies, Goldsmith Press, Newbridge, Ireland, 1995.
Famine, Goldsmith Press, Newbridge, Ireland, 1997.
Music, Goldsmith Press, Newbridge, Ireland, 2000.
The Hill of Allen, Goldsmith Press, Newbridge, Ireland, 2001.
Objavio je i dvije zbirke eseja, prvu naslovljenu The
Death of Metaphor (1990.) i drugu pod naslovom The Bronze
Horseman (2009.).
Desmond Egan živi sa suprugom Vivian Abbott i
kćerima Kate i Bebhinn nedaleko od Newbridgea u Irskoj kao
profesionalni književnik.
Nikola Đuretić
9
Forward
Desmond Egan is virtually unknown to Croatian
readership despite the fact that he is one of the most esteemed
and best Irish contemporary poets, compared by many critics
to the Nobel Prize winner Seamus Heaney. What is more, some
scholars, like Hugh Kenner, think that Egan’s work expands even
further the boundaries of Irish poetry. As Kenner points out, it
makes him think that “we have moved a generation beyond even
the accomplishments of Heaney”.
Desmond Egan was born in 1936 in Athlone, Republic of
Ireland. He was educated at the National University of Ireland
at Maynooth and the University of Dublin. In 1972 he founded
a publishing house, Goldsmith Press, and was the editor of the
literary magazine Era. In 1983 he received The National Poetry
Foundation of USA Award and in 1987 became the first Poet-
in-Residence at University College Dublin. A year later he was
Poet-in-Residence at Kansai University, Japan. A Doctorate of
Letters was conferred upon him at Washburn University, Kansas,
USA, in 1998. The same year he was appointed to The Cultural
Relations Committee of the Irish Department of Foreign Affairs.
He was the founder and still is an Artistic Director of the Gerard
Manley Hopkins International Literary Festival in Monasterevin,
according to the Oxford Companion to Irish Studies “the best
literary festival in Ireland”. His poems have been translated into
more than twenty languages. For years, Desmond Egan has been
10
a regular guest at Zagreb Literary Talks.
Selected poems entitled Christ in Connaught Street,
reflect Desmond Egan’s wide range of themes, from his latest
series of poems, in which he questions the interrelationship
of history and memory, through the series of works on the
Holocaust in which Egan does not hesitate to tackle so-called
“difficult” topics (as a Croatian poet, Mile Pešorda, wrote:
“Egan’s poetry is, through a certain poetic resistance to the world
of worthlessness and the external threat to Humanity, discreetly
imbued with the poet’s peace-making cognition of the wholeness
of life that consists even of such horrors as the Holocaust or
Hiroshima.”), to elegies – a literary genre in which Egan reaches
the very summit of his poetic discourse. Most of his elegies carry
that metaphysical aspect so rare in contemporary secularised
Irish poetry. This selection is therefore deliberately divided into
three sections: Christ in Connaught Street, In the Holocaust of
Autumn and Elegies.
In the globalized world of today which, without any
feeling of guilt, rejects everything spiritual and offers instead
as new values that which is material, trivial and banal, Egan’s
belief in poetry, in language, in that which is above all spiritual,
even transcendental, offers a breath of fresh air not only in the
context of Irish poetry as such, but also in the context of global
post-modernistic literary turmoil. Perhaps the poet himself
defines it best when he says: “I believe in Poetry, the language
of emotion (which of course does not exclude thinking). I believe
in the act of trying to master an experience, however briefly and
11
unsatisfactorily; to feel and understand something fully and to
say it as fully as possible. And I believe that through the cold
window of words we may sometimes be allowed a glimpse of the
real.”
Except for the occasional publication of Egan’s poems in
Croatian literary magazines (Republika, Hrvatsko slovo), this is
the first systematic selection of poems written by this great Irish
poet published in book form in Croatia.
Desmond Egan has to date published the following collections
of poetry:
Midland, Goldsmith Press,1972.
Leaves, Goldsmith Press, 1974.
Siege, Goldsmith Press, 1976.
Woodcutter, Goldsmith Press, 1978.
Athlone?, Goldsmith Press, 1980.
Seeing Double, Goldsmith Press, 1983.
Collected Poems, Orono, Maine, USA, 1983.
Terre et Paix – Poemes d’Irlande, Presses Universitaires de
Lilles, Lille, France, 1988.
A Song for my Father, The Kavanagh Press, Newbridge, Ireland,
1989.
Peninsula, Poems of the Dingle Peninsula, The Kavanagh Press,
Newbridge, Ireland. 1992.
Snapdragon Little Rock, Milestone Press, Arkansas, USA, 1992.
Sellected Poems, Creighton University Press, Omaha, Nebraska,
12
USA, 1992.
Poems for Eimear, Milestone Press, Little Rock, Arkansas, USA,
1994.
In the Holocaust of Autumn – a sequence in eight parts witn an
Epilogue, Goldsmith Press, Newbridge, Ireland, 1994.
Elegies, Goldsmith Press, Newbridge, Ireland, 1995.
Famine, Goldsmith Press, Newbridge, Ireland, 1997.
Music, Goldsmith Press, Newbridge, Ireland, 2000.
The Hill of Allen, Goldsmith Press, Newbridge, Ireland, 2001.
He also published two books of essays, the first entitled
The Death of Metaphor (1990) and the second entitled The
Bronze Horseman (2009).
A full-time writer, Desmond Egan lives near Newbridge,
Ireland, with his wife Vivianne Abbott and daughters Kate and
Bebhinn.
Nikola Đuretić
Christ in Connaught Street
Krist u ulici Connaught
16
LUPINS
our kitchen table floor chairs
crowded with friends’ flowers
shop windows polished
the Sacred Heart
replacing radios and bicycles
before the slow procession
files up in sodalities
banners and suits and serious faces
Miss O’Beirne’s choir whose hymn
echoes late and later
ahead behind
captains with swords
the monstrance held by the Canon
a white cape around his arms
to puffs of incense
Christ in Connaught Street
let that scent persist
and the faces at the windows
the rose petals
17
VUČIKA
u kuhinji stolci pod i stol
puni darovanog cvijeća
izlozi blistaju
Srce Isusovo
umjesto radija i bicikala
prije no što se spora povorka
poreda u bratstva
znamenje, odijela i ozbiljna lica
zbor gđice O’Beirne svečana pjesma
odjekuje kasno i kasnije
iza i ispred
predvodnici s mačevima
monstrancu nosi župnik
bijela mu halja pokriva ruke
uz dim tamjana
Krist u ulici Connaught
neka se zadrži taj miris
i lica na prozorima
latice ruža
18
WHY WRITE
(in memory of my mother)
to go down that soundless corridor
to no. 8 left ajar on a little world
the chair of unread papers
cards photos flowers
the littered bed table
handbag hanging on its end
and only television eyeing
her lolling asleep
bird legs in long tight stockings
98 year old feet facing each other
one forgotten on the table stand
the narrow stylish shoes
her bandage showing a little
19
ZAŠTO PIŠEM
(u sjećanje na moju majku)
proći tim hodnikom lišenim zvuka
do broja 8 odškrinutog ka malenom svijetu
stolac nepročitanih novina
dopisnice slike cvijeće
otpaci na stoliću uz postelju
torbica visi s njega
jednooki televizor bulji
u mlitavo usnulo tijelo
tanke noge u uskim čarapama
98-godišnje noge okrenute jedna drugoj
jedna zaboravljena na stoliću
uske elegantne cipele
tek malo proviruje povez
20
MORNING
thank you God in no heavens
who resurrected day again
and both of us in it for now
and this iceblue space
spilling on the wild garden
the bushes there outside my life
fresh and curious as ever
with memory purple
to shape shapes
dear generous Creator
blowing through faith’s branches
you remake me
a painter who cannot paint
a writer who cannot write
a singer without good enough voice
able to sing to paint to write
thank you God
21
JUTRO
hvala ti Bože koji nisi na nebesima
što opet si uskrsnuo dan
i za sada nas oboje u njemu
i ovaj blijedomodri prostor
što razlijeva se zapuštenim vrtom
grmlje ondje izvan mojega života
svježe i neobično kao uvijek
s grimiznim sjećanjem
za oblikovanje oblika
dragi velikodušni Stvoritelju
koji pušeš kroz grane vjere
ponovo stvaraš mene
slikara koji ne zna slikati
pisca koji ne umije pisati
pjevača bez dovoljno dobra glasa
da mogu pjevati slikati pisati
hvala ti Bože
22
EMPTY NEST
no teen around
to call feed deliver
sleepy to school
to have to watch Friends with
joking by the fire
or swallow hard at pop
lunch is for two
dinner a moveable feast
no unexpected callers
the phone sits available
most of what we do
seems less than necessary
the house knows it it
echoes a cold quiet
one week jostles into another
going where you’d wonder
you very nearly
meet yourself coming back
everything is going in a door
23
PRAZNO GNIJEZDO
nema djeteta
da ga zovem hranim vozim
pospana u školu
da s njim gledam Friendse
šalim se uz kamin
ili trpim tu groznu glazbu
ručak je za dvoje
večera pomična gozba
ne dolazi nitko nenajavljen
telefon je pri ruci
većina onog što činimo
izgleda ne baš nužno
kuća zna sve
odjekuje hladnom tišinom
tjedan se sudara s drugim
začudio bi se kamo ide
zamalo da ne sretneš
samog sebe na povratku
sve ulazi u vrata
24
into the new uncertainty
with little to lose and
even death is lessened
you could half envy monks
cloistered among the big issues
what is time but
time to face things
with the pain down your leg
25
u novu nesigurnost
malo toga za izgubiti
čak se smanjila i smrt
skoro da možeš zavidjeti redovniku
zatočenom među velikim stvarima
što je vrijeme do
doba suočenja
dok ti niz nogu puže bol
26
ARACHNOPHOBE
the husk of a fly
dangles from its gibbet
wings glinting
alive enough to be forgotten
you can almost hear
its puzzled desperate buzzing
but what’s the use of muttering
spiders give me the creeps
their frightening wait
their rush on thread legs
their pitiless dance of no escape
or the way the dead web
abandoned in a fanlight
kills still
that’s how things are
fly spider fly trapped
at the refusing window
27
ARAHNOFOB
ljuska muhe
njiše se na svojim vješalima
krila ljeskavih
dovoljno živa da bi bila zaboravljena1
gotovo se čuje
njezin zbunjen očajan zuj
ali koja svrha reći
od paukova mi se koža ježi
od njihova zastrašujućeg vrebanja
njihova trka na končastim nogama
njihova bešćutna plesa bez uzmaka
ili od načina na koji mrtva paučina
ostavljena u prozoru ponad ulaznih vrata
i dalje ubija
tako je to
muha pauk muha uhvaćena
na nepopustljivu prozoru
28
when you wave it down in dust
it sticks to your fingers
and will not easily let go
29
kada je pokupiš s prašinom
lijepi se za prste
i ne pušta lako
30
BRONZE HORSEMAN by JAMES McKENNA
...what I do is me: for this I came
down the shaft of the Notting Hill
terminal below London
deep in this cold fluorescent underworld
his hammer and chisel
began to squirm again
and where commuters would crowd
he started to re-invent
air and daylight
the imaginary fields
the lost summers
as horse and rider
began to emerge to
gallop into the bronze idea
now that cave
the buttressed corridor
its tunnel tigers
the might have been
the dead creator too
all toss together within this
31
BRONČANI KONJANIK JAMESA McKENNE
... ono što činim sam ja sam: zato sam došao2
na dnu okna pod Londonom
stanice u Notting Hillu
u dubini hladnog svjetla
u čekić i dlijeto u ruci
ponovno uđe život
tamo gdje se putnici roje
on ponovno stvarati poče
zrak i svjetlo dana
zamišljena polja
izgubljena ljeta
kada se nazriješe
konj i jahač i pretopiše se
galopom u brončanu ideju
a sada ta spilja
poduprti hodnik
i tigrovi tunela
i sve što je moglo biti
i umrli stvaralac
sve se to pretapa u
32
fierce jockey this resisting mount
half mass half urgent bodies
bursting towards outdoors
a blink and half a century later
they gallop motionless on my desk
in that very moment as
his horse twists its strong neck
out of the earth its rider
so where’s the gaffer now
the minister who joked
no barbed wire round the mailboat
where are those who proclaimed Irishmen
let us make a profit
the insiders outsided
while it
sooner than later will stand
lighted on a pedestal
in time’s wide open spaces
nourishing passers by
who won’t know why
33
odlučnog jahača i otpor konja
napola masu napola žurna tijela
što hrle prema vanjskome svijetu
treptaj i pola stoljeća kasnije
ukočeni u galopu na mojemu stolu
upravo u trenutku kada
konj izvije snažni vrat
a jahač se pojavi iz zemlje
a gdje je sada glavni
onaj ministar koji se šalio
oko poštanskog broda nema bodljikave žice
gdje su oni koji proglasiše Irce
hajde zaradimo nešto
domaćim strancima
jer će
vrlo skoro stajati
osvijetljen na postolju
na širokom prostoru vremena
hraneći prolaznike
koji neće znati zašto
34
JULY EVENING 8.30 SHARP
the Ritz is almost ours
happy-tired after a game we head
Tomás and I for the Balcony
hold out our tickets for
the girl with the flashlamp
at the curtained entrance
then up and
down the side-lighted steps
surefooted in this artificial dark
that clatter of seats
their metal ashtrays
the balustrade over the Pit
the fantastic brightness of the screen
the silence of eyes
Lex Barker as Tarzan
I forget who was Jane
35
SRPANJSKA VEČER TOČNO 20:30
Ritz je gotovo naš
ugodno umorni poslije utakmice idemo
Tomas i ja na Balkon
pružamo ulaznice
djevojci s baterijskom svjetiljkom
na ulazu iza zastora
onda gore pa
dolje stepenicama osvijetljenim sa strane
sigurna koraka u toj umjetnoj mrklini
klepetanje sjedala
njihovih metalnih pepeljara
ograda iznad Parketa
čudesno blještavilo platna
muk očiju
Lex Barker kao Tarzan
ne sjećam se tko je bila Jane
36
GARRISONED
little or no live music
apart from the army band
on its march to 12 Mass
and some sniggering girls
no real painter
no sculpture
not even bog oak
something cultural
Séverine asked
amateur theatrics and
a lost writer or two
sloping towards the library
suspect
what chance for the dance
among streets of small shops
laneways of no name
37
UTVRDA
malo ili nimalo žive glazbe
osim vojnog orkestra
koji maršira prije mise u 12
i nešto smijuckavih djevojaka
nigdje prava slikara
ni skulpture
čak ni hrastovine s tresetišta
nešto kulturno
upitala je Severine
amaterska predstava i
izgubljeni pisac ili dva
koji se spuštaju prema knjižnici
podozrivo
nema izgleda za ples
na ulicama malenih prodavaonica
i bezimenih prolaza
38
where how’ya
is never a question
nor OK
an answer
39
gdje kak’ si
nikada nije pitanje
niti OK
odgovor
40
JOHN McCORMACK SINGS
with
Tomás
Georgie
Tom
Eugene
Anne
Joan
Joe
Peggy
Seamus
Clare
Meav
Marie
Vincent
backing
a popular song in a minor key
a chorus floating in an empty street
41
JOHN McCORMACK3 PJEVA
sa
Thomasom
Georgie
Tomom
Eugeneom
Anne
Joan
Joeom
Peggy
Seamusom
Clare
Meav
Marie
Vincentom
kao pratnjom
jedan popularan napjev u nekom molu
refren lebdi praznom ulicom
42
MUSCLES
his man’s shop a hobby
football was his life
he made us dilettantes
I saw him once fighting
singlehanded an invasion of Rovers fans
backwards down the pitch
never looked for trouble
never hid from it
he’s a well known pacifist
address your remarks to me
always understating
slight problem over the phone
of his car two fields off
he spoke in a code
stylised as Lester Young’s
was it also a shield Seamus
of the burnt eyes
Athlone’s Achilles
brought down by accident
43
SNAŽNI
trgovina odjeće mu je hobi
a nogomet život
za njega smo bili diletanti
jednom sam ga vidio u borbi
samog a Roveraša stotinu
potiskuju ga niz igralište
nikada nije tražio gužvu
i nikada bježao od nje
svi znaju koliko je miran
primjedbe uputite meni
uvijek umanjuje teškoću
zove i spominje sitnicu
auto mu je preletio dva polja
govorio je u šiframa
poput Lestera Younga
Seamuse je li i to bila obrana
da zaštitiš oči od plamena
Ahilej iz Athlona
oboren nesretnim slučajem
44
another hero protecting too much
and when he went
it all went for some of us
and locked the galvanised gate
45
još jedan junak koji štiti previše toga
kada je otišao
za neke od nas otišlo je sve
i zaključalo vrata stadiona
In the Holocaust of Autumn
U holokaustu jeseni
48
IN THE HOLOCAUST OF AUTUMN
1
in the holocaust of another autumn
among the cemeteries of leaves
it is easier to remember those
compounds wired-off with hate
the lookout posts rearing
out of dying Europe the smokestacks
puffing ash across the rubble
the minds in uniform
grenade graves down the meadows
drivers wearing masks to manoeuvre
dumpers brimming with pale bodies
or the stragglers out of history
their childhood trapped in eyes
that cannot go away
famine eyes
eyes that scream why?
49
U HOLOKAUSTU JESENI4
1
u holokaustu neke druge jeseni
među grobljima lišća
lakše je prisjetiti se onih
baraka ograđenih žicom mržnje
stražarskih tornjeva što su se izdigli
iz umiruće Europe dimnjaka
što pepelom prekrivaju ruševine
uniformiranih umova
grobova od granata u dnu livada
vozača s maskama koji manevriraju
kamionima prepunim blijedih tjelesa
ili onih zaostalih za poviješću
s djetinjstvom zarobljenim u očima
što ne mogu nestati
očima gladi
očima koje vrište zašto?
50
eyes that carry whole families
eyes not dead to hope
knowing there is none
eyes we recognise
51
očima koje nose cijele obitelji
očima koje nisu mrtve za nadu
a znaju da je nema
očima koje prepoznajemo
52
2
how can the day dawn time’s itinerants
as innocently ever again? you wander across the
years
or this universal morning never quite fitting in
take over so cleanly
the birds sing us alive troubled as we
or night’s hedges mellow who alone made you
into such unconscious sunlight? welcome
how can the bushes round our as if we knew
lives
glisten with so much hope
or the great clouds roll
so wonderfilled over
all we need to reach?
smell it
taste it
that ash is everywhere
53
2
kako može ikada opet vremenski putnici
dan svanuti tako nevin? vi lutate kroz
godine
ili to sveopće jutro nikad posve uklopljeni
zavladati tako čisto
ptice nas oživiti pijevom zabrinuti kao i mi
ili noćne živice omekšati koji smo vam jedini
u tako nesvjesno sunčevo svjetlo? zaželjeli dobrodošlicu
kako se može šikara oko naših kao da smo znali
života
ljeskati s toliko nade
ili silni oblaci lebdjeti
tako prepuni divljenja preko
svega što moramo dosegnuti?
onjuši ga
okusi ga
taj je pepeo posvuda
54
3
in Ireland also
there are places where no bird sings
where the past overgrows the present
where centuries quiver in a leaf
where wanderers meet wanderers
where a soul split and bordered still
sharpens our ear for
that orchestra of sadness wafting
from behind all the barbed walls
55
3
u Irskoj također
ima mjesta gdje ptice ne pjevaju
gdje prošlost obrasta sadašnjost
gdje stoljeća trepere u jednome listu
gdje lutalice susreću lutalice
gdje neka duša rascijepljena i obrubljena
još uvijek oštri naše uho za
onaj orkestar tuge čiji zvuk dolebdi
iza svih ograda od bodljikave žice
56
4
and because you like us
were born it might seem to suffer
ethnic cleansing ahead of its time
we the Irish know
how deep your memory runs
how little is a hundred years
mingled with the awareness of
a people never privileged to explain
it darkens your songs
marks you like us with irony
with a subliminal hunger to
broadcast for forgivness
to be loved at all costs
57
4
i stoga što ste kao i mi
rođeni čini se da biste prošli
kroz etničko čišćenje5 prije no je izmišljeno
mi Irci znamo
koliko je duboko vaše sjećanje
koliko je malo stotinu godina
pomiješano sa sviješću
naroda koji nikada nije bio povlašten da objasni
ono ulijeva mrklinu u vaše pjesme
žigoše vas kao i nas ironijom
nekom podsvjesnom žudnjom da
zagovarate oprost
da budete voljeni po svaku cijenu
58
5
the dynasties of steel treated us
like a chosen people too my life cut in two
surrounded us tried to bury
our wish to be ourselves I cried for years
made us Marranos
pitch-capped our dreams only one child in
fourteen
saw to it that our luck
would run out always disarmed and upon
their knees
let us the same
vocabulary of feeling between the I must remember
gaps in language everything
the desperate urge to
laugh instead of weep
the same cranky voice
the tough music
59
5
čelične dinastije postupale su i s nama
kao da smo izabrani narod moj život raspolućen8
opkolile nas pokušale pokopati
našu želju da budemo ono što jesmo godinama sam plakao
pretvorile nas u Marranos6
užarenom krunom7 okrunile nam snove samo jedno dijete od
četrnaest
pobrinule se da nas
uvijek prati zla kob razoružani i bačeni
na koljena
ostavile nam isti
rječnik osjećaja u moram upamtiti
procjepima jezika sve
očajničku potrebu
da se smijemo umjesto da plačemo
isti nepredvidljivi glas
nepopustljivu glazbu
60
6
AKELDAMA
you can discover them roped across
the carriageway to the interior evening
of the human
the 350 Kildaremen eliminated by
countrymen of Judge Clinch beginning to blacken
at Gibbet Rath 1798 in gas and dust
from the usual
their shouts and sobs still almost anonymous
scream quietly across the fields gloved fingers
as Christ’s death does in a snowdrop
of those who
never can I pass without getting could only
the smell of fresh blood be by destroying
never true spartans
unable to leave
and often I imagine anything of
what it might mean themselves
to be a Jew
61
6
HAKELDAMA9
možeš ih vidjeti vezane na
putu10 u unutrašnjost večer
čovjeka
350 muškaraca iz Kildarea koje pobiše
zemljaci suca Clincha11 smrkava se
na Gibbet Rathu12 1798 u plinovima i prahu
od običnih
njihovi uzdasi i jecaji još uvijek gotovo anonimnih
vrište potiho ponad njiva prstiju u rukavicama
kao Kristova smrt u snježnoj pahulji
onih koji su
nikada ne mogu proći i ne osjetiti mogli postojati
vonj svježe krvi samo razaranjem
nikada istinski spartanci
koji ne ostaviše
i često pomislim nimalo
što značiti to sebe
kada je netko Židov
62
7
suffering makes its own space
we only attempt comparisons
in the memory of grief’s absolute
in the murder that lasts forever
in the pain passed on
like original sin
in the brute roping
of a way of being
in the eyes too widened
the heads bowed for bullets
in the trying to continue
on starvation rations
a mound of gold teeth
sackfuls of hair
63
7
patnja stvara vlastiti prostor
mi se trudimo tek oko usporedbi
u sjećanju na apsolutnu tugu
u ubojstvu koje traje vječno
u boli koju se prenosi
poput istočnoga grijeha
u okrutnu sputavanju
načina postojanja
u očima suviše razrogačenim
glavama pognutim zbog metaka
u nastojanju da se nastavi
na zalihama gladi
brdo zlatnih zuba
vreće pune kose
64
8
save one person save a world yes
but kill one and
something goes out of everything
that is why we who lost
the provinces of hope
who had our own holocaust in
medieval 1847
all the centuries of exile
in our own country
massacres too many to mention
carry a sadness in the blood
a walk a look an accent
some bitter rhythm a wounded shadow
wear like you
humour as a vest
sensing that each of us has lost
part of what we should have been
65
8
spasi jednu osobu spasio si svijet da
ali ubij jednu i
nešto nestaje iz svega
zato mi koji smo izgubili
pokrajine nade
koji smo prošli kroz vlastiti holokaust
u srednjovjekovnoj 1847.13
sva stoljeća egzila
u vlastitoj zemlji
tolike pokolje da ih se ne može pobrojiti
nosimo neku tugu u krvi
hodu pogledu naglasku
neki gorak ritam ranjenu sjenu
i poput vas odijevamo
humor kao potkošulju
osjećajući da svi smo mi izgubili
dio onoga što trebali smo biti
66
EPILOGUE
scratching in black ink
wanting to be the one who understands
enough to take it all into
whoever I am
to control it through words
that will not allow it to have happened
without a shout back down
the alleyways into time
I am taken by a reflection my window
of branches gate a sky is carrying
another bright rectangle from across
alive with its own leaves
whitening waiting in the breezes
against those greener others
movement inside the movement
light within light
the lost tribe
very well then
let us sing together
67
EPILOG
zapisujući crnom tintom
želio bih biti onaj koji razumije
dovoljno da sve to pretočim u
sebe ma tko bio
da sve kontroliram riječima
što ne bi dopustile da se to dogodi
bez povratna povika niz
ulice u vrijeme
obuzima me odraz u prozoru
grana vrata neba koje donosi
drugi svijetli pravokutnik od prekoputa
oživljen vlastitim lišćem
bjelina što čeka u lahoru
naspram onih zelenijih drugih
pokret u pokretu
svjetlo u svjetlu
izgubljeno pleme14
pa onda dobro
pjevajmo zajedno
Elegies
Elegije
70
FOR A FATHER
1
I chanced on a photo
my father in shirtsleeves
standing by the greenhouse
on so relaxed a summer’s day
no one bothered to pose
least of all the dandelions
and my mother saying something to Kate
who wonders with the yellow roses
the privet hedge we cut down since looks lovely
a doll lies forever in the sun
and I can almost smell the dinner
see our folding chairs and table the
other side of my camera
the red serviettes blowing
71
ZA OCA
1
nabasah na fotografiju
otac u košulji
stoji kraj staklenika
jednog tako opuštena ljetnog dana
da nikome nije bilo do poziranja
ponajmanje maslačcima
i majka koja govori nešto Kate
dok se ona čudi žutim ružama
živica koju odavna posjekli smo prelijepa je
neka lutka leži na suncu zauvijek
i gotovo da mogu osjetiti miris ručka
vidjeti stolce i stol na sklapanje
onkraj fotoaparata
crvene ubruse na vjetru
72
THE NORTHERN IRELAND QUESTION
two wee girls
were playing tig near a car...
how many counties would you say
are worth their scattered fingers?
73
SJEVERNOIRSKO PITANJE
dvije malešne djevojčice
igrale se lovice pokraj nekog automobila...
što misliš koliko pokrajina
vrijede njihovi raznijeti prsti?
74
FOR SAMUEL BECKETT
what have we to do with this hotel
its glass and boutiques and revolving chrome
and black waiter looking for a tip?
where we are sitting at doubles of coffee
conferring like exiles between the years
your voice as gently Dublin as Yeats’s
and nimbler than hands falled
like my father’s into age
austere and kindly a monk on his day out
ready to consider any topic for a change
even writers! Joyce and that death mask
Auden’s verse about which we share doubts
meeting Patric Kavanagh in Paris
the fifteen minutes you sat post-prandium
when neither you nor Pound uttered a word
the Paris exhibitions? one shrug
puts them further off than Ireland
(and who could imagine you anyway
stalking peering with a catalogue?)
Company with your own father’s ‘loved trusted face’
calling to you out of the Forty Foot waves...
75
SAMUELU BECKETTU
što nam je činiti s tim hotelom
njegovim staklom i buticima i rotirajućim kromom
i crnim konobarom koji očekuje napojnicu?
gdje opet sjedimo s doubles kavama
vijećajući poput prognanika između godina
tvoj glas tako nježno dablinski poput Yeatsova
i okretniji od ruku što su pale
poput ruku mojega oca u starost
strog i ljubazan redovnik na svoj slobodni dan
spreman za promjenu raspravljati o svakoj temi
čak i piscima! Joyceu i onoj smrtnoj obrazini
o Audenovim stihovima o kojima dijelimo dvojbe
susretu s Patricom Kavanaghom u Parizu
o petnaest minuta koje si prosjedio post-prandium
kada ni ti niti Pound niste progovorili ni riječi
pariske izložbe? jedan slijeg ramena
čini ih udaljenijima od Irske
(a tko bi te i mogao zamisliti
kako se prikradaš buljiš s katalogom u ruci?)
Družba s ‘voljenim pouzdanim licem’ tvojega vlastita oca
doziva te iz Dvanaestmetarskih valova...
76
Marijuana in Ballymahon – there’s a poem for you!
and you still surprise me now as you
lean across the marble top with ravelled face
and blue eyes that make us responsible
to quote from Watt those lines
‘of the empty heart
of the empty hands
of the dark mind stumbling
through barren lands...’
and my mind knots again in loneliness
and we are no longer in a coffee bar but somewhere
in the outer space of your words
that almost intolerable silence where
we must try to hang onto some kind of dignity
out in the blinding dark you never shirked
later an embrace and you step off firmly
into streets gone eighty years old
God bless now Desmond
and you Sam our navigator our valiant necessary
wanderer to the edges of this interpreted world
God bless
77
Marijuana u Ballymahonu – eto ti pjesme!
i još uvijek me iznenađuješ dok se
naginješ preko mramorna stola zbunjena lica
i modrih očiju koje nas čine odgovornima
za navode iz Watta ovih stihova
‘prazna srca
ruku praznih
pustopoljinama teturajuć
misli mračnih...’
i moje se misli upetljavaju opet u samoću
i više nismo u kavani nego negdje
u izvanjskom prostoru tvojih riječi
onoj gotovo nepodnošljivoj tišini gdje
moramo pokušati zadržati kakvo takvo dostojanstvo
vani u zasljepljujućem mraku kojega nisi nikad izbjegavao
poslije zagrljaj i ti odlučno stupaš
na ulice osamdeset godina za tobom
Bog te blagoslovio Desmonde
i tebe Same naš navigatore naš hrabri nužni
lutalico do krajeva ovoga rastumačenoga svijeta
Bog te blagoslovio
78
FOR ALL WE KNOW
(Sung by Billie Holiday)
Sweetheart the night is growing old
Sweetheart
my love is still untold
like the scent of withered gardenia
or the vague shine of an old 78
something of youth lingers
in that tired voice
whitefaced now
as death her last lover
fondles her throat
and that youth
that life
all life
becomes goodbye
79
KOLIKO ZNAMO
(U izvedbi Billie Holiday)
Dušo noć nam je istekla
Dušo
svoju ljubav još ti nisam izrekla
poput mirisa uvelih gardenija
ili maglovita sjaja stare ploče na 78 okretaja
djelić mladosti zaostao
u tom umornu glasu
sada blijeda lica
dok smrt njezin posljednji ljubavnik
miluje joj grlo
i ta mladost
taj život
sav život
postaje oproštaj
80
REQUIEM
music you loved has filled like autumn with sadness
and places we used to be I can hardly bear
flowers are less than flowers days are of darkness
something fell like a leaf when you went away
81
REQUIEM
glazba koju si volio ispunila se poput jeseni tugom
i mjesta koja smo nekoć bili jedva podnosim
cvjetovi su manje od cvjetova dani su mrkline
nešto je uvelo poput lista kada si ti otišao
82
CANCER
Monday’s call his firs in ages
we were too nice
awkwardly tender as when the train
doors are being shut
right along the platform
and he knew it well
Only a few months God help him
how does the river look now
which he used drive along in the morning
and leave absently dangling a stethoscope?
how do the trees the far hills?
and people
old patients who seem suddenly to have won
health like a Silver Circle prize?
too familiar yet different? like clothes
that don’t quite fit any more
the whole living world
an hotel in the off-season
83
RAK
posjeti ponedjeljkom njegovi prvi tko zna otkad
bili smo suviše obzirni
nespretno nježni kao kada se vrata
vlaka zatvara
na samome peronu
i on je to dobro znao
Samo nekoliko mjeseci Bog mu pomogao
kako sada izgleda rijeka
pokraj koje je vozio jutrom
ostaviv stetoskop da se odsutno klati?
kako stabla brda u daljini?
a ljudi
stari pacijenti koji su odjednom
ozdravili kao da su dobili na lutriji?
suviše poznati a ipak drukčiji? poput odjeće
koja više nekako ne pristaje
cijeli živi svijet
hotel u posezoni
84
only the thin end of love is more real
than long fields greening with their last spring
the delicate cold rain is inexpressibly beautiful
85
tek je kraći kraj ljubavi zbiljskiji
od dugih polja ozelenjelih svojim posljednjim proljećem
fina hladna kišica neizrecivo je lijepa
86
IF
if I don’t write about you any more
no poemlets fevered notes no songs
if I don’t think about you any more
or play Rachmaninov mooning like a teenager
if I don’t wander by the river any more
looking at nothing empty as a cottage
if I don’t dream about you any more
live through your eyes see you in everyone
if I don’t remember any more
the back room full of roofs and sunsets
traffic’s indifference a colourless slumberdown
if I don’t need you any more
it’s because I have forced myself to learn
practising bitterly like a failed athlete
not to care any more no more
this is my first goodbye
87
AKO
ako više ne pišem o tebi
ni pjesmuljke grozničave bilješke ni skladbe
ako više ne mislim na tebe
i ne sviram Rahmanjinova sanjareći poput klinca
ako ne lutam više pokraj rijeke
gledajući ni u šta prazan poput ladanjske kuće
ako više ne sanjam o tebi
ne živim kroz tvoje oči i ne vidim te u svakome
ako se više ne sjećam
onoga sobička prepuna krovova i zalazaka sunca
ravnodušna prometa bezbojna drijemeža
ako mi više nisi potrebna
to je stoga što sam se prisilio naučiti
vježbajući gorko poput neuspješna sportaša
da više ne marim nikad više
to je moje prvo zbogom
88
EPILOGUE
out the window of my study
Papel rasgado de um intento
a leaden March morning gives
and blue tatters show
there’s a crow gawking from a bare tree
a volley from an unseeable blackbird
and for no reason I remembered Kerry
the long road of stillness
An Fheothanach shivering with daylight
the perspective to The Sisters
mist hights a view of abandoned ocean
somebody’s voice coming a long way
life draining from a hill
landscape of tragic faces
where time fades to eternity
the great grey movement
over us all
89
EPILOG
onkraj prozora moje sobe
Papel rasgado de um intento15
olovno ožujsko jutro predaje se
i vide se modre poderotine
s gola drveta grakće vrana
začuje se pjesma nevidljiva kosa
i bez ikakva razloga prisjetih se Kerryja
duge ceste spokoja
An Fheothanach16 drhturi s danjim svjetlom
pogled seže do Tri sestre17
vrhovi u magli prizor napuštena oceana
nečiji glas dopire iz daljine
iz planine život istječe
krajobraz tragičnih lica
gdje vrijeme blijedi u vječnost
taj veliki sivi pokret
ponad svih nas
90
LEGACY
(For Kate and Bebhinn)
some other tomorrow
the sun will shine again
along our path through the orchard
91
NASLIJEĐE
(Za Kate i Bebhinn)
neko drugo sutra
sunce će opet sjati
našim putem kroz voćnjak
92
ENVOI
saying goodbye for the umpteenth time the
mind like a pensioner drifts on a favourite walk
up the living road towards the bogs
that flood and colour everywhere
no doubt it could catch
this side of the tidiness of Curnabull those
obvious moments along the Shannon
but that’s a bit much just now
there being so little one can cope with
so I go up and up the same way in hope
as far as the cross river
lean over the bridge and
join the weeds the ancient shadowings of water
somewhere out there
like a hint of smoke on the breeze Clonmacnois
rises in thought a graveyard wide with unheard goodbyes
the skygoats are whinnying high
high in a summer evening
cutting sad happy celtic circles over our heads
the hedges have greened I am walking very slowly
listening to my father
93
ENVOI
rekavši zbogom po tisućiti put
misao poput starca ode u najdražu šetnju
živom cestom prema močvarama
što preplavljuju i bojaju baš sve
nedvojbeno bi mogla dosegnuti
ovu stranu urednosti Curnabulla one
očite trenutke uz Shannon
ali u ovome času to je malo previše
jer čovjek može podnijeti tako malo
stoga idem dalje i dalje istim putem u nadi
sve do prijelaza preko rijeke
nagnem se preko mosta i
pridružim korovu drevnim sjenama vode
negdje tamo u daljini
poput navještaja dima na vjetru Clonmacnois
diže se u misli groblje prostrano od nečujnih pozdrava
zviždovke zvižde visoko
visoko u ljetnoj večeri
izrezujuć tužnosretne keltske krugove ponad naših glava
živice su zazelenjele i ja hodam sasvim polako
slušajući svojega oca
94
Notes:
1. ARACHNOPHOBE
alive enough... – Genet.
2. BRONZE HORSEMAN by JAMES McKENNA
...what I do is me: for this I came – Hopkins, As Kingfishers
Catch Fire
3. JOHN McCORMACK
John McCormack – Famous Irish tenor (1884-1945) born in
Athlone, my home town.
4. IN THE HOLOCAUST OF AUTUMN – SECTION I
The Irish and the Jews: Stanley A. Siev writes,
“It is a unique feature that in European history only three
countries do not have the stain of overt anti-Semitism tarnishing
their culture and history.”
(The Celts and the Hebrews, Irish Jewish Museum, Dublin 1993)
The three in question: Holland, Denmark – and Ireland. In fact,
the Irish Parliament (independently of the English) in 1796
passed an amendment extending full civil liberties to the Jews
of Ireland – something very liberal and far ahead of its time.
In general, as Dan Casey points out in an article on the subject
(published in Moment),
“Ireland’s treatment of its Jews has been exemplary.
95
Bilješke:
1. ARAHNOFOB:
dovoljno živa... – Genet.
2. BRONČANI KONJANIK JAMESA McKENNE:
...ono što činim sam ja sam: zato sam došao – Hopkins, As
Kingfishers Catch Fire
3. JOHN McCORMACK
John McCormack – slavni irski tenor (1884.-1945.) rođen u
Athloneu, mojem rodnom mjestu.
4. U HOLOKAUSTU JESENI – DIO I
Irci i Židovi: Stanley A. Siev piše:
“Jedinstven je podatak da u europskoj povijesti samo
tri zemlje na svojim kulturama i povijestima ne nose mrlju
otvorenog antisemitizma.”
(Kelti i Židovi, Muzej irskih Židova, Dublin 1993.)
Tri rečene zemlje su Holandija, Danska – i Irska. Štoviše, irski
je Parlament (neovisno o engleskom) godine 1796. usvojio
amandman kojim se proširuje puna građanska sloboda na irske
Židove – što je bio vrlo liberalan potez, mnogo ispred svojega
vremena. Općenito govoreći, kako i Dan Casey ističe u napisu na
tu temu (objavljenom u publikaciji Moment):
“Irski tretman Židova bio je primjeran. Bilo je malo
96
There has been little overt anti-Semitism over the seven-and-
a-half centuries. The Chief Rabbi has an honoured position
under Irish law. The Jewish community is legally protected from
discrimination. Ireland is one of the few countries in the world
to enshrine the right to Schechitah (ritual slaughter) in its legal
system.”
It is true that a somewhat crazed Redemptorist, Fr. John
Creagh, created trouble in Limerick in 1904 but he later caused
havoc about other matters in two other countries, after he was
sent out of Ireland; and many public figures at the time were quick
to condemn his bigotry (as can be verified in the Irish Jewish
Museum). Recently we could boast that the President of Israel,
Chaim Herzog, was Irish (born in Belfast, reared and educated
in Dublin; an Irish speaker and by his own admission as much
at home in Dublin as in Tel Aviv) while the then Lord Mayor of
Dublin (1988-1989), Ben Briscoe, was Jewish. It might be added
that as well as various cultural, legal and scholarly connections,
there are at present three prominent Jewish members of Dail
Eireann, the Irish Parliament; and for three different political
parties: Ben Briscoe (Fianna Fail); Mervyn Taylor (Labour Party;
presently Minister for Equality and Law Reform); and Alan
Shatter (Fine Gael).
In fact, Mr. Siev in his book (op.cit.) would argue,
intriguingly, that the Hebrews and the Celtic Irish had a
relationship with each other from before 500 B.C.
97
otvorena antisemitizma tijekom razdoblja od sedam i pol stoljeća.
Glavni rabin, sukladno irskome zakonu, ima cijenjen položaj.
Židovska zajednica zakonski je zaštićena od diskriminacije. Irska
je jedna od rijetkih zemalja svijeta koja je u svoj zakonodavni
sustav ugradila pravo na šehitu (ritualno klanje).”
Istina je da je pomalo mahniti redemptorist, otac John
Creagh, godine 1904. izazvao probleme u Limericku, ali on je
kasnije, nakon što je odaslan iz Irske, izazvao nerede zbog drugih
stvari i u druge dvije zemlje; a mnoge javne ličnosti onoga doba
odmah su osudile njegovu vjersku nesnošljivost (što se može
provjeriti u Muzeju irskih Židova). U novije vrijeme možemo se
pohvaliti činjenicom da je izraelski predsjednik Chaim Herzog
Irac (rođen u Belfastu, odrastao i obrazovan u Dublinu; govornik
irskoga i, prema osobnom priznanju, jednako doma u Dublinu
kao i u Tel Avivu) dok je onodobni gradonačelnik Dublina (1988-
1989.) Ben Briscoe, također Židov. Tome se može dodati da su,
osim niza poznatih osoba s područja kulture, zakonodavstva i
znanosti, trenutno i tri istaknuta člana Dail Eireann, irskoga
Parlamenta, Židovi i to iz tri različite političke stranke: Ben
Briscoe (Fianna Fail); Mervyn Taylor (Laburistička stranka –
trenutno Ministar za jednakost i reformu pravosuđa); i Alan
Shatter (Fine Gael).
Ustvari, gospodin Siev u svojoj knjizi (op.cit.) iznosi
zanimljivu tvrdnju da su Židovi i keltski Irci bili u kontaktu i 500.
godine prije Krista.
98
5. SECTION IV
‘ethnic cleansing’: various plantations by the English involved
dispossessing the native Irish, while Oliver Cromwell (1599-
1685) notoriously tried to drive them from the East “to Hell or
Connaught” (the barren, rocky, West). In the Penal Days of the
17th and 18th centuries the predominantly Catholic population
was persecuted for its religion and barred from voting, holding
public office or owning land. During the famines of 1846-
1849 including the Great Famine of 1847 approximately three
million Irish died or left the country – even as some landowners
continued to export food.
6. SECTION V
Marranos: Jews who, because of threat or persecution, practiced
their religion in secret. Many Marranos came from Holland to
Ireland as city merchants under Oliver Cromwell.
7. SECTION V
‘pitch-capped’: a ‘cap’ of red-hot tar pulled down on the victim’s
head – a form of torture which became prevalent especially
around the time of the 1798 Rebellion when the English soldiery
wished to punish or intimidate the Irish rebels.
8. SECTION V
The quotations in the right hand column are from survivors of
the Holocaust, except for the one beginning disarmed... which is
taken from an account written by Colonel Patrick Kelly in 1842,
99
5. DIO IV
‘etničko čišćenje’: različita naseljavanja Engleza uključivala su i
oduzimanje zemljišta domaćem irskom puku, dok ga je Oliver Cromwell
(1599-1685.) kao što je poznato, pokušao prognati s istoka “u pakao ili
u Connaught” (goli, stjenoviti zapad). Tijekom razdoblja poznatog pod
nazivom Dani kaznenih zakona u 17. i početkom 18. stoljeća, pretežito
katoličko pučanstvo progonjeno je zbog svojih vjerskih svjetonazora, te
mu je zabranjeno glasovanje, obnašanje javnih dužnosti i posjedovanje
zemlje. Tijekom razdoblja gladi od 1846. do 1849. uključujući i Veliku
Glad 1847. godine pomrlo je ili je napustilo zemlju oko tri milijuna
Iraca. Istodobno neki zemljovlasnici nastavili su izvoziti hranu.
6. DIO V
Marranos: Židovi koji su, zbog prijetnji ili progona, provodili vjerske
obrede u tajnosti. Mnogi Marranos došli su u Irsku iz Holandije kao
trgovci za vladavine Olivera Cromwella.
7. DIO V
‘užarena kruna’: ‘kruna’ od vrele smole koju bi se stavljalo na žrtvinu
glavu – oblik mučenja koji je postao česta pojava, posebice u vrijeme
pobune iz 1798. godine, kojim su engleski vojnici željeli kažnjavati ili
zastrašiti irske ustanike.
8. DIO V
Stihovi u desnoj kolumni navodi su ljudi koji su preživjeli holokaust, osim
onoga koji počinje s razoružani... a koji je preuzet iz opisa pukovnika
Patricka Kellyja iz 1842. godine napisanog na temelju informacija koje
100
from information given him by one of the few survivors of the
massacre at Gibbet Rath.
9. SECTION VI
Akeldama: ‘the field of blood’ c.f. Acts of the Apostles I.18f,
Now this man (Judas) bought a field with the reward of
his wickedness and falling headlong he burst open in the middle
and all his bowels gushed out. And it became known to all the
inhabitants of Jerusalem, so that the field was called in their
language Akeldama, that is, Field of Blood.
(R.S.V. version, C.T.S. London, 1946)
10. SECTION VI
‘carriageway’: from Newbridge to Kildare.
11. SECTION VI
‘Judge Clinch’: an English judge who in 1586 sentenced Margaret
Clitheroe (then pregnant) to be pressed to death for the crime
of having sheltered priests, during the time of the Penal Laws
in England and Ireland. Gerard Manley Hopkins has written a
poem about her.
12. SECTION VI
‘Gibbet Rath’: The great Rath (or Mound) of the Curragh plain,
taking its name, probably, from a gallows there where the bodies
were left hanging as a warning. During the Rebellion of 1778
101
mu je dao jedan od rijetkih preživjelih pokolj kod Gibbet Ratha.
9. DIO VI
Hakeldama: ‘krvna njiva’, Djela apostolska I. 18,
Ovaj je (Juda), sad, plaćom za nepravednost stekao njivu, ali je
potom pao na lice i pukao po sredini tako da mu se prosula sva utroba.
To je toliko postalo poznato svim stanovnicima Jeruzalema da je
spomenuta njiva prozvana njihovim jezikom Hakeldama, to jest ‘Krvna
njiva’.
(Biblija, Stari i novi zavjet, Zagreb, 2002.)
10. DIO VI
‘put’: od Newbridgea do Kildarea.
11. DIO VI
‘Sudac Clinch’: engleski sudac koji je 1586. donio presudu da se
Margaret Clitheroe (koja je tada bila trudna) muči do smrti zbog toga
što je skrivala svećenike tijekom razdoblja kaznenih zakona u Engleskoj
i Irskoj. Gerard Manley Hopkins napisao je o njoj jednu pjesmu.
12. DIO VI
‘Gibbet Rath’: Veliki Rath (ili uzvisina) na polju Curragh, ime je
vjerojatno dobila po vješalima koja su bila ondje i na kojima su tijela
bila ostavljena da vise kao upozorenje. Tijekom ustanka 1778. godine,
ondje je pobijeno 325 (ili više) Ujedinjenih Iraca kada je general
bojnik, sir James Duff, nakon što je naredio ‘pobunjenicima’, kako ih
102
it was the site of a massacre of 325 (or more) United Irishmen
when Major General Sir James Duff, having ordered the ‘rebels’
as he called them to lay down their arms and ask for the King’s
pardon, commanded his troops of horsemen – the Black Horse,
under General Dunn, the Foxhunters, under Lord Roden, and the
yeomen cavalry of Captain Bagot – who had surrounded them on
all sided – to “Charge and spare no rebel!”. Which they did.
13. SECTION VIII
‘medieval 1847’: the Great Famine (c.f. note to Section 4).
14. EPILOGUE (IN THE HOLOCAUST OF AUTUMN)
‘the lost tribe’: as Mr Briscoe points out in his Forward, the Irish
have sometimes been called “The Lost Tribe of Moses”.
15. EPILOGUE (ELEGIES)
Papel rasgado... The torn paper of a draft: from a poem by
Fernando Passoa.
16. EPILOGUE
An Fheothanach: place name, Feohanagh, Dingle Peninsula, Co.
Kerry.
17. EPILOGUE
The Sisters: name given to three peaks dominant in the locality.
103
je nazvao, da predaju oružje i zamole kraljevo pomilovanje, izdao
zapovijed svojim konjičkim postrojbama – the Black Horse,
pod zapovjedništvom generala Dunna, the Foxhunters, pod
zapovjedništvom lorda Rodena i dobrovoljačkoj konjici satnika
Bagota – koji su ih okružili sa svih strana – da “krenu u napad i
ne poštede niti jednog pobunjenika!”. Što su oni i učinili.
13. DIO VIII
‘srednjovjekovna 1847.’: Velika glad (vidi bilješku 5.)
14. EPILOG (IN THE HOLOCAUST OF AUTUMN)
‘izgubljeno pleme’: kako ističe Ben Briscoe u uvodu knjizi In
the Holocaust of Autumn, Irce se ponekad naziva “izgubljenim
plemenom Mojsijevim”.
15. EPILOG (ELEGIES)
Papel rasgado... Poderani list jedne skice: Iz pjesme Fernanda
Passoe.
16. EPILOG
An Fheothanach: Ime mjesta, Feohanagh, poluotok Dingle,
pokrajina Kerry.
17. EPILOG
Tri sestre: Ime tri vrha koji dominiraju krajem.
104
Contents:
Preface 9
Christ in Connaught Street
Lupins 16
Why Write 18
Morning 20
Empty Nest 22
Arachnophobe 26
Bronze Horseman by James McKenna 30
July Evening 8:30 Sharp 34
Garrisoned 36
John McCormack Sings 40
Muscles 42
In the Holocaust of Autumn
In the Holocaust of Autumn 1-8 48
Epilogue 66
Elegies
For a Father 1. 70
The Northern Ireland Question 72
For Samuel Beckett 74
For All We Know 78
Requiem 80
Cancer 82
If 86
Epilogue 88
Legacy 90
Envoi 92
Notes 94
105
Kazalo:
Proslov 5
Krist u ulici Connaught
Vučika 17
Zašto pišem 19
Jutro 21
Prazno gnijezdo 23
Arahnofob 27
Brončani konjanik Jamesa McKenne 31
Srpanjska večer točno 20:30 35
Utvrda 37
John McCormack pjeva 41
Snažni 43
U holokaustu jeseni
U holokaustu jeseni 1-8 49
Epilog 67
Elegije
Za oca 1. 71
Sjeverno-irsko pitanje 73
Samuelu Beckettu 75
Koliko znamo 79
Requiem 81
Rak 83
Ako 87
Epilog 89
Naslijeđe 91
Envoi 93
Bilješke 95
