“Before the sea, as before death, I have no secrets”

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Before the sea, as before death, I have no secrets
-Vesna Parun
If you seek a path to my soul
take me to the stormy sea.

There you’ll find the unearthed temple,
the ruins of my life; and the plateau of my youth
enclosed by a wall of fig trees.
There you’ll witness the ancient lament of my thighs,
that have brought pagan gods to their knees.

Before the sea, as before death, I have no secrets.
The earth and moon become my body.
Love transplants my thoughts
into the gardens of eternity.

Original

Pred morem, kao pred smrću, nemam tajne
Ako tražiš put u moju dušu
odvedi me moru olujnom.

Ondje ćeš vidjeti otkrit život moj
kao razvaljen hram; moju mladost
smokvama ograđenu visoravan.
Moja bedra: drevnu tužaljku
radi koje poganski bogovi
kleče na koljenima.

Pred morem, kao pred smrću, nemam tajne.
Zemlja i mjesec postaju moje tijelo.
Ljubav presađuje moje misli
u vrtove vječnosti.

Photo by Witch Kiki on Unsplash

Zij

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And give me news of him now and again,
so that I will not have to ask strangers
who wonder at my boldness, and
neighbors who pity my persistence.
You whose hands are more innocent than mine
stay by his bedside
and be gentle to his dream.” -Vesna Parun

When every word and statement appears as though it had been engineered to extract information manipulatively and surreptitiously (the listener is too suspicious to fall for that), a conversation is always a cat-and-mouse game. Zij wanted nothing more than to pump hard for information but knew she could not get any if she went for the hard sell. No, it had to be subtler, a conversation in which casual half-remarks might pique the listener’s interest and cause a careless offer of more information than intended. Zij attempted at times to lull the listener into loose-lipped revelation through flattery, searching out all the buttons that would stroke even the ego of a person so tightly controlled they didn’t seem to have an ego. The listener, connected in some feverishly imagined way to a place Zij wanted to get back to, calmly responded in an academic and dispassionate way to all comments.

When Zij did not get what she wanted, she changed tack.

“You are “better” than me in so many ways,” Zij said to the listener. “A more high-minded being.”

Why should such comparatives arise at all? It made no sense to compare: the listener is no better or worse than Zij. Either Zij wanted to be reassured that it wasn’t true, or she really must have self-esteem that low. So uncomfortable was Zij that she was unable to focus her love on herself or those who had proven themselves to love her unconditionally. No, there was always the increasingly hard pushing-away, boring in to gather ammunition while at the same time diffusing attention across as many sources as possible, to find solace temporarily where there really was none.

Thinking these thoughts, the listener listened. Why should the listener constantly be compared against this phantom from the past, by that phantom herself? What was the purpose of this exercise? In response, the listener finally replied coolly, “No, ‘better’ is not the right frame for this. It’s just different. People, as simple as it sounds, would not be interesting if we were all the same.”

When the listener proved to be responsive only to talk of her identity and bouts of mania, and this did not produce information – or even a reaction, Zij tried another approach:

“That place – that island – is so completely different from every other place on earth. I didn’t appreciate it when I was there, but it was unique and nothing else can rival it in the world. I should have loved it for what it was but didn’t. I was careless, making a mess of this land, inviting equally unappreciative strangers there, stripping and commoditizing this oasis.”

The listener remained silent, knowing a contradiction was coming.

“But I don’t understand why the island grew so inhospitable. I am sure that any other place in the world would have accommodated us forever – because that’s what places are for – that is what they do!”

The listener considered this, finally answering, “Can you really have appreciated the island for its real qualities if you never really knew them? If you used it for your own purposes but didn’t understand its ecology, what sustained it? And now, so many years later, can you be trusted as sincere in your regret at abusing and trampling all over the island and pushing it to the brink, if it appears that your regret is only about what you lost – and not about what the island lost or didn’t have in the first place, or didn’t get from letting you run rampant all over and through it? If your regret for the place and how you mistreated it were real, wouldn’t you step back and respect that it needs its own oxygen, it needs time… it can’t regenerate as long as the weeds and vines of the past continue to overgrow and overreach everything?”

Zij was silent, if only briefly. She did not like this answer at all. Attempting to regain the upper hand, completely forgetting any pretension of composure, she changed strategy yet again. Wanting to elicit… what? Anger? Jealousy? Curiosity? Insecurity? Uncertainty? To drive a wedge?:

“Do you have any idea how many people want desperately to visit that island now? For some reason it’s completely off-limits, but even people who have exclusive access to every other place in the world, who have piles of invitations they could accept… they want to go to THIS place but are denied. Why is it that you are welcomed there… and they aren’t? What is it about you that is so special?”

Underneath these words, the listener could hear a childish, deafening and always-growing-louder refrain: “WHY YOU? WHY YOU? WHY YOU?” underpinned by a whispering and desperate, “And why not me?” The listener again failed to react, immediately, thinking of the inherent immaturity of this line of questioning, wanting to quote the simplistic Bonjour tristesse: «Vous vous faites de l’amour une idée un peu simpliste. Ce n’est pas une suite de sensations indépendantes les unes des autres…» But knowing there was nothing that could be said to reliably explain anything. No explanations were required or owed.

It seemed once more, or still, that Zij asked the wrong questions of the wrong entity, diffusing all her pent up frustrations, regrets and feelings to all the wrong people. And the listener could only feel sad compassion for a life spent idealizing a past that kept her from fully living in the present.

innocence

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Have I squirreled this beloved poem away, hoarding it only for myself? I mention poetry and poems, especially favorites, so often but have seemingly never mentioned this one from Vesna Parun. And it should indeed be felt, read, experience, shared. I fell in love with it when I was wandering through one of the most awkward periods of my life – early university. Feeling invisible and out of place in a way I had not since I was maybe five years old, I was clinging to emotional, often overwrought, poetry that embodied what I can only call self-pitying lamentations. This certainly falls into that category, but its pitiful mourning is beautiful regardless of its tone of dejected retreat. It reminds me not to trivialize what I felt, what I currently feel and, most of all, what others feel.

First encountered in the translation (ugh – we know how I feel about that) in the pre-internet era, I searched for some time and finally found the original Croatian when I went to Croatia for the first time in the latter half of the 1990s. It has long been what I do in foreign cities: seek out poems in their original language(s) and/or purchase anthologies of local poetry. Perhaps it was this time, locating this long-loved poem, falling in love with the dual harshness and beauty of Zagreb, that felt most triumphant.

You Whose Hands Are More Innocent than Mine
-Vesna Parun
You whose hands are more innocent than mine
and you who are as wise as detachment.
You who can read his forehead
and know his solitudes better than I,
and you who remove the slow shadows
of indecision from his face
as the spring wind removes
the shadows of clouds floating above the hills.

If your embrace encourages his heart
and your thighs abate pain,
if your name eases
his thoughts, and your throat
shades his bedside,
and the night of your voice is the orchard
still untouched by storms.

Then stay beside him
and be more pious than those
who have loved him before you.
Fear the echo that encroaches
the harmless beds of love.
And be gentle to his dream
beneath the unseen mountain
on the rim of the sea that roars.

Stroll on his strand. Let the sad
dolphins come to meet you.
Roam in his forest. The friendly lizards
will not harm you
And the thirsty snakes that I tamed
will be humble before you.

Let the birds that I have warmed
during nights of sharp frost sing for you.
Let the boy that I protected
along deserted roads caress you.
Let the flowers that I watered
with my tears be fragrant for you.

I do not await the best years
of his manhood. His fecundity
I will never receive between my breasts
that have been ravaged by the glances
of herdsmen at fairs
and lecherous thieves.

I will never lead his children
by the hand. And the stories
I so long ago prepared for them,
perhaps I will tell them tearfully
to the poor little bears
left behind in the black forest.

You whose hands are more innocent than mine,
be gentle to his dream
that has remained so unaffected.
But allow me to see
his face, before the unknown years
descend on him.
And give me news of him now and again,
so that I will not have to ask strangers
who wonder at my boldness, and
neighbors who pity my persistence.

You whose hands are more innocent than mine
stay by his bedside
and be gentle to his dream.

Original version in Croatian
Ti koja imas nevinije ruke od mojih
i koja si mudra kao bezbriznost.
Ti koja umijes s njegova cela citati
bolje od mene njegovu samocu,
i koja otklanjas spore sjenke
kolebanja s njegova lica
kao sto proljetni vjetar otklanja
sjene oblaka koje plove nad brijegom.

Ako tvoj zagrljaj hrabri srce
i tvoja bedra zaustavljaju bol,
ako je tvoje ime pocinak
njegovim mislima, i tvoje grlo
hladovina njegovu lezaju,
i noc tvojega glasa vocnjak
jos nedirnut olujama.

Onda ostani pokraj njega
i budi poboznija od sviju
koje su ga ljubile prije tebe.
Boj se jeka sto se priblizuju
neduznim posteljama ljubavi.
I blaga budi njegovu snu,
pod nevidljivom planinom
na rubu mora koje huci.

Seci njegovim zalom. Neka te susrecu
ozaloscene pliskavice.
Tumaraj njegovom sumom. Prijazni gusteri
nece ti uciniti zla.
I zedne zmije koje ja ukrotih
pred tobom ce biti ponizne.

Neka ti pjevaju ptice koje ja ogrijah
u nocima ostrih mrazova.
Neka te miluje djecak kojega zastitih
od uhoda na pustom drumu.
Neka ti mirise cvijece koje ja zalijevah
svojim suzama.

Ja ne docekah najljepse doba
njegove muskosti. Njegovu plodnost
ne primih u svoja njedra
koja su pustosili pogledi
gonica stoke na sajmovima
i pohlepnih razbojnika.

Ja necu nikada voditi za ruku
njegovu djecu. I price
koje za njih davno pripremih
mozda cu ispricati placuci
malim ubogim medvjedima
ostavljenim u crnoj sumi.

Ti koja imas nevinije ruke od mojih,
budi blaga njegovu snu
koji je ostao bezazlen.
Ali mi dopusti da vidim
njegovo lice, dok na njega budu
silazile nepoznate godine.

I reci mi katkad nesto o njemu,
da ne moram pitati strance
koji mi se cude, i susjede
koji zale moju strpljivost.

Ti koja imas nevinije ruke od mojih,
ostani kraj njegova uzglavlja
i budi blaga njegovu snu!