Clear Winter

Once more I’m going with a fresh translation for today’s words. And once more, they’re from the French, as I take on Pierre Reverdy’s “Clair Hiver”  in English as “Clear Winter.”  Unlike my last French translation, Apollinaire’sMirabeau Bridge,”  this one hasn’t already been translated a dozen times, though the one translation I could find was by no less than John Ashbery, so I’m still a bit audacious in taking my swing at this.

Like Apollinaire or Tristan Tzara, Reverdy’s work isn’t well-known in English, but even more than those two Paris contemporaries of his, he’s been acknowledged as a substantial influence on post-WWII American poetry. Reverdy’s been studied, cited as an influence, and translated by Ashbery, Kenneth Rexroth, and Rod Padgett. Others connected with the 20th Century “New York School” of poetry were inspired by his work too.

Indeed, it’s through Frank O’Hara that Reverdy’s name may be best known in English, for as O’Hara took his famous summer stroll in Manhattan in the lines of his poemA Step Away from Them,”  he takes care to mention that “My heart is in my pocket, it is / ”Poems by Pierre Reverdy.”

My Heart is in my pocket, it is

“Poems by Pierre Reverdy”

When Pierre Reverdy died in 1960, Ashbery asked O’Hara if he had any poems to contribute to a memorial issue of a magazine he was curating. O’Hara replied, deferring, “I just couldn’t stand the amount of work it would seem to take, since the minute you mentioned it I decided that everything I’ve written…has been under his influence.”

I used that O’Hara connection as my entry point into Reverdy and to my translation of “Clear Winter.”  Unlike Ashbery, I’m not a French speaker, and my high school French classes have long worn off—but O’Hara’s voice in English is somewhat ingrained in me, and so I used that as a guide as I completed my Reverdy translation.

But now I’m not so sure that was the right choice. Reading a trenchant analysis of Reverdy by Kenneth Rexroth, I may have overdetermined the images in my first translation of Reverdy—but for better or worse, this is my tendency as a translator. I try to sense in the foreign language the experience the poem speaks of, and then to vivify those sensations and thoughts I find in that examination into English. That often takes the form of using clear idiomatic, contemporary English to sharpen those images. Often in this process, I’ll take imaginative leaps into the poet’s intent—and, well, sometimes when one steps boldly into what one thinks is a pool of light in the darkness, it turns out to be a large pothole filled with ditch-water instead.

If my suppositions are mistakes, perhaps they are at least vivid mistakes.

Still Life with Poem by Juan Gris

Post-It Notes™ go Cubist?  Juan Gris’ “Still Life with Poem.”
And that poem is by his friend and collaborator, Pierre Reverdy.

 

Reverdy, like Apollinaire, has been called a cubist poet, and like Apollinaire he knew many of the painters who formed that faceted multi-perspective style in the Paris of the first part of the 20th Century. As the style developed, found objects such as newspaper, tickets, and wallpaper were pasted into the paintings. To reflect this musically this piece uses some various audio loops for melodic elements—something I don’t usually do. This is my attempt to make the sound of the cubist ethos of juxtaposed perspectives. That the loops should be unlike, yet somehow hang together, was the aim, and their repetitive nature is the analog to the cubist geometric forms.

That description makes my music for “Clear Winter”  sound all high art, and I guess it would be in the early 20th Century, but some current popular music forms commonly do this. Electronic Dance Music and Hip Hop tracks love the unexpected intrusion of unusual sounds. So, though my performance of Reverdy’s “Clear Winter”  (player below) is a short piece, I’d be glad to do an extended dance mix if the demand is there.

 

There is Always Time

It’s a new year, and here’s a piece that is not representative of most of what we do here. First off, it’s a piece where I wrote the words, when one of the Parlando Project principles is “Other People’s Stories.” So, the words we use here are normally from others, often originally written as page poems by their authors. The Parlando Project adapts, recasts, and performs these pieces with various combinations of original music. Today’s audio, “There is Always Time”  was conceived as a song to be sung from the start.

It’s been a busy last couple of weeks for me, so my ability to work on new pieces has been slightly curtailed. I’ve had this one done for a month, saved for just such an occasion when I’ve fallen behind in the work that goes into this project—and well, it does seem like a good piece for the day of New Year’s Resolutions.

Woody Guthrie's 1942 NY Resolutions

Woody Guthrie’s 1942 NY Resolutions. He didn’t keep all of them—still glad we had a Woody Guthrie.

 

“There is Always Time”  is a “carpe diem” song about dreams and desires deferred, so it’s perhaps the precursor to those lists of “shoulds” for the coming year.

Goals and focus are good things. Approximately three years ago I set out on just such a goal, to create and present 100 or so audio pieces combining various words and various music. I needed to learn a bit about how to syndicate these pieces via podcasting as well as how to stream them from a blog. Once I started this, I soon found there was even more to learn, more things that will ask to be needed by the work. Since the Parlando Project was launched in August 2016, we’ve exceeded the original goal, and we now near 170 audio pieces published.

Goals, focus, drive, desire to learn, audacity mixed with humility—all were necessary. However, I think today, as I present this piece, of Karen Horney, the innovative early psychoanalyst, who developed a concept as she looked at personalities and the goals they set. She called it “The Tyranny of the Shoulds.”

Karen Horney

Karen Horney. Beavis and Butthead’s favorite Adlerian psychoanalyst?

 

Who was the tyrant, the oppressor, who is in this phrase? Parents? Society? Government? Natural Law? Racism, sexism, ageism, gender roles? Well, they all could contribute to the tyrant’s powers, but in her formulation the mad dictator is specifically “The Ideal Self.”

Wait—what? The Ideal Self is what is going to get me out of those old-year patterns, get me doing those things that I need to do. The Ideal Self will make sure I commit to my art. The Ideal Self will fix those things about myself that keep failing. The Ideal Self will make me a better person, a better co-worker, a better partner, a better parent, a better son or daughter, and so on.

What’s wrong with that? Look again at Horney’s formulation: “The Tyranny of the Shoulds.” What if that Ideal Self behaves as a tyrant does? What if instead of being the loving, supportive partner, parent, boss, or teacher that we may or may not have had, the Ideal Self acts as a dictator would: the executions, the inquisitions, the scape-goating, the banishments, the wars of aggression, all waged by the Ideal Self against the poor Real Self, who beaten-down will eventually fail the tyrant or overthrow it.

So yes, seize the day, seize the year. Do more and better art this year. Love your partners and your families and your friends while they are here. Repair the world, slowly and little-by-little if you can be patient and brave. Clean out the closet. Ride your bike more. Learn a new instrument. Read more. But be the loving partner to that struggling Real Self. It knows it’s limitations, it’s failures, it’s shames, but it is only your Real Self that can do these things.

To hear “There is Always Time,”  use the player below. If you like it, go ahead and click the like button, and it’s very helpful if you share the audio pieces or this blog on your own site, or on social media. We’ll be back with more pieces using words by other authors soon.