finally it’s everything

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A Love Letter
Julio Cortázar
Everything I’d want from you
is finally so little

because finally it’s everything

like a dog going by, or a hill,
those meaningless things, mundane,
wheat ear and long hair and two lumps of sugar,
the smell of your body,
whatever you say about anything
with or against me,

all that which is so little
I want from you because I love you

May you look beyond me,
may you love me with violent disregard
for tomorrow, let the cry
of your coming explode
in the boss’s face in some office

and let the pleasure we invent together
be one more sign of freedom.

Original

Una carta de amor
Todo lo que de vos quisiera
es tan poco en el fondo
porque en el fondo es todo,

como un perro que pasa, una colina,
esas cosas de nada, cotidianas,
espiga y cabellera y dos terrones,
el olor de tu cuerpo,
lo que decís de cualquier cosa,
conmigo o contra mía,

todo eso es tan poco,
yo lo quiero de vos porque te quiero.

Que mires más allá de mí,
que me ames con violenta prescindencia
del mañana, que el grito
de tu entrega se estrelle
en la cara de un jefe de oficina,

y que el placer que juntos inventamos
sea otro signo de la libertad.

Handlingsfrihet – invented freedom and voice

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and let the pleasure we invent together

be one more sign of freedom

-Julio Cortázar – “A Love Letter

(“y que el placer que juntos inventamos
sea otro signo de la libertad.”)

When he told me I had complete “handlingsfrihet”, I was exhilarated. At least for that brief moment. With him, I knew it was just fantasy and would never come to pass. Total liberty and freedom to do whatever I wanted was possible only in our shared imagination in those very limited moments.

In reality, the only place I have complete control, artistic license, the freedom to choose and speak is in using my voice. I could hear my true voice somewhere inside but never really pushed it into the world with any degree of authenticity. As soon as I consciously decided to write something (other than a letter, a school paper), all kinds of artifice and “trying to make things sound good” clouded the basic premise of the writing and the core idea of what I wanted to express. Still, the voice was there. It was just muffled under layers of my own doubt.

Even when I was young, teachers and influential adults around me told me I would be a writer. Teachers in whose classes I was never a student even referred to me this way. I don’t know where the reputation came from nor how it spread. By the time I was a confused adolescent, I had convinced myself that all these adults were praising my writing only as a means to bolster my self-confidence, not because there was any truth to it. I felt cheated, mistrustful and misled. In my own dorky academic way, I rebelled – I could not live up to the expectations they had created (I thought) and did not want to be told what I was. I took language classes but steered clear of explicitly writing-focused courses (journalism, creative writing, etc.) and never looked back. My life ever since has still been all about writing – academic, corporate or what have you. But the practice of writing a short story every day, as I had done effortlessly when I was 13, was and is long gone.

These days I think a lot about writing and freedom and how, for me, they are intertwined. I can only escape from the unhealthy misery I feel right now if I embrace writing as a rope with which to climb out of the space I am increasingly feeling trapped in.

Handlingsfrihet will be mine, one way or another. (Baking and recipe posts coming soon.)