Friday, May 18, 2012

264 Letters of Poetry from Chicago to Pieszyce

Translated from Polish by Adam Lizakowski and Brian Mornar.

These letters of poetry were written between 1991 and 1994 in Chicago and come with a volume titled "The Legend of the Search of the Fatherland", published in 2001 in Dzierzonowie by Dzierzoniowski Osrodek Kultury "Pegaz".

Letter 17



Are you interested in politics?



No, I have a distaste,

am disgusted by politics.  I despise any ideology.

I think of politicians as crooks, thieves,

swindlers.  I’m bitter,

ashamed of their behavior.  Two percent

govern the whole country.

Money became accustomed to its own power.

Authority commits an offense.

I’m afraid of politicians.  I’m unsure

of my safety.  This country is

a personal enemy.  I would not give power

to the poets, but also I would not prostrate

to millionaires who do not read poems.



Letter 18



You have escaped to freedom—what’s next?



Now you have freedom—now, what’s next?

Do you feel not free?  You do not sin

through speech or writing.  You are to

preach the truth.  But no one

listens to you.  A fisherman throws nets,

bankers steal, politicians practice deceit.

Neither you nor I exercise our

freedom.  You cannot afford it.

I know its price.



Letter 19



Seven years have passed since the fall of communism,

and you are still in exile—why?



The very joy of writing generates more happiness

than sharing it with others.

The role of the artist in exile:

to be in exile is to suffer,

and not to stand up for fame and notoriety.

Artists are patient, long-lived,

love God first (although it escaped)

and then the homeland.

They stole a little from the past

to weave a banner of the present.

The immigrant has his own distinctive character

just like any other legendary land,

landscape, fingerprint—

that’s why we are not coming back.



Letter 20



Recently, much has been said about the Jewish people.

Have you met any Polish Jews in America?



In America, I met a number of Polish Jews

—how do I see them?

It has been said they are the spells of Angels,

with black fingers of ink,

eyes dray as the forgotten wells,

and dusty framed mirrors,

night in the thick frame,

lovers of old books and truths

who guard their secrets and memories,

and write new history.

Sometimes I think of them—

mystical birds from a distant time

shadowing my future,

descendants of the Biblical Creator

praying for the same thing:

a whole life upon a bed of roses.



Letter 21



Is it hard to be a Pole in America?



For several years I lived in Poland,

and it was hard to be a Pole among Poles.

Yesterday an American adolescent

challenged me to distinguish myself

from the stupid Poles.

He wanted me to give him

a dollar. I then offered him

just one dollar to save me

from a name-calling. I realized

what little Kosciuszko, Pulaski

are worth in American history.

For a dollar, you cannot buy for him

the recognition of a Pole’s worth.



I’m stupid, I thought, opening the car door.

I’m stupid, I thought, entering Highway 55.

I’m stupid and my stupidity is as big as America

from the Atlantic to the Pacific.

I passed Chicago’s downtown heading north,

and I’m stupid—and it’s interesting I thought—

I’m a stupid Pole, for those who need something from me,

there are also those who need someone to scorn

to feel better, to calm their neuroses.

I do not suffer because of this, and I am aware

that poor people need me

as bread, air, water.



Letter 22



Write something about America.



Write “something” about America? 

Can one who has only been here a few months?

(I have read many works on this theme.)

“Something” as great as America

is difficult to describe.

“Something” believes in the existence of

children born with silver spoons in their mouths.

America simply described as a dream,

or many dreams loosely connected:

severed head diving into the space of night,

and the racket trapped at the root of the spine

with the weights of feet.



I did not think about it for a long time at all.

Now I care.  Listen to my advice:

do not swim, my ship,

where the rushing waves

and shining Cyclades

 dream fantasy screams.

As a tortured soul, a guide, or mentor,

America does not speak to the soul,

she talks to wallets, banks, corporations.

The tower of ivory

you know—and I found nothing

in America, only surprise



Letter 23



You now have been outside Poland for so many years.

Write something about language.



My Polish language-jug, pour the words

mash the language of stone.

My Polish was flour for dumplings

and the mill and the brook murmuring secrets to the rain,

mowed hay smelling meadow,

Traces of stork feet.

My Polish was a woman with round breasts,

slender thighs, stomach, mind

and flat like a porcelain saucer.

My language—to understand it, I had to go through

a long and dangerous journey,

where the warriors were human bodies

with the heads of hawks and dogs with faces of devils.

Birds were laughing at me scornfully

with the factory siren’s voice.

Fish tails combing the branches,

I survived the terrors of surrealistic communism,

and I came to the paradise of capitalist modernity.

Language is not the key—it is always the lock.

Language does not describe things,

but the relationship between them,

reality ruled by giants.

An upstart tribe,

and the world changed

the remaining trees and people,

sidewalks and roads,

fish in the sea.

How many ruins?

In the air,

the smell of stink bombs,

iron pillars rotting in the mud.

Talk about the existence of things

in the pantheon of our memory.

Come to America, a salvation and a curse.



















Letter 24



Write something about your visits to Pieszyce.



I go to Pieszyce as nineteenth century patients to the spa.



O! I spent many years talking about Pieszyce.

on the Pacific coast, on Lake Michigan.

Pieszyce is still the most important form

wherever I begin to fill it out—

a word – a burden in my mouth when I think

Pieszyce, the first letter of my alphabet



Pieszyce, the word is faster than my thoughts.

It can jump over walls and fences, gardens,

rivers and oceans.



Pieszyce are the memories and reams living under my skin,

mother tears of pearls and father drops of vodka,

a path among a row of chestnuts,

my grandmother’s lips whispering prayers.



Pieszyce is a story about what happened,

but did not have to happen,

about great hopes and pains,

the birth of a man

on the other side of the ocean



Where he did not know

who he is and whom he would become.



Temptation and danger are everywhere waiting,

and thoughts about war, full of images of the worst,

it was hard to chase.

In order to live I had to learn everything

from the beginning, and if someone can be saved,

it is only myself and the town Pieszyce in itself.



Letter 25



You walk a lot in Chicago.  Describe a neighborhood.



I have written about the streets named Milwaukee, Archer, Belmont, Michigan, Fullerton, and where I live in Logan Square.  Writing about the richness of these areas now is boring, just like writing about the poverty, which is the same everywhere.



This time maybe I’ll write about the Gold Coast.

Working class poet Carl Sandburg wrote about this district

and on one of the streets named in his honor,

there are beautiful and the richest houses upwards of one hundred years old

that do not feel the blood of murdered animals and the sweat of immigrants,

since everything has long been perfumed

and cleared, fine and dandy, the bathrooms are marble,

and mahogany staircases, and in the home not only smells

of dreams but old age, which likes the convenience

of comfort and space, the apartments have high ceilings,

well lit, through the transparent glass

you can see how millionaires are furnished.

If you have a house in such a place,

and with a library with a large fireplace

a servant will put a bookmark in a book

when your languid head will collapse into sleep.





Letter 26



Write, if you enjoy your stay in Chicago.



I greet the world from Chicago,

the place of which I am fully satisfied

despite my 10,000 kilometers from Pieszyce.



Though the bookshop window I look onto the face of the world,

and if I were a Chinese painter

I would paint him whole with a thin line.



I celebrate my freedom,

the freedom to sing my poems

more than anything.



I know it all, along with Anne created

all my own world and the cosmos

flowing in my veins—that is my life.



I greet the world each morning.
I greet the world each evening,

the sound opened and closed the door.



I am happy with it, his wealth of such great size.

I am glad that I put in it

my leg and took a few steps.

Monday, April 30, 2012

May 14. Poetry Workshop.

The Polish Arts and Poetry Association
in Chicago
Poetry Workshop (7)
chicagopolishpoetry@gmail.com
Zaprasza
Na warsztaty poetycko - literackie piszących i nie piszących. Wszystkich tych
co lubią pisać, czytać lub posłuchać poezji.
Unikalne dwugodzinne warsztaty prowadzone przez poetę Adama
Lizakowskiego . W pierwszej godzinie twórczość trzech wybranych
uczestników warsztatów.
W drugiej godzinie analiza i interpretacja wierszy “Ocalałem”
Tadeusza Różewicza oraz “Takie czasy” Ewy Lipskiej.
Pisanie poezji to ciężka twórcza praca, ale może być radosną pracą, nie trzeba
czekać na muzę, czy natchnienie, co postaramy się udowodnić. Jeżeli chcesz
"wyjść z szuflady" te spotkanie jest dla ciebie! Zapraszamy do wpisywania,
uczestniczenia i komentowania wierszy na naszym blogu.
Blogger: User Profile: Polish Arts and Poetry Association
Wstęp Wolny
Jezuicki Ośrodek Milenijny –
5835 W. Irving Park Rd., Chicago, IL
Poniedziałek 14 maja, 2012 godzina 6.30 PM
Telefon 773 463 8603

Monday, April 23, 2012

30 April poetry workshop

The Polish Arts and Poetry Association

in Chicago

Poetry Workshop
(6)

chicagopolishpoetry@gmail.com

Zaprasza

Na warsztaty poetycko -
literackie piszących i nie piszących. Wszystkich tych
co lubią pisać, czytać lub posłuchać poezji.
Unikalne dwugodzinne warsztaty
prowadzone przez poetę Adama

Lizakowskiego . W pierwszej godzinie
będzie omawiana twórczość

trzech wybranych uczestników warsztatów.

W drugiej godzinie analiza i interpretacja wierszy pt.
“ Daleko” Józefa

Czechowicza oraz “ Aby się stało i Aniele Boży” ks. Jana

Twardowskiego.

Blogger
: User Profile: Polish Arts and Poetry Association

Wstęp Wolny

Jezuicki Ośrodek Milenijny –

5835 W. Irving Park Rd., Chicago, IL

Poniedziałek 30
kwietnia, 2012r., godzina 6.30 PM

Telefon 773 463 8603

Thursday, April 19, 2012

Brian Mornar


Brian Mornar

Lorine

Przekład Adam Lizakowski





Short bio:

Brian Mornar received an M.F.A. from St. Mary's College of California and is currently a

Ph.D. candidate in the Poetics program at the State University of New York at Buffalo. 

In 2007, Punch Press published the chapbook _Repatterning, and in 2010, Little Red

Leaves published _Three American Letters_.  Recent work can be found in _American Letters

and Commentary_, _Upstairs at Duroc, and _Volt_.  He teaches in the Poetry program at Columbia College Chicago. 





A few sentences about _Three American Letters_ and the Niedecker-Zukofsky correspondence.



Poet Lorine Niedecker (1903-70) spent much of her life living in relative obscurity in


southeastern Wisconsin.  In the early 1930s, she begun a correspondence with Louis


Zukofsky (1904-78), practitioner of "Objectivist" poetics and now regarded as


one of the most important twentieth century poets.  The Niedecker-Zukofsky


correspondence, which endured until Niedecker's death, mingled the personal with broader

discussions of poetics.  In recent years, Niedecker's work has grown in stature and is


read alongside the work of other major figures such as George Oppen, Charles Olson, and

Robert Creeley.  Niedecker and Zukofsky lived with each other for a time in the early


1930s in New York, where they were lovers.  Not much is known about this period, as most


of their pre-1940 correspondence was destroyed.   







Krótka notka biograficzna

Brian jest autorem kilku tomików poetyckich m.in Repatterning wyd. w 2007r.,  “Three American Letters” wyd.2010r.. Wykłada poetykę na Columbia College Chicago i broni pracy doktorskiej na State University of New York w Buffalo.





Kilka słów na temat przełożonego przeze mnie rozdziału pt.”Lorine” z tomiku pt. “Three American Letters” i korespondencji pomiędzy Lorine Niedecker i Luisem Zukofskim, autorsta Briana Mornara, którego listy nawiązuja do tej pary  uznanych dzisiaj twórców. Listy Briana są wyimaginowane, jedynie nazwiska osób w nich są rzeczywiste  a akcja ich dzieje się po wielu dekadach od śmierci ich bohaterów.



Poetka Lorine Niedecker (1903-1970) większość swojego życia spędziła w mało znanych miejscach w południowo-wschodnim stanie Wisconsin.  Na początku lat 1930 rozpoczęła swoją korespondencję z Loiusem Zukofskim (1904-1978) wyznawcą i twórcą  nowego kierunku w poezji amerykańskiej zwanego “Objectivist” (objektywizm).  Dzisiaj Zukofski uważany jest za jednego z najważniejszych poetów 20 wieku. Korespondencja pomiędzy Niedecker-Zukofsky trwała aż do śmierci Niedecker i zawiera listy osobiste oraz wymiany poglądów na tematy dotyczące poezji i poetyki. Z czasem znaczenie poezji Niedecker wzrosło i wymienia się jej nazwisko obok tak ważnych poetów jak George Oppen, Charles Olson czy Robert Creeley.

Przez krótki czas w latach 30 ubiegłego  wieku Niedecker i Zukofsky mieszkali razem w Nowym Yorku. Niewiele wiemy o tym okresie ich życia, bo większość listów sprzed roku 1940 została zniszczona.

















Lorine



[ from a letter to Louis  Zukofsky, dated in his hand, may 23 1948]



You know something - I don't know how the old time poets did it - the poetic being was the soft-spoken, hushed, sweet-worded kind of thing, almost artificial, but maybe in their time it was earthy enough for poetry...now I find when one hasn't been writing for a while, you start off in something like that soft vein, but as soon as you get used to writing again, you pick up everything for poetry, get into everyday speech etc.





[Z listu do Ludwika Zukofsky datowanego przez niego własnoręcznie,  23 maja 1948]

Ty wiesz coś czego ja nie wiem jak to robili dawniejsi poeci  - istotą poezji był łagodny ton, wyciszony, słodkie-sformułowania, prawie sztuczność, ale być może w ich  czasach to było ludzkie dla poezji. .. teraz znajdz się w stytuacji, gdy przez dłuższą chwilę nie piszesz, zaczynasz od czegoś bardzo delikatnego wysublimowanego, aby tylko przyzwyczaić się do pisania na nowo,  szybko zaskoczysz, popadając w mowę potoczną, etc.

[Lorine Niedecker]



To Lorine Niedecker

                        Somewhere near

                             30 Willow Street

                              Brooklyn, NY

                               c. 2005



Come here o holy tatters, amid the money, speaking and new drywall. Her uncle said he would take a baseball bat to the broker’s office. I am struggling to recall this space. Wood paneling of a makeshift cubicle, and later S. and I went back and did it on a sleeping bag. I just want to remember Brooklyn, being drunk, and 5 a.m. on Myrtle.







Do Lorine Niedecker


Gdzieś w pobliżu
30 Willow Street
Brooklyn, NY
blisko roku 2005


Chodź tu o święty strzępie, pośród bogactwa, rozmawiamy a nowa ściana z trocin. Jej wujek powiedział, że weznie kij bejsbolowy do maklerskiego biura. Próbuję przypomnąć sobie  przestrzeń. Drewniana boazeria upozorowana na parawan, a potem S. i ja poszliśmy zrobić to na śpiworze. Chcę tylko pamiętać, Brooklyn będąc pijany o 5 nad ranem na ulicy Myrtle.





To Lorine Niedecker

                        Somewhere near

                             30 Willow Street

                              Brooklyn, NY

                               c. 2005

You mean in the soft low vein, hushed as if even the orphic moment could not hold the loss. What I have seen here, holy tatters, the rats are squirming in garbage bags. S. and I did it in the back of a parked and borrowed car and became shy. Near the end all becomes Hades and sex painfully silly. In the sofl low each memory as line as breath.













Do Lorine Niedecker


Gdzieś w pobliżu
30 Willow Street
Brooklyn, NY
blisko roku 2005



Chodzi ci o delikatność, wyciszenie, jakby nawet orficka chwila nie mogła zatrzymać straty. To, co widziałem tutaj, święte szczępy, szczury buszujące w workach na śmieci. S. i ja zrobilismy to na tylnich siedzeniach pożyczonego zaparkowanego samochodu i wstyd nas oblał.  Na  końcu wszystko staje się Hadesem a seks jest bezwstydem. W delikatności każde wspomnienie jako linia, jako oddech.





To Lorine Niedecker

                        Somewhere near

                             30 Willow Street

                              Brooklyn, NY

                               c. 2005

OK. We are always closer to the disaster. Disaster is also a circle. We (S and ) are always a circumference measured by what could go wrong.  Violence is  the way the moment happens. Movement is  merely the dance reported after the fact. The newspapers boldly state a perimeter. This measure puppetry. There are big words more than meaning but now I want you to touch me.















Do Lorine Niedecker


Gdzieś w pobliżu
30 Willow Street
Brooklyn, NY
blisko roku 2005





OK. Zawsze jesteśmy bliżej katastrofy. Katastrofa jest również kołem. My (S i ) ja zawsze jesteśmy obwódem mierzonym przez to co złego może się wydarzyć. Przemoc jest chwilą w której to  się zdarza. Ruch jest tylko taniecem zgłoszonym po fakcie. Gazety odważnie określają zakres. To jest miarą lalkarstwa. Istnieją wielkie słowa ponad  swe znaczenie, ale teraz chcę, abyś mnie dotknęła.











To Lorine Niedecker

                        Somewhere near

                             30 Willow Street

                              Brooklyn, NY

                               c. 2005







You mean in the soft low vein, lay my head by the river and hear the taps of the factories wind down. Dusk is a bone and Lord Byron you are the spine underneath this campus tree.  The Fall always happens like this. Somewhere near this I knelt poetic and went home to find the cat ducking behind the washing machine.





Do Lorine Niedecker


Gdzieś w pobliżu
30 Willow Street
Brooklyn, NY
blisko roku 2005



Na myśli masz  delikatność, kładę moją głowę blisko rzeki i odgłosy fabryk cichną. Zmierzch jest kością a ty Lord Byronie jesteś kręgosłupem pod tym drzewiem kampusu. Jesień zawsze  nadchodzi w ten sposób. Gdzieś blisko tego ukląkłem po poetycku, poszedłem do domu, by zobaczyć kota  jak chowa się za pralką.













To Lorine Niedecker

                        Somewhere near

                             30 Willow Street

                              Brooklyn, NY

                               c. 2005



  Can you tell me more about the ineffable. Find all that leaks under. Lorine! Tell!!! Tell me more about your flowers, conversations on the way to work, and moments before sleep. All that happens isn't earthly or in a violin's frets.  No, all is earthly, but if you know the river it passes. You know what doesn't happen when it does, but  Zuk only wanted to hear his son. There is so much the child and childless know. Boats rivers seas.

Do Lorine Niedecker

Gdzieś blisko

                             30 Willow Street

                              Brooklyn, NY

                               blisko roku 2005



Czy możesz mi powiedzieć więcej o niewypowiedzianym. Znajdź w tym wszystkim sens. Lorine ! Powiedz !!!  Powiedz mi więcej o swoich kwiatach, rozmowach na drodze do pracy i chwilach przed zaśnięciem. Wszystko, to co się dzieje nie jest ziemskie lub na skrzypcach  progach. Nie, wszystko jest ziemskie, ale jeśli wiesz rzeka  przepływa. Wiesz, co nie zdarzy się, gdy się wydarzy, ale Żuk tylko chciał usłychać syna. Tak dużo wiedzą ci co mają i nie mają dzieci.  Łodzie rzeki oceany.











To Lorine Niedecker

                        Somewhere near

                             30 Willow Street

                              Brooklyn, NY

                               c. 2005



We're always closer to the disaster. But you hid there with the muskrats and letters, and here I am trying not to forget Brooklyn by remembering all the trees on Clifton Street and how even in January the radiator was too much. Vowels  always even closer to the stale heat. I want the space of this to speak this, too hot as my eyes close. But cramped as it is, sight prying a way apart from the disaster that is the  beholder. 



Do Lorine Niedecker

Gdzieś blisko

                             30 Willow Street

                              Brooklyn, NY

                              blisko roku 2005





Zawsze jesteśmy blisko katastrofy. Ale ty ukrywasz się  tam z piżmakiem i listami, a tutaj ja staram się nie zapomnąć Brooklynu poprzez rozpamiętywanie o wszystkich drzewach na Clifton Street,  nawet o tym jak  niemiłosiernie w styczniu kaloforyfer grzał. Samogłoski zawsze są  bliżej zwietrzałego ciepła. Chcę, aby te miejsce o tym mówiło,  duszno z gorąca zamykają się oczy. Ale tak jest za ciasno, ciekawski wzrok wstrzymuje mnie od katastrofy, jest obserwatorem.













To Lorine Niedecker

                        Somewhere near

                             30 Willow Street

                              Brooklyn, NY

                               c. 2005

Lay my head by the and with one thought know memory was somewhere near a fear. Disaster was an article but as a noun becomes final. Being too serious the clothed the ineffable with a life. The figure of the river and the Rock River; the ideal and the real; the space with and here I want to tell you of beauty.



Or the disaster old. Ship sinking. Whirlpool sucking in the barges. But with this to sporadic memory and the avant-garte too „last century” I without aplomb can feel the failure of the oment to find a measure lasting. Lorine tell me Wisconsin is immeasurable.



Do Lorine Niedecker

Gdzieś blisko

                             30 Willow Street

                              Brooklyn, NY

                               blisko roku 2005



Połóż moją głowę przy  z jedną myślą  wiedząc że było wspomnienie gdzieś blisko strachu. Katastrofa była rzeczą, ale jako rzeczownik staje się ostatecznością. Jesteś  zbyt poważny, ubrałeś to co życie niewypowie. Postać rzeki i River Rock;  idealna i rzeczywista, przestrzeń z nią  a tutaj chcę ci powiedzieć o pięknie.

Lub  ta  stara katastrofa. Statek tonie. Wir  wsysa  szalupę. Ale z tą sporadyczną pamięcią i avant-garte zbyt z "ubiegłego wieku"  bez  pewności siebie czuję moment  niepowodzenia, aby znaleźć miarę ostateczna. Lorine powiedz mi Wisconsin jest niezmierzony.





To Lorine Niedecker

                        Somewhere near

                             30 Willow Street

                              Brooklyn, NY

                               c. 2005



some where is looking for a form

but I do know how the word waits

brittle in my teeth-impatient-before typing; brittle, the art is nailed away.





Do Lorine Niedecker

Gdzieś blisko

                             30 Willow Street

                              Brooklyn, NY

                               blisko roku 2005





gdzieś szuka formy
ale ja wiem, jak słowo czeka
kruche w moich niecierpliwych – zębach przed wpisaniem; kruche, sztuka zostaje przybita.





To Lorine Niedecker

                        Somewhere near

                             30 Willow Street

                              Brooklyn, NY

                               c. 2005



in the soft low vein, night-gown on the grass

stained before the midnight a farmer’s in the house

sweet lowed a tongue and when a line



Do Lorine Niedecker

Gdzieś blisko

                             30 Willow Street

                              Brooklyn, NY

                               c. 2005





delikatnia, koszula nocna w trawie
barwi  przed północą język gospodarza w domu
słodkie mamrotanie czyniąc wierszem