Tuesday, 2 June 2026

Fernand Florizoone: 'Het werkwoord wachten' (PS 59)



HET WERKWOORD WACHTEN

 

Tot ik er was, tot ik weer vertrok.

Het leek of hij wachtte altijd op mij,

die dan ruggelings zijn huis betrok,

de deuren dicht, elkaar vermijdend

voor het binnenskamers samenspreken

dat nooit woorden had,

nooit slaags geraakte.

Stilte was ons hevig teken.

 

Alsof wachten

bij hem voorgoed bestond

uit loopgrachten aan de lJzer

onder sterren verloren,

waar elk onvoorzichtig woord

op het spoor kwam van de dood,

zoals de verdwaalde kogel floot

in witte winters aan de passerelle

van Boesinge-sas, achter waterwilgen,

waar hij ooit op het wachtwoord stond,

vierentwintig uur bevroren.

 

 

THE VERB TO WAIT

 

Till I was there, till I left again.

He seemed always waiting just for me,

who cautiously his house then regained,

the doors shut tight, steering well clear

of any mutual conversation

that never had words,

never led to dispute.

Silence was our deep-felt sign.

 

As if waiting

forever existed for him

from trenches close to the IJzer

lost beneath the stars,

where every carelessly uttered word

revealed the location of death,

like the stray bullet that whistled

in white winters at the narrow footbridge

of Boesinge sluice, behind sallow willows

where once he’d waited for the password,

twenty-four hours half-frozen.

 

 

Translated in collaboration with Albert Hagenaars

Poetic Synapses 59



Uffe Harder: 'Tre hunde'

 


Tre hunde

 

Tre glade hunde i forskellige størrelser

omkring et buffet-bord

med hvid dug

på en ambassade

 

En gæstende ambassadør

danser mens han med klar stemme synger

om sjælen.

 

Der er også tres andre mennesker

 

En hvidhåret dame

vil absolut frelse mig

fra en skæbne som

hun ikke kender til

 

Tre tjenere

lukker hundene ud

på en snedækket plane

hvorfra de smilende vender tilbage

 

Jeg ryger cigar

 

Den skæbne som

den hvidhårede dame tror jeg har

har jeg ikke

men en helt anden

som hun ikke tror jeg har

 

Hundene griner men ikke ad mig

tjenerne ryster på deres hoveder.

 

 

Three dogs

 

Three happy dogs of various sizes

around a buffet table

with a white cloth

at an embassy

 

A visiting ambassador

is dancing while singing with a clear voice

about the soul.

 

There are also sixty others present

 

A white-haired lady

is absolutely determined to save me

from a fate about which

she knows nothing

 

Three waiters

let the dogs out

onto a snow-covered lawn

from which they return smiling

 

I am smoking a cigar

 

The fate which

the white-haired lady believes I have

I do not have

but a completely different one

which she does not believe I have

 

The dogs are grinning but not at me

the waiters are shaking their heads.

 

 

Monday, 1 June 2026

Uffe Harder: 'Monets åkander'

 


Monets åkander

 

Monet malede åkander

år efter år

 

han opløste former i lys

han så lys som bevægelse

 

derfor blev hvert øjeblik han fastholdt

enestående

 

Monet malede åkanderne

svævende

i stedet for flydende

 

og hans kirsebærblomster

blev små hvirvler

af bevægelse

 

selv forholdt han sig i ro

i sin have

hvor han malede

så lange han levede

 

Han ændrede ikke verden

men han åbnede den for os

endnu har vi ikke lært

at drage konsekvenserne.

 

 

Monet’s water-lilies

 

Monet painted water-lilies

year after year

 

he dissolved forms into light

he saw light as movement

 

therefore every moment he retained

became unique

 

Monet painted the water-lies

hovering

instead of floating

 

and his cherry blossoms

became small whirls

of movement

 

he himself calmly stayed put

in his garden

where he painted

as long as he lived

 

He did not changed the world

but he opened it for us

as yet we have not learnt

to draw the conclusions.

 

Uffe Harder: 'Manden som sagde alting på forhånd'

 


Manden som sagde alting på forhånd

 

Så ivrig efter at foregribe

hvad den anden har at sige

at han siger det på forhånd

som en lygtemand

der danser foran

ud i disen.

Med sine spejlblink fra den anden

side grænsen

med suk og klager gnomagtig

munterhed og himmelvendte øjne

fremmaner han i luften

had den anden endnu aldrig havde tankt

og et palads af selvmodsigelser

og febervilde postulater simpelt vrøvl

stråler i sumpen.

 

 

The man who said everything in advance

 

So eager was he to anticipate

what the other person has to say

that he says it in advance

like a will-o’-the-wisp

that dances ahead

out into the mist.

With his mirror glimpses from the far

side of the border

with sighs and moans gnome-like

cheerfulness and eyes turned heavenward

he conjures up in the air

what the other person as yet had never thought

and a palace of self-contradictions

and delirious postulates sheer nonsense

gleam in the marsh.



Uffe Harder: 'Efter støjen'

 


Efter støjen

 

Efter støjen

stilheden

 

Den sidste regn har skyllet

støvet bort fra gaden

 

Ordene er sunket ind i papiret

og står dér

fuldtallige

og lydløse

 

Renset er luften

faldet til ro

 

 

After the noise

 

After the noise

the silence

 

The last rain has washed away

the dust from the street

 

The words have sunk into the paper

and stand there

all of them present

and soundless

 

The air is cleansed

has come to rest.

 


Uffe Harder: 'Altid billeder'


ALTID BILLEDER

 

Altid billeder

mellem mig og virkeligheden

mellem mig og nuet

mellem mig og noget andet –

altid og overalt

billeder

af ansigter landskaber

ting

af hvadsomhelst

og sætninger ord

der siger sig selv omkring mig

og jeg må splitte dem

viske dem ud

feje dem bort i svarme

ødelægge dem med sprængstof

patrouillere om natten

langs grænsen til mine besiddelser

for at holde dem borte

for engang at kunne se klart

i alt dette mørke der omgiver mig

i hele dette kaos

inden i mig

og omkring mig.

 

 

ALWAYS IMAGES

 

Always images

between me and reality

between me and the now

between me and something else –

always and everywhere

images

of faces landscapes

things

of anything at all

and sentences words

that say themselves around me

and I have to split them up

erase them

sweep them away in swarms

destroy them with explosives

patrol at nighttime

the borders of my possessions

so as to keep them away

so as to be able to see clearly

in all this darkness than surrounds me

in all this chaos

within me

and around me.

 

 

Friday, 29 May 2026

Marie Dauguet: 'Je n'ai jamais goûté tout ce qui plaît aux femmes'

 


Je n’ai jamais goûté tout ce qui plaît aux femmes

 

Je n’ai jamais goûté tout ce qui plaît aux femmes,

J’aime la force entière et l’effort violent,

Prendre pour compagnon mon vouloir persistant,

Rester le maître enfin absolu dans mon âme.

 

Mon dédain fut profond de leurs minces labeurs,

De l’espace muré où les joies sont permises

Et du renoncement, des bonheurs sans franchise,

De leurs amours d’esclave où la fierté se meurt.

 

De tout ce qui les garde (et malgré qu’on en dise)

Loin du soleil réel, puériles, végétant,

Avec ces petits pieds que l’usage leur brise

Et cet esprit, comme eux, à jamais impotent.

 

Jamais je n’aurais pu d’une lèvre ravie,

Parler de ce ruban, d’un collier de corail,

Du miroir, du bouquet, de valse, d’éventail,

Sous son aspect mignard, considérer la vie.

 

Jamais je n’aurais pu, sous le poids du chagrin,

Pressoir broyant le cœur comme un rouge raisin,

Entre la mort guettant et la foi qui divague,

Comparer à mes pleurs, les perles de mes bagues;

 

Bercer l'enfant pleurant de doux radotements,

Regarder vers le ciel sans le soupçonner vide;

D’un faux bien, quel qu’il soit, leurrer mon cœur avide;

N’être qu'une enfant simple aux bras forts d’un amant.

 

J’étais de mes pensées solitaires éprise;

Virilement toujours mon âme s’appartint;

Aucun des mots appris ne la rendait soumise

Et rien ne s’accordait entre elle et son destin.

 

Les mensonges que j’aime, aux nuances subtiles,

Nés de mon sang, leurs contours immenses vacillent,

Sur vos fronts s’étoilant, ô bergers aryens,

Ils importuneraient les doux cieux féminins.

 

Et si parfois je pleure au fond des cathédrales,

Si, dominant mon lit, veille le crucifix,

C’est parce que, des dieux que l’humanité fit,

Celui-ci les surpasse en tendresse idéale;

 

Mais je respecte en moi cet homme que je suis,

Dont le vent du néant vient glacer chaque fibre,

Tandis que son cerveau cherche… anxieux et libre,

Seul à travers la nuit, sous la branche de buis.

 

11 mars 1911

 

 

I’ve never tasted all that women so extol

 

I’ve never tasted all that women so extol,

I love full force, to sample violent efforts’ thrill,

To take as my companion my persistent will,

Remain the final total master of my soul.

 

Their petty labours roused in me profound disdain

As did the walled-in space where joys can be allowed

Their self-denial, unsanctioned pleasures unavowed,

Their slave-like loves, where pride must pine in vain.

 

All that which keeps them (in spite of what people swear)

Far from the real sun, lethargic, childish, spent,

And with their dainty feet that usage would impair

And with a spirit which, like them, is impotent.

 

I’d never have been able, with ecstatic voice,

To talk about ribbons, some coral necklace praise,

A mirror, a bouquet, some waltz, this fan so choice,

Or to consider life in such a precious way.

 

I’d never have been able, weighed down by distress,

To crush my heart like a red grape in some large press,

Or, struggling between death and faith that’s strayed or fled,

Compare my rings’ fine pearls with tears I sometimes shed.

 

Console a weeping child with senseless murmured charms,

Or skyward gaze without suspecting emptiness;

Deceive my avid heart with any false caress;

Be but a simple child clasped in a lover’s arms.

 

Only by solitary thoughts was I enthused

And, forever virile, my soul was all its own;

By not a single word it learnt was it subdued,

Between it and its destiny agreement there was none.

 

The lies I love, with all their subtly changing shades,

Born of my blood, have shifting contours, fluctuate,

Starring your brows, oh Aryan herdsmen, I surmise

They would do nothing but disturb soft female skies.

 

And if at times inside cathedrals I should weep,

If, gazing down, a crucifix guards where I rest,

It is because, of all the gods that humans keep,

This one surpasses them in ideal tenderness.

 

But I respect the man of which I’m also made,

Whose every fibre the void’s wind will chill in me,

While in his mind he searches… anxious and yet free,

Alone, throughout the night, within a box-tree’s shade.

 

11 March 1911

 

Tuesday, 26 May 2026

Jan Marten de Vries: 'Herinneringen'


Herinneringen

 

Er was zo’n zestig jaar voorbijgegaan,

Zij woonde ook in mijn herinneringen,

gevat in geuren en in kleine dingen:

gedachten aan ’t begin van mijn bestaan.

 

De buurvrouw was ’t: zij schonk mij koffie in

– de laatste keer was ’t aanmaaklimonade

of was het misschien warme chocolade? –

en vroeg aandachtig hoe het mij verging.

 

Maar ik, ik keek vooral en vaak naar buiten

– dit was het laatste huis in oude staat

met van die fraai vertekenende ruiten –

 

en ik was weer die peinzend kleine jongen

die achter ’t raam stond, kijkend naar de straat:

ik had mij van de woorden losgezongen.

 

 

Recollections

 

Some sixty years ago it must have been,

she also was retained in memories,

still dwelt in scents and trivialities:

thoughts from my earliest years, held deep within.

 

She was my neighbour: coffee made for me –

– it had been lemon squash the time before,

or maybe been hot chocolate? I’m not sure –

‘And how are things?’ she asked attentively.

 

I mostly window-gazed at life outside

– this one unchanged house time could not defeat,

with those panes that distort and make things slide –

 

and once again that pensive lad was me,

behind the window, looking at the street:

from words I’d sung myself completely free.