Carlos Drummond de Andrade - Multitudinous Heart

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The most indispensable poems of Brazil's greatest poet.
Brazil, according to no less an observer than Elizabeth Bishop, is a place where poets hold a place of honor. "Among men, the name of ‘poet' is sometimes used as a compliment or term of affection, even if the person referred to is. . not a poet at all. One of the most famous twentieth-century poets, Manuel Bandeira, was presented with a permanent parking space in front of his apartment house in Rio de Janeiro, with an enamelled sign POETA — although he never owned a car and didn't know how to drive." In a culture like this, it is difficult to underestimate the importance of the nation's greatest poet, Carlos Drummond de Andrade.
Drummond, the most emblematic Brazilian poet, was a master of transforming the ordinary world, through language, into the sublime. His poems — musical protests, twisted hymns, dissonant celebrations of imperfection — are transcriptions of life itself recorded by a magnanimous outcast. As he put it in his "Seven-Sided Poem": "When I was born, one of those twisted / angels who live in the shadows said: / ‘Carlos, get ready to be a misfit in life!'. . World so wide, world so large, / my heart's even larger."
Multitudinous Heart, the most generous selection of Drummond's poems available in English, gathers work from the various phases of this restless, brilliant modernist. Richard Zenith's selection and translation brings us a more vivid and surprising poet than we knew.

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there’s nothing but night

and a frightful solitude.

Companions, hear me!

That agitated presence

trying to break through the night

isn’t just the moth.

It’s the softly panting

secret of a man.

O BOI

Ó solidão do boi no campo,

ó solidão do homem na rua!

Entre carros, trens, telefones,

entre gritos, o ermo profundo.

Ó solidão do boi no campo,

ó milhões sofrendo sem praga!

Se há noite ou sol, é indiferente,

a escuridão rompe com o dia.

Ó solidão do boi no campo,

homens torcendo-se calados!

A cidade é inexplicável

e as casas não têm sentido algum.

Ó solidão do boi no campo!

O navio-fantasma passa

em silêncio na rua cheia.

Se uma tempestade de amor caísse!

As mãos unidas, a vida salva …

Mas o tempo é firme. O boi é só.

No campo imenso a torre de petróleo.

THE OX

O solitude of the ox in the field,

O solitude of the man in the street!

Amid cars, trains, telephones

and shouts, a wilderness …

O solitude of the ox in the field,

O millions suffering without any scourge!

Night or sunlight, it’s all the same:

darkness begins with the dawn.

O solitude of the ox in the field,

people writhing without a sound!

The city defies all explanation,

and the houses have no meaning.

O solitude of the ox in the field!

The ghost ship sails in silence

down the crowded street.

If only a storm of love would strike!

Hands joined together, life saved …

But the weather is still. The ox is alone.

In the sprawling field a towering oil rig.

TRISTEZA NO CÉU

No céu também há uma hora melancólica.

Hora difícil, em que a dúvida penetra as almas.

Por que fiz o mundo? Deus se pergunta

e se responde: Não sei.

Os anjos olham-no com reprovação,

e plumas caem.

Todas as hipóteses: a graça, a eternidade, o amor

caem, são plumas.

Outra pluma, o céu se desfaz.

Tão manso, nenhum fragor denuncia

o momento entre tudo e nada,

ou seja, a tristeza de Deus.

SADNESS IN HEAVEN

There’s also a melancholy hour in heaven.

A difficult hour, when souls are seized by doubt.

“Why did I make the world?” God asks himself,

and answers: “I don’t know.”

The angels glare at him,

and feathers fall.

All the hypotheses — grace, eternity, love—

are feathers and fall.

One more feather, and heaven will collapse.

Softly, with no bang to announce

the moment between everything and nothing,

the sadness of God …

VIAGEM NA FAMÍLIA

No deserto de Itabira

a sombra de meu pai

tomou-me pela mão.

Tanto tempo perdido.

Porém nada dizia.

Não era dia nem noite.

Suspiro? Voo de pássaro?

Porém nada dizia.

Longamente caminhamos.

Aqui havia uma casa.

A montanha era maior.

Tantos mortos amontoados,

o tempo roendo os mortos.

E nas casas em ruína

desprezo frio, umidade.

Porém nada dizia.

A rua que atravessava

a cavalo, de galope.

Seu relógio. Sua roupa.

Seus papéis de circunstância.

Suas histórias de amor.

Há um abrir de baús

e de lembranças violentas.

Porém nada dizia.

No deserto de Itabira

as coisas voltam a existir,

irrespiráveis e súbitas.

O mercado de desejos

expõe seus tristes tesouros;

meu anseio de fugir;

mulheres nuas; remorso.

Porém nada dizia.

Pisando livros e cartas,

viajamos na família.

Casamentos; hipotecas;

os primos tuberculosos;

a tia louca; minha avó

traída com as escravas,

rangendo sedas na alcova.

Porém nada dizia.

Que cruel, obscuro instinto

movia sua mão pálida

sutilmente nos empurrando

pelo tempo e pelos lugares

defendidos?

Olhei-o nos olhos brancos.

Gritei-lhe: Fala! Minha voz

vibrou no ar um momento,

bateu nas pedras. A sombra

prosseguia devagar

aquela viagem patética

através do reino perdido.

Porém nada dizia.

Vi mágoa, incompreensão

e mais de uma velha revolta

a dividir-nos no escuro.

A mão que eu não quis beijar,

o prato que me negaram,

recusa em pedir perdão.

Orgulho. Terror noturno.

Porém nada dizia.

Fala fala fala fala.

Puxava pelo casaco

que se desfazia em barro.

Pelas mãos, pelas botinas

prendia a sombra severa

e a sombra se desprendia

sem fuga nem reação.

Porém ficava calada.

E eram distintos silêncios

que se entranhavam no seu.

Era meu avô já surdo

querendo escutar as aves

pintadas no céu da igreja;

a minha falta de amigos;

a sua falta de beijos;

eram nossas difíceis vidas

e uma grande separação

na pequena área do quarto.

A pequena área da vida

me aperta contra o seu vulto,

e nesse abraço diáfano

é como se eu me queimasse

todo, de pungente amor.

Só hoje nos conhecermos!

Óculos, memórias, retratos

fluem no rio do sangue.

As águas já não permitem

distinguir seu rosto longe,

para lá de setenta anos …

Senti que me perdoava

porém nada dizia.

As águas cobrem o bigode,

a família, Itabira, tudo.

JOURNEY THROUGH THE FAMILY

In the desert of Itabira

the shadow of my father

took me by the hand.

So much lost time.

But he didn’t say anything.

It wasn’t day or night.

A sigh? A bird in flight?

But he didn’t say anything.

We walked for a long time.

Here there was a house.

The mountain was taller back then.

All the people who’ve died,

time gnawing the dead.

Cold damp and disdain

in the ruined houses.

But he didn’t say anything.

The street he used to ride down

on horseback, at a gallop.

His watch. His clothes.

His miscellaneous papers.

His love affairs.

Violent memories

spilling out of old trunks.

But he didn’t say anything.

In the desert of Itabira

dead things resurrect,

unexpected and unbreathable.

The market of desires

displays its sad treasures,

my yearning to get away,

naked women, regret.

But he didn’t say anything.

Trampling on books and letters,

we journey through the family.

Weddings, mortgages,

the cousins with TB,

the crazy aunt, my grandmother

gnawing on silks in her room

when cheated on with the slave girls.

But he didn’t say anything.

What cruel, obscure instinct

moved his pale hand

quietly pushing us

through time and forbidden

places?

I looked into his white eyes.

“Speak!” I shouted. My voice

shook for a moment in the air,

then fell onto the stones.

The shadow slowly continued

that rueful journey

through the lost kingdom.

But he didn’t say anything.

I saw sorrow, misunderstanding,

and more than one old resentment

dividing us in the darkness.

The hand I wouldn’t kiss,

the food I wasn’t given,

refusal to ask forgiveness.

Pride. Terror in the night.

But he didn’t say anything.

Speak speak speak speak.

I pulled him by his coat,

which crumbled into powder.

I grabbed that stern shadow

by the hands, by his boots,

and the shadow slid free

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