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luís soares

Blog do escritor Luís Soares

Dorothea Lasky - If You Can’t Trust the Monitors

If you can't trust the monitors
Then why do they have the monitors
If you can't trust the cars
Then why have the cars
If you can't trust that I think you're hot
Then why do you look so good
Turning me on that way that you do
If you can't trust the people
Then why have the people
If you can't trust the cards then why have the cards
If you can't trust this room then why have the room
Why not just an open space
Where you can be naked and fascinating
If you can't trust the milk in the bottles
Then why have the bottles
If you can't trust the wine the song
Then why have the country
If you can't trust the kangaroo
Then why go jumping
If you can't trust the sky
Then why have the sky at all
If you can 't trust the stars
Then why look out
Why not just sit in your room
It's dark and safe anyway
If you can't trust what's dark and safe anyway
Then why even bother
Then why even be here at all
I don't know
I just went and walked
But desire is hopeless
If you can't trust the windowsill
Then why put the flowers there
Why not leave it bare
Oh I did
And then what
After a while
Anyway
That old sun
It burned it green
The windowsill
And when I
All I returned to the room
All I saw was green
Grass green
Like grass but greener than
A halting hue of it
And I forgot the flowers
And I forgot you
If you can't trust the daybreak
Then why have the daybreak
Why not sit
Let the night come
It won't stop itself
The hormones
And all

Anne Sexton - The Fury of Sunsets

Something
cold is in the air,
an aura of ice
and phlegm.
All day I've built
a lifetime and now
the sun sinks to
undo it.
The horizon bleeds
and sucks its thumb.
The little red thumb
goes out of sight.
And I wonder about
this lifetime with myself,
this dream I'm living.
I could eat the sky
like an apple
but I'd rather
ask the first star:
why am I here?
why do I live in this house?
who's responsible?
eh?

Brenda Hillman - Time Problem

The problem
of time.          Of there not being   
enough of it.

My girl came to the study
and said Help me;
I told her I had a time problem   
which meant:
I would die for you but I don’t have ten minutes.   
Numbers hung in the math book   
like motel coathangers. The Lean   
Cuisine was burning
like an ancient city: black at the edges,   
bubbly earth tones in the center.   
The latest thing they’re saying is lack   
of time might be
a “woman’s problem.” She sat there   
with her math book sobbing—
(turned out to be prime factoring: whole numbers   
dangle in little nooses)
Hawking says if you back up far enough   
it’s not even
an issue, time falls away into
'the curve' which is finite,
boundaryless. Appointment book,   
soprano telephone—
(beep End beep went the microwave)

The hands fell off my watch in the night.
I spoke to the spirit
who took them, told her: Time is the funniest thing   
they invented. Had wakened from a big
dream of love in a boat
No time to get the watch fixed so the blank face   
lived for months in my dresser,
no arrows
for hands, just quartz intentions, just the pinocchio   
nose         (before the lie)
left in the center;            the watch
didn’t have twenty minutes; neither did I.
My girl was doing
her gym clothes by herself;         (red leaked
toward black, then into the white
insignia)                  I was grading papers,
heard her call from the laundry room:   
Mama?
Hawking says there are two
types of it,
real and imaginary (imaginary time must be   
like decaf), says it’s meaningless
to decide which is which
but I say: there was tomorrow-
and-a-half
when I started thinking about it; now   
there’s less than a day. More
done. That’s
the thing that keeps being said. I thought   
I could get more done as in:
fish stew from a book. As in: Versateller   
archon, then push-push-push
the tired-tired around the track like a planet.   
Legs, remember him?
Our love—when we stagger—lies down inside us. . .   
Hawking says
there are little folds in time
(actually he calls them wormholes)
but I say:
there’s a universe beyond
where they’re hammering the brass cut-outs .. .
Push us out in the boat and leave time here—         

(because: where in the plan was it written,   
You’ll be too busy to close parentheses,
the snapdragon’s bunchy mouth needs water,   
even the caterpillar will hurry past you?
Pulled the travel alarm
to my face: the black
behind the phosphorous argument kept the dark   
from being ruined. Opened   
the art book
—saw the languorous wrists of the lady
in Tissot’s “Summer Evening.” Relaxed. Turning   
gently. The glove
(just slightly—but still:)   
“aghast”;
opened Hawking, he says, time gets smoothed   
into a fourth dimension   
but I say
space thought it up, as in: Let’s make
a baby space, and then
it missed. Were seconds born early, and why   
didn’t things unhappen also, such as
the tree became Daphne. . .

At the beginning of harvest, we felt
the seven directions.
Time did not visit us. We slept
till noon.
With one voice I called him, with one voice   
I let him sleep, remembering
summer years ago,
I had come to visit him in the house of last straws   
and when he returned
above the garden of pears, he said
our weeping caused the dew. . .

I have borrowed the little boat
and I say to him Come into the little boat,   
you were happy there;

the evening reverses itself, we’ll push out   
onto the pond,
or onto the reflection of the pond,   
whichever one is eternal

Naomi Shihab Nye - Burning the Old Year

Letters swallow themselves in seconds.  
Notes friends tied to the doorknob,  
transparent scarlet paper,
sizzle like moth wings,
marry the air.

So much of any year is flammable,  
lists of vegetables, partial poems.  
Orange swirling flame of days,  
so little is a stone.

Where there was something and suddenly isn’t,  
an absence shouts, celebrates, leaves a space.  
I begin again with the smallest numbers.

Quick dance, shuffle of losses and leaves,  
only the things I didn’t do  
crackle after the blazing dies.

Louise Glück - Unpainted Door

Finally, in middle age,
I was tempted to return to childhood.

The house was the same, but
the door was different.
Not red anymore— unpainted wood.
The trees were the same: the oak, the copper beech.
But the people— all the inhabitants of the past—
were gone: lost, dead, moved away.
The children from across the street
old men and women.

The sun was the same, the lawns
parched brown in summer.
But the present was full of strangers.

And in some way it was all exactly right,
exactly as I remembered: the house, the street,
the prosperous village—

Not to be reclaimed or re-entered
but to legitimize
silence and distance,
distance of place, of time,
bewildering accuracy of imagination and dream—

I remember my childhood as a long wish to be elsewhere.
This is the house; this must be
the childhood I had in mind.

Louise Glück - Sunrise

This time of year, the window boxes smell of the hills,
the thyme and rosemary that grew there,
crammed into the narrow spaces between the rocks
and, lower down, where there was real dirt,
competing with other things, blueberries and currants,
the small shrubby trees the bees love—
Whatever we ate smelled of the hills,
even when there was almost nothing.
Or maybe that’s what nothing tastes like, thyme and rosemary.

Maybe, too, that’s what it looks like—
beautiful, like the hills, the rocks above the tree line
webbed with sweet smelling herbs,
the small plants glittering with dew—

It was a big event to climb up there and wait for dawn,
seeing what the sun sees as it slides out from behind the rocks,
and what you couldn’t see, you imagined;

your eyes would go as far as they could, to the river, say,
and your mind would do the rest—

And if you missed a day, there was always the next,
and if you missed a year, it didn’t matter,
the hills weren’t going anywhere,
the thyme and rosemary kept coming back,
the sun kept rising, the bushes kept bearing fruit—

The streetlight’s off: that’s dawn here.
It’s on: that’s twilight.
Either way, no one looks up. Everyone just pushes ahead,
and the smell of the past is everywhere,
the thyme and rosemary rubbing against your clothes,
the smell of too many illusions—

Between them, the hills and sky took up all the room.
Whatever was left, that was ours for a while.
But eventually the hills will take it back, give it to the animals.
And maybe the moon will send the seas there,
and where we lived will be a stream or river coiling around the base of the hills,
paying the sky the compliment of reflection.

I went back but I didn’t stay.
Everyone I cared about was gone,
some dead, some disappeared into one of those places that don’t exist,
the ones we dreamed about because we saw them from the top of the hills—
I had to see if the fields were still shining,
the sun telling the same lies about how beautiful the world is
when all you need to know of a place is, do people live there.
If they do, you know everything.

The hills are terrible, they hide the truth of the past.
Green in summer, white when the snow falls.

Amanda Gorman - Ship's Manifest

Allegedly the worst is behind us.
Still, we crouch before the lip of tomorrow,
Halting like a headless hant in our own house,
Waiting to remember exactly
What it is we’re supposed to be doing.

& what exactly are we supposed to be doing?
Penning a letter to the world as a daughter of it.
We are writing with vanishing meaning,
Our words water dragging down a windshield.
The poet’s diagnosis is that what we have lived
Has already warped itself into a fever dream,
The contours of its shape stripped from the murky mind.

To be accountable we must render an account:
Not what was said, but what was meant.
Not the fact, but what was felt.
What was known, even while unnamed.
Our greatest test will be
Our testimony.
This book is a message in a bottle.
This book is a letter.
This book does not let up.
This book is awake.
This book is a wake.
For what is a record but a reckoning?
The capsule captured?
A repository.
An ark articulated?
& the poet, the preserver
Of ghosts & gains,
Our demons & dreams,
Our haunts & hopes.
Here’s to the preservation
Of a light so terrible.

Alex Dimitrov - 1969

The summer everyone left for the moon
even those yet to be born. And the dead
who can’t vacation here but met us all there
by the veil between worlds. The number one song
in America was “In the Year 2525”
because who has ever lived in the present
when there’s so much of the future
to continue without us.
How the best lover won’t need to forgive you
and surely take everything off your hands
without having to ask, without knowing
your name, no matter the number of times
you married or didn’t, your favorite midnight movie,
the cigarettes you couldn’t give up,
wanting to kiss other people you shouldn’t
and now to forever be kissed by the Earth.
In the Earth. With the Earth.
When we all briefly left it
to look back on each other from above,
shocked by how bright even our pain is
running wildly beside us like an underground river.
And whatever language is good for,
a sign, a message left up there that reads:
here men from the planet earth
first set foot upon the moon
july 1969, a.d.
we came in peace for all mankind.
Then returned to continue the war.

Michael Palmer - Prelude

The limit of the song is this
prelude to a journey to
the outer islands, the generative
sentence, waltz project, forms,
qualities, suns, moons, rings,
an inside-outside then
an outside-inside shaped
with her colored clays. The days
yet propse themselves
as self-evident, everything there
everything here
and you are reading
in a way natural to theatre
a set of instructions
that alters itself automatically
as you proceed west
from death to friendliness, the two
topics upon which you are allowed
to meditate
under the first broad drops
of rain. The planes
will be piloted by ancestors
who have come back to life.
Why the delay.

Bhanu Kapil - Twelve Questions

1. Who are you and whom do you love?
2. Where did you come from / how did you arrive?
3. How will you begin?
4. How will you live now?
5. What is the shape of your body?
6. Who was responsible for the suffering of your mother?
7. What do you remember about the earth?
8. What are the consequences of silence?
9. Tell me what you know about dismemberment.
10. Describe a morning you woke without fear.
11. How will you / have you prepare(d) for your death?
12. And what would you say if you could?