Zbornik Mednarodnega literarnega sreÄanja Vilenica 2004 - Ljudmila
Zbornik Mednarodnega literarnega sreÄanja Vilenica 2004 - Ljudmila Zbornik Mednarodnega literarnega sreÄanja Vilenica 2004 - Ljudmila
Edward Foster Prekiniti tok Gospa, nekoč ste me pripravili, da sem investiral svoj užitek. Moja oblačila bi vam bila lahko danes v posmeh, ampak za vas se ne bom nikoli več oblekel in tudi vi več ne za mene. Videti ste prav sprijaznjeni. Postarali ste se, v glavnem to, postarali. Vaša močna konstitucija, naslov, hiša, vse to je žalostno. Postali ste bolezen, ki je strastne pesmi ne potrebujejo. Bodočnost se spreminja v za vas najslabši obet. Gospa, nekoč moj perzijski sadovnjak. Sladki za pojest. Še otroci na dvorišču so šepetali vaše ime. Zdaj jih več ne slišim. Niti oni vas. Ni nesrečnih slučajev Okužba je nedvomna. Reši me lahko samo še tvoja temna polt. Pričeska je urejena. Tvoj um do čistega zjasni razkošje v meni. Od sebe bova dala vse, kar zmoreva, ampak tvoj poklic v kleti mojega obzira je obtežen s sluzjo, krvjo in spermo mladih mož. Mrtev. Nekoč sem ti zaupal. Nisi mi dovolil druge možnosti. Lahko bi se slepil, in vendar bi bilo lepo, sem mislil, vsaj enkrat, pomeriti se z Grkom v tebi. Jezik pomeni vzeti Čakaš. Podrediti se pomeni, da daru ne prejmeš, dokler se ne predaš. Ne moreš upati na kak nov spodrsljaj. In ga izkoristiti. Vse je v načinu. In v hipu, ko nastopi trenutek sreče, vklopijo luči: modrost je v drugem. Vadim se v potrpežljivosti, a sem šele začel. Roža je vedno črna. Dragi moj, naj bo tokrat zadnjič: prosim. Prevedel Iztok Osojnik 134
Edward Foster Breaking the Stream Lady, you’d once make my pleasure to invest. My clothes could be your mockery today, but I’ll not dress for you again, or you for me. You look quite reasoned now. Growing old, you’re mainly growing old. Your large frame, title, house are deeply sad. You’re now the sick delight songs never need. Futures imitate your worst regard. Lady, you were once my Persian garden. You were sweet to taste. The children in the courtyard whispered you. I cannot hear them now. Nor can they you. There are No Accidents Disease is final. Only your dark skin can save me now. Your hair is taut. Your mind dissects my luxury. We give it all we’ve got, but your profession here beneath the cellars of my care is fraught with phlegm, blood, sperm of young men, dead. I trusted you. You gave no choice. You might deceive yourself, and yet I thought it could be fine, this once, to measure up, a Greek in you. Language Means to Take You wait. Submission means a gift is never yours until you let it go. You can’t expect or bank on some new flaw. Approach is all. No sooner do you get a moment of delight than lights go up: wisdom’s in the other man. I practice piety but only try it on. The flower’s always black. Dear you, this last time: please. 135
- Page 83 and 84: Ştefan Caraman 83
- Page 85 and 86: Ştefan Caraman Ceauşescu My Love
- Page 87 and 88: Stau la coadă la puii înghețați
- Page 89 and 90: Ştefan Caraman Elena este cea mai
- Page 91 and 92: Ştefan Caraman You are a cynic so
- Page 93 and 94: Ştefan Caraman Elena is the best p
- Page 95 and 96: Daša Drndić 95
- Page 97 and 98: Daša Drndić Leica format odlomak
- Page 99 and 100: Daša Drndić se točno koliko, kol
- Page 101 and 102: Daša Drndić U zimskim noćima ost
- Page 103 and 104: Daša Drndić najveću i najmoderni
- Page 105 and 106: Daša Drndić svim krevetima na tom
- Page 107 and 108: Daša Drndić Posljednja žrtva pom
- Page 109 and 110: Daša Drndić in an existing hospit
- Page 111 and 112: Daša Drndić a day. My sister died
- Page 113 and 114: Daša Drndić were soaked with rain
- Page 115 and 116: Martin Fahrner 115
- Page 117 and 118: Martin Fahrner Němá barikáda Mě
- Page 119 and 120: Martin Fahrner Přijel jsem před h
- Page 121 and 122: Martin Fahrner Muže na barikádě
- Page 123 and 124: one else’s bicycle there, yet the
- Page 125 and 126: 125
- Page 127 and 128: Edward Foster 127
- Page 129 and 130: Dry Landscapes in Cezanne A long ti
- Page 131 and 132: The Puritan from Blachernae (Mehmet
- Page 133: Edward Foster Morning Done with try
- Page 137 and 138: Georgi Gospodinov 137
- Page 139 and 140: Georgi Gospodinov Íîâèíè Òÿ
- Page 141 and 142: Georgi Gospodinov Éîàí Íàãà
- Page 143 and 144: Georgi Gospodinov Èç »Åñòåñ
- Page 145 and 146: Georgi Gospodinov Èñòîðèÿ ñ
- Page 147 and 148: Georgi Gospodinov The love rabbit I
- Page 149 and 150: From »Natural Novel« Georgi Gospo
- Page 151 and 152: Georgi Gospodinov 151
- Page 153 and 154: Gintaras Grajauskas 153
- Page 155 and 156: Gintaras Grajauskas Tai jis tai jis
- Page 157 and 158: Gintaras Grajauskas Kineskopas tas
- Page 159 and 160: Dievo dažnis yra 50 Hz sëdëjo ki
- Page 161 and 162: Gintaras Grajauskas statau barikad
- Page 163 and 164: Gintaras Grajauskas Bildröhre das
- Page 165 and 166: Gintaras Grajauskas ich baue eine B
- Page 167 and 168: Daniela Kapitáňová 167
- Page 169 and 170: Daniela Kapitáňová Höfferling,
- Page 171 and 172: Daniela Kapitáňová pauzu. Tvrdá
- Page 173 and 174: Daniela Kapitáňová To je všetko
- Page 175 and 176: Daniela Kapitáňová hinkte schrec
- Page 177 and 178: Daniela Kapitáňová 177
- Page 179 and 180: Vojislav Karanović 179
- Page 181 and 182: Vojislav Karanović Razglednica Jes
- Page 183 and 184: Elegija o bagremu pod prozorom 1. K
Edward Foster<br />
Breaking the Stream<br />
Lady, you’d once make my pleasure to invest.<br />
My clothes could be your mockery today,<br />
but I’ll not dress for you again,<br />
or you for me. You look quite reasoned now.<br />
Growing old, you’re mainly<br />
growing old. Your large frame,<br />
title, house are deeply sad.<br />
You’re now the sick delight songs<br />
never need. Futures imitate your worst<br />
regard. Lady, you were once my<br />
Persian garden. You were sweet<br />
to taste. The children in the courtyard<br />
whispered you. I cannot hear them now.<br />
Nor can they you.<br />
There are No Accidents<br />
Disease is final. Only your dark<br />
skin can save me now. Your hair is<br />
taut. Your mind dissects my luxury.<br />
We give it all we’ve got,<br />
but your profession here beneath the<br />
cellars of my care is fraught with<br />
phlegm, blood, sperm of young men,<br />
dead. I trusted you. You gave no choice.<br />
You might deceive yourself, and yet<br />
I thought it could be fine, this once,<br />
to measure up, a Greek in you.<br />
Language Means to Take<br />
You wait. Submission means a gift is never<br />
yours until you let it go. You can’t expect<br />
or bank on some new flaw. Approach is all.<br />
No sooner do you get a moment of delight than<br />
lights go up: wisdom’s in the other man.<br />
I practice piety but only try it on.<br />
The flower’s always black. Dear you,<br />
this last time: please.<br />
135