Written by
T Wignesan |
When at five-thirty
In the rubbed-eye haziness
Of ferreting lonesome night walks
The camera-eye refugee
Asleep in the half awakefulness
Of the hour
Peers out of his high turbanned sockets:
Hyde Park's through road links
London's diurnally estranged couple -
The Arch and Gate.
When at five-thirty
The foot falls gently
Of the vision cut in dark recesses
And the man, finger gingerly on the fly
Gapes dolefully about
For a while
Exchanges a casual passing word
Standing in the Rembrandtesque clefts
And the multipled ma'm'selle trips out:
Neat and slick.
They say you meet the girls at parties
And get deeper than swine in orgies.
When at five-thirty
The fisherman's chilled chips
Lie soggy and heeled under the Arch
Where patchy transparent wrappers cling
To slippery hands jingling the inexact change
That mounted the trustful fisherman's credit:
The stub legged fisher of diplomat
And cool cat
And the prostitutes' confidant;
Each shivering pimp's warming pan.
Then at five-thirty
The bowels of Hyde Park
Improperly growled and shunted
And shook the half-night-long
Lazily swaggering double deckers,
Suddenly as in a rude recollection,
To break and pull, grind and swing away
And around, drawing the knotting air after
Curling and unfurling on the pavements.
And at five-thirty
The prostrate mindful old refugee
Dares not stir
Nor cares to wake and swallow
The precisely half-downed bottle
Of Coke clinging to the pearly dew
Nor lick the clasp knife clean
Lying bare by a tin of' skewed top
Corned beef, incisively culled
Look! that garden all spruced up
An incongruous lot of hair on that bald pate
No soul stirs in there but the foul air
No parking alongside but from eight to eight.
Learning so hard and late
No time to scratch the bald pate.
At five-thirty-one
A minute just gone
The thud is on, the sledge-hammer yawns
And in the back of ears, strange noises
As from afar and a million feet tramp.
One infinitesimal particle knocks another
And the whirl begins in a silent rage
And the human heart beats harder
While in and around, this London
This atomic mammoth roams
In the wastes of wars and tumbling empires.
|
Written by
T Wignesan |
Remorseful, the noonday sun
Frizzles with the stealthy wind
Under the rubbery mountain green.
A calmness has come to rest
From having tossed in its sleep.
The forest has taken leave
Of the hunted horn and drum.
No more the tapper late of nap
Scurries to the haven of a nest.
No more the rattle whisper fades
To nothingness in a lonesome rest.
No more, no more, for the heavens
Sleep and all the troops sleep too.
The sinewy python stretched past
Clumsily the ragged rock and branch.
The Owl has called its reveille at last.
And the forest sleeps with the wind
Gently fanning some whisper closer
And closer, every wave, a venomous flick
Of a serpent, a kiss of rest.
|
Written by
T Wignesan |
for Eric Mottram
"Nur wenn das Herz erschlossen,
Dann ist die Erde schön.
"
Goethe.
I
An important thing in living
Is to know when to go;
He who does not know this
Has not far to go,
Though death may come and go
When you do not know.
Come, give me your hand,
Together shoulder and cheek to shoulder
We'll go, sour kana in cheeks
And in the mornings cherry sticks
To gum: the infectious chilli smiles
Over touch-me-not thorns, crushing snails
From banana leaves, past
Clawing outstretched arms of the bougainvilias
To stone the salt-bite mangoes.
Tread carefully through this durian kampong
For the ripe season has pricked many a sole.
II
la la la tham'-pong
Let's go running intermittent
To the spitting, clucking rubber fruit
And bamboo lashes through the silent graves,
Fresh sod, red mounds, knee stuck, incensing joss sticks
All night long burning, exhuming, expelling the spirit.
Let's scour, hiding behind the lowing boughs of the hibiscus
Skirting the school-green parapet thorny fields.
Let us now squawk, piercing the sultry, humid blanket
In the shrill wakeful tarzan tones,
Paddle high on.
the swings
Naked thighs, testicles dry.
Let us now vanish panting on the climbing slopes
Bare breasted, steaming rolling with perspiration,
Biting with lalang burn.
Let us now go and stand under the school
Water tap, thrashing water to and fro.
Then steal through the towkay's
Barbed compound to pluck the hairy
Eyeing rambutans, blood red, parang in hand,
And caoutchouc pungent with peeling.
Now scurrying through the estate glades
Crunching, kicking autumnal rubber leavings,
Kneading, rolling milky latex balls,
Now standing to water by the corner garden post.
III
This is the land of the convectional rains
Which vie on the monsoon back scrubbing streets
This is the land at half-past four
The rainbow rubs the chilli face of the afternoon
And an evening-morning pervades the dripping, weeping
Rain tree, and gushing, tumbling, sewerless rain drains
Sub-cutaneously eddy sampan fed, muddy, fingerless rivers
Down with crocodile logs to the Malacca Sea.
This is the land of stately dipterocarp, casuarina
And coco-palms reeding north easterly over ancient rites
Of turtle bound breeding sands.
This is the land of the chignoned swaying bottoms
Of sarong-kebaya, sari and cheongsam.
The residual perch of promises
That threw the meek in within
The legs of the over-eager fledgelings.
The land since the Carnatic conquerors
Shovelling at the bottom of the offering mountains
The bounceable verdure brought to its bowers
The three adventurers.
A land frozen in a thousand
Climatic, communal ages
Wags its primordial bushy tail to the Himalayas
Within a three cornered monsoon sea -
In reincarnate churches
And cracker carousels.
The stranglehold of boasting strutting pedigrees
And infidel hordes of marauding thieves,
Where pullulant ideals
Long rocketed in other climes
Ride flat-foot on flat tyres.
IV
Let us go then, hurrying by
Second show nights and jogget parks
Listening to the distant whinings of wayangs
Down the sidewalk frying stalls on Campbell Road
Cheong-Kee mee and queh teow plates
Sateh, rojak and kachang puteh
(rediffusion vigil plates)
Let us then dash to the Madras stalls
To the five cent lye chee slakes.
la la la step stepping
Each in his own inordinate step
Shuffling the terang bulan.
Blindly buzzes the bee
Criss-crossing
Weep, rain tree, weep
The grass untrampled with laughter
In the noonday sobering shade.
Go Cheena-becha Kling-qui Sakai
V
Has it not occurred to you how I sat with you
dear sister, counting the chicking back of the
evening train by the window sill and then
got up to wind my way down the snake infested rail
to shoo shoo the cows home to brood
while you gee geaed the chicks to coop
and did we not then plan of a farm
a green milking farm to warm the palm
then turned to scratch the itch over in our minds
lay down on the floors, mat aside
our thoughts to cushion heads
whilst dug tapioca roots heaped the dream
and we lay scrapping the kernel-less
fiber shelled coconuts
O Bhama, my goatless daughter kid
how I nursed you with the callow calves
those mutual moments forced in these common lives
and then, that day when they sold you
the blistering shirtless sun never flinching
an eye, defiant I stood caressing your creamy coat
and all you could say was a hopeless baaa.
.
a.
.
aa
and then, then, that day as we came over the mountains
two kids you led to the thorny brush, business bent
the eye-balling bharata natyam
VI
O masters of my fading August dream
For should you take this life from me
Know you any better
Than when children we have joyously romped
Down and deep in the August river
Washing on the mountain tin.
Now on the growing granite's precipitous face
In our vigilant wassail
Remember the children downstream playing
Where your own little voices are speechless lingering
Let it not be simply said that a river flows
to flourish a land
More than that he who is high at the source
take heed:
For a river putrid in the cradle is worse
than the plunging flooding rain.
And the eclectic monsoons may have come
Have gathered and may have gone
While the senses still within torrid membranes
thap-po-ng
thap-pong
thap-pong
|
Written by
T Wignesan |
for Léon Vanier*
(The texts I use for my translations are from: Yves-Alain Favre, Ed.
Paul Verlaine: Œuvres Poétiques Complètes.
Paris: Robert Laffont,1992, XCIX-939p.
)
Some few in all this Paris:
We live off pride, yet flat broke we’re
Even if with the bottle a bit too free
We drink above all fresh water
Being very sparing when taken with hunger.
With other fine fare and wines of high-estate
Likewise with beauty: sour-tempered never.
We are the writers of good taste.
Phoebé when all the cats gray be
Highly sharpened to a point much harsher
Our bodies nourrished by glory
Hell licks its lips and in ambush does cower
And with his dart Phoebus pierces us ever
The night cradling us through dreamy waste
Strewn with seeds of peach beds over.
We are the writers of good taste.
A good many of the best minds rally
Holding high Man’s standard: toffee-nosed scoffer
And Lemerre* retains with success poetry’s destiny.
More than one poet then helter-skelter
Sought to join the rest through the narrow fissure;
But Vanier at the very end made haste
The only lucky one to assume the rôle of Fisher*.
We are the writers of good taste.
ENVOI
Even if our stock exchange tends to dither
Princes hold sway: gentle folk and the divining caste.
Whatever one might say or pours forth the preacher,
We are the writers of good taste.
*One of Verlaine’s publishers who first published his near-collected works at 19, quai Saint-Michel, Paris-V.
* Alphonse Lemerre (1838-1912) , one of Verlaine’s publishers at 47, Passage Choiseul, Paris, where from 1866 onwards the Parnassians met regularly.
*Vanier first specialised in articles for fishing as a sport.
© T.
Wignesan – Paris,2013
|
Written by
T Wignesan |
for J.
C.
Alldridge
Flagellant!
Flexor of the Temple's
Flexuous moulded walls
The high reliefs sallying through your
Flaunting fingers
Wrap the holy-comer with your
Invocatory maul
While word of vedic prayer
Seeps from some steepening Brahmin wall
O stretched bowel of your potted paunch
In perspiration's puffing piped paean
Rivet the eyes of man and god
Outside the walls of priestly palaver
Monotonic bell and OM
OM and monotonic bell
OM OMM OM
|
Written by
T Wignesan |
For J.
C.
Alldridge
Piccolo and been-throated pibroch
Dilating dimpled hood
Spreading photometric darkroom eyes
Waxing waxing matching
Venomous lip to music's piping lip
O Queen of stung dragon mouthed Po
Dancing girl of nuanceless ancient reliefs
The apotheosis Brahman curling on the neck
Must you now sink sink
Dread watched
Spineless
Into the winding womb wickerwork
Watching watching pipe-eyed watching
Until you slip
Over the sill of the pipe and the lip
Anathema! Amorphous piteous anathema!
Amulet of Siva!
Licking the boneless air companionless
Then slithering to lie on the trodden path
Must you have this one last lick
A lick that
Stills the
Unheeding
Child astray
Or ripple tailless
In the reedy gust
To the squat charmer's
Hypnotical pibroch
|
Written by
T Wignesan |
Full pummelling fisticuffs
Stitch over stitch
In and out
Imperceptibly kaleidoscopic
Swirling from ear to ear
Sporadic
Thrumming mystical notes
Notes of whisper
Whisper in the ear
Now a bothered swish of clawing
Cleaving slipping fingers
Immalleable rolling universal ball
Microcosmic needle into
Macrocosmic wool all
Silently thudding kneading pulling
Sealing a sin all opened unforgiven
Eternally whispering to a few
And never really heard
Pummelling sewing the invisible centre
Round and round the darkless sun
Only the end that began
Only a scratch and a bother
What bother to scratch
For scratching bothers
Bothers a scratch
Scratch and not to bother
Scratch Scratch Scratch
|
Written by
T Wignesan |
Chin cupped
on the ancient bone of his
elbow
he spread five fingers
to the world:
and like a cat on zither strings
the hoarse voice of his fathers
issues from his forgotten children:
now he picks one tick
from the back of that suckling cow:
his failing fingers
find not the strength
to crush
Not a single eyelash twitters
pass him by
pass him
'Wake not a man asleep
And tell him he has
Nothing to eat.
'
|
Written by
T Wignesan |
Words uttered in a subdued voice in order to constitute a dedication,
Translation of Carlos Bousono’s poem :Palabras dichas en voz baja para
formar una dedicatoria
(To Ruth, so young, from another age)
(It’s quite probable that this poem commemorates and addresses Bousono’s
wife, Ruth, and as such the interest in the poem must underlie the intimate and/or
private candidness of tone, rather than the less than pretentious art form.
T.
Wignesan)
I
This isn’t exactly wine that you and I drain to the last drop
with such slowness at this hour,
the neat truth.
It’s not wine,
it’s love.
In any case, it’s not a question of an awaited
celebration, a noisy fiesta,
raised on gold.
It’s not a canticle of the mountains.
It’s only a whistling sound : flower, less than this :
whisper, lacking in weight.
II
And all this began some time back.
We joined hands
very hurriedly to be able to remain by ourselves, alone,
both jointly and separately in order to walk on the neverending
pathway
interminably.
And in this manner, we move forward together on the
pathway
tenaciously.
The same direction, the self-same golden instant
and despite it all, you walked without being in doubt,
always very far away, far behind, lost in the distance,
in the brightness, diminshed, yet wanting me,
in another station where flowers burgeoned,
in another time and in another pure space.
And from the secluded spot in the woods, from the sandy
indignity
of mature lateness, from where I contemplated
your eagerness to be ahead of time,
I saw you slow down, once and all over again,
without raising your head in your remote garden,
though being held back, obstinate-
ly,
and so unjustly !
pluck in joy
roses for me.
© T.
Wignesan – Paris, 2013
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