torsdag 23. april 2009

The Raven av Edgar Allan Poe & The Alan Parsons Projects versjon



The Raven

Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
“’Tis some visiter,” I muttered, “tapping at my chamber door—
Only this and nothing more.”

Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.

And the silken, sad, uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
“’Tis some visiter entreating entrance at my chamber door—
Some late visiter entreating entrance at my chamber door;—
This it is and nothing more.”

Presently my soul grew stronger; hesitating then no longer,
“Sir,” said I, “or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you”—here I opened wide the door;—
Darkness there and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, “Lenore?”
This I whispered, and an echo murmured back the word, “Lenore!”—
Merely this and nothing more.

Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
“Surely,” said I, “surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore—
Let my heart be still a moment and this mystery explore;—
’Tis the wind and nothing more!”

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door—
Perched upon a bust of Pallas just above my chamber door—
Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
“Though thy crest be shorn and shaven, thou,” I said, “art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore—
Tell me what thy lordly name is on the Night’s Plutonian shore!”
Quoth the Raven “Nevermore.”

Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning—little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door—
Bird or beast upon the sculptured bust above his chamber door,
With such name as “Nevermore.”

But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered—not a feather then he fluttered—
Till I scarcely more than muttered “Other friends have flown before—
On the morrow he will leave me, as my Hopes have flown before.”
Then the bird said “Nevermore.”

Startled at the stillness broken by reply so aptly spoken,
“Doubtless,” said I, “what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore—
Till the dirges of his Hope that melancholy burden bore
Of ‘Never—nevermore’.”

But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore—
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking “Nevermore.”

This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom’s core;
This and more I sat divining, with my head at ease reclining
On the cushion’s velvet lining that the lamp-light gloated o’er,
But whose velvet-violet lining with the lamp-light gloating o’er,
She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
“Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee
Respite—respite and nepenthe from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”
Quoth the Raven “Nevermore.”

“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!—
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted—
On this home by Horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I implore!”
Quoth the Raven “Nevermore.”

“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!
By that Heaven that bends above us—by that God we both adore—
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore—
Clasp a rare and radiant maiden whom the angels name Lenore.”
Quoth the Raven “Nevermore.”

“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting—
“Get thee back into the tempest and the Night’s Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!—quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!”
Quoth the Raven “Nevermore.”

And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon’s that is dreaming,
And the lamp-light o’er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted—nevermore!

(Edgar Allan Poe, 1845)

En fin artikkel om Edgar Allan Poe på norsk Wikipedia her!

Og om The Alan Parsons Project på engelsk Wikipedia her!

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torsdag 26. mars 2009

“Nikki-Rosa” av Nikki Giovanni

Ja, i dag må det seffern bli et dikt av Nikki G! Og velger dette her fra 1968 - hennes kanskje aller mest avholdte - truddelutt & gratulerer så mye med dagen din, Christine!!

Videoen er registrert på YouTube som:
Nikki Giovanni - Nikki-Rosa
(Def Poetry)
Def Poetry Season 5, Episode 4 (S05 E04)
Air Date: 2005




Nikki-Rosa

childhood remembrances are always a drag
if you’re Black
you always remember things like living in Woodlawn
with no indoor toilet
and if you become famous or something
they never talk about how happy you were to have
your mother
all to yourself and
how good the water felt when you got your bath
from one of those
big tubs that folk in chicago barbecue in
and somehow when you talk about home
it never gets across how much you
understood their feelings
as the whole family attended meetings about Hollydale
and even though you remember
your biographers never understand
your father’s pain as he sells his stock
and another dream goes
And though you’re poor it isn’t poverty that
concerns you
and though they fought a lot
it isn’t your father’s drinking that makes any difference
but only that everybody is together and you
and your sister have happy birthdays and very good
Christmases
and I really hope no white person ever has cause
to write about me
because they never understand
Black love is Black wealth and they’ll
probably talk about my hard childhood
and never understand that
all the while I was quite happy

(Fra "Black Feeling, Black Talk, Black Judgment." 1968.)

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(Se september i menyen til høyre for mer Nikki Giovanni.)

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lørdag 14. mars 2009

OK, ikke akkurat poesi - men: oj!

Her, i løpet av 9 minutter, presenterer Hans Rosling en for meg på mange måter ny synsvinkel - og dét på en sånn måte - at det ga meg en skikkelig "oj!-opplevelse", en "eureka!-opplevelse" - akkurat som god litteratur kan det:



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søndag 1. mars 2009

Robert Bly

Jepp, det er på høy tid denne bloggen kikker innom den amerikanske poeten, forfatteren og fredsaktivisten Robert Bly, født 23. desember 1926 i Minnesota, USA av norskættede foreldre.

Den omfattende og flotte hjemmesiden hans fins
her.

Og to interessante Dagbladet.no-artikler skrevet av den norske poeten Helge Torvund:

Leksjon en: "Om diktinga og arbeidet til den amerikanske poeten Robert Bly."
Leksjon to: "Å liggja lågt."



CALL AND ANSWER

Tell me why it is we don´t lift our voices these days
And cry over what is happening. Have you noticed
The plans are made for Iraq and the ice cap is melting?

I say to myself: "Go on, cry. What´s the sense
Of being an adult and having no voice? Cry out!
See who will answer! This is Call and Answer!"

We will have to call especially loud to reach
Our angels, who are hard of hearing; they are hiding
In the jugs of silence filled during our wars.

Have we agreed to so many wars that we can¹t
Escape from silence? If we don´t lift our voices, we allow
Others (who are ourselves) to rob the house.

How come we´ve listened to the great criers -- Neruda,
Akhmatova, Thoreau, Frederick Douglass -- and now
We¹re silent as sparrows in the little bushes?

Some masters say our life lasts only seven days.
Where are we in the week? Is it Thursday yet?
Hurry, cry now! Soon Sunday night will come.

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THE BLINDING OF SAMSON

Don't you see them? They are coming to blind Samson!
But some of us don't want the day to end!
If Samson goes blind, what will happen to the sea?

Isn't it bad enough that the sun goes down
Each night, while children throw shoes at the moon?
I remember my mother's grief at sunset.

Now I remember my father. I remember
Every father when he is wrestling with his son.
Oh Lord of the Four Quarters— he is destined to lose!

You gypsy singers, make some raw cries!
Call in the crows to fly over the plowed fields.
I want the beating palms to cry out for Sam
son.

I want rough voices and shouting women
To cry out against the blinding of Samson.
I will always cry— take away those knives!

Isn't it enough that the Evening Star sets every night
And lovemaking ends at dawn? Please, God, help
The human beings, for men are coming to blind Samson.

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tirsdag 17. februar 2009

Unn deg en lunsjpause med Li-Young Lee!













Møt den amerikanske poeten Li-Young Lee - født 19. august, 1957 i Indonesia og fra 1964 bosatt i USA - introdusert av poeten Robert Hass: 



Mer om Li-Young Lee - og flere av diktene hans - fins her.

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lørdag 14. februar 2009

Gertrude Stein: A Very Valentine

Gertrude Stein (født 3. februar 1874 i Pennsylvania, USA - død 27. juli 1946 i Paris) var en amerikansk forfatter og med-katalysator for utviklingen av moderne kunst og litteratur. Hun tilbrakte det meste av sitt liv i Frankrike. Fra 1909 og til sin død bodde hun sammen med Alice B. Toklas i 27 Rue de Fleurus. I 1920-årene ble stuene i denne leiligheten deres et kjent samlingssted for forfattere som Sherwood Anderson og kunstmalere som Pablo Picasso.















Portrett av Gertrude Stein” av Pablo Picasso, 1903, Metropolitan Museum of Art, New York City. (Da en bekjent bemerket at Gertrude Stein ikke liknet på portrettet sitt, svarte Picasso: “Hun kommer til å gjøre det.”)

A Very Valentine” er et kort dikt inkorporert i en tekst som etter hvert har fått tittelen “A Valentine to Sherwood Anderson". Og dette korte diktet er - tror jeg nok en kan si - very, very Gertrude Stein:


A Very Valentine

Very fine is my valentine.
Very fine and very mine.
Very mine is my valentine very mine and very fine.
Very fine is my valentine and mine, very fine very mine and mine is my valentine.



En liten animasjon hvor vi hører Stein lese dette diktet fins her.

Og hele hennes “A Valentine to Sherwood Anderson” kan høres her.

Steins mest siterte linje er nok: 
Rose is a rose is a rose is a rose.

Mer om Gertrude Stein: 
på engelsk Wikipedia

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søndag 8. februar 2009

Barnas Poet Laureate i Storbritannia











Poeten og barnebokforfatteren Michael Rosen (født 7 mai, 1946 i London) er Storbritannias femte Children´s Laureate. Rosen, som selv er av jødisk avstamning, deltok 10. januar i år under en protest mot bombingen av Gaza - med et nyskrevet dikt: 




Nettstedet hans fins her.











Og en liten kampanje-snutt han lagde i forbindelse med “Sommerens leseutfordring” 2008:




Og - tatarataaaa: The Michael Rosen Rap -



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fredag 30. januar 2009

John Updike




















John Updike (18.mars,1932 - 27.januar,2009) skrev ikke bare romaner og noveller - han skrev også dikt. Her er to eksempler fra Collected Poems 1953-1993 :

Ex-Basketball Player

Pearl Avenue runs past the high-school lot,
Bends with the trolley tracks, and stops, cut off
Before it has a chance to go two blocks,
At Colonel McComsky Plaza. Berth’s Garage
Is on the corner facing west, and there,
Most days, you'll find Flick Webb, who helps Berth out.

Flick stands tall among the idiot pumps—
Five on a side, the old bubble-head style,
Their rubber elbows hanging loose and low.
One’s nostrils are two S’s, and his eyes
An E and O. And one is squat, without
A head at all—more of a football type.

Once Flick played for the high-school team, the Wizards.
He was good: in fact, the best. In ’46
He bucketed three hundred ninety points,
A county record still. The ball loved Flick.
I saw him rack up thirty-eight or forty
In one home game. His hands were like wild birds.

He never learned a trade, he just sells gas,
Checks oil, and changes flats. Once in a while,
As a gag, he dribbles an inner tube,
But most of us remember anyway.
His hands are fine and nervous on the lug wrench.
It makes no difference to the lug wrench, though.

Off work, he hangs around Mae’s Luncheonette.
Grease-gray and kind of coiled, he plays pinball,
Smokes those thin cigars, nurses lemon phosphates.
Flick seldom says a word to Mae, just nods
Beyond her face toward bright applauding tiers
Of Necco Wafers, Nibs, and Juju Beads.

(Skrevet i 1954)


Perfection Wasted

And another regrettable thing about death
is the ceasing of your own brand of magic,
which took a whole life to develop and market -
the quips, the witticisms, the slant
adjusted to a few, those loved ones nearest
the lip of the stage, their soft faces blanched
in the footlight glow, their laughter close to tears,
their warm pooled breath in and out with your heartbeat,
their response and your performance twinned.
The jokes over the phone. The memories packed
in the rapid-access file. The whole act.
Who will do it again? That's it: no one;
imitators and descendants aren't the same.

(Datert 24. januar, 1990)

Og her er Updike i samtale med "The Book Review"-redaktøren Sam Tanenhaus, oktober 2008:




Noen Updike-sitater:

"Creativity is merely a plus name for regular activity . . . any activity becomes creative when the doer cares about doing it, or better."

"Art is like baby shoes. When you coat them with gold, they can no longer be worn." 


"I write with experiences in mind, but I don't write about them, I write out of them." 


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fredag 23. januar 2009

Ted Koosers brukbare dikt

Her er et av mine yndlingsdikt av Ted Kooser, poeten som vokste opp i "min" barndomsby, Ames, Iowa (og var US Poet Laureate 2004-2006) - tittelen på dette blogginnslaget henspeiler på det han med et lite smil forteller etter at han har lest ferdig diktet:




At the Cancer Clinic

She is being helped toward the open door
that leads to the examining rooms
by two young women I take to be her sisters.
Each bends to the weight of an arm
and steps with the straight, tough bearing
of courage. At what must seem to be
a great distance, a nurse holds the door,
smiling and calling encouragement.
How patient she is in the crisp white sails
of her clothes. The sick woman
peers from under her funny knit cap
to watch each foot swing scuffing forward
and take its turn under her weight.
There is no restlessness or impatience
or anger anywhere in sight. Grace
fills the clean mold of this moment
and all the shuffling magazines grow still.

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(Fra Delights & Shadows, Copper Canyon Press, Port Townsend, WA 2004)

Mer om Ted Kooser fins på denne bloggen 15. juli, 2008.

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tirsdag 20. januar 2009

I dag skjer det!

Fra kl. 17:29 direkte på NRK2 (og CNN, BBC, m.v., samt mange nettsteder) kan vi se denne historiske begivenheten direkte. Barack Obama innsettes som president i USA! 

Og rett etter innsettelsestalen, leser poeten Elizabeth Alexander et dikt hun har skrevet for anledningen.

 

















Det er ingen selvfølge at en president velger å be en poet lese et dikt under sin innsettelsesseremoni. Bare tre ganger tidligere har det hendt; Robert Frost under John F. Kennedys innsettelse i 1961, Maya Angelou under Bill Clintons første innsettelse i 1993 og Miller Williams under Bill Clintons andre innsettelse i 1997.

På nettstedet for innsettelsen av Barack Obama kan vi lese
dette om Elizabeth Alexander.

Og her er et ferskt og interessant
intervju med Elizabeth Alexander - i Houston Chronicle, 19. januar, 2008.

Da Elizabeth Alexander fikk Jackson Poetry Prize 2007, kvitterte hun med å lese et av sine dikt som nettopp omhandler poesi; “Ars Poetica #100: I believe(Ars Poetica = veiledning i diktekunsten) :





Ars Poetica #100: I Believe

Poetry, I tell my students,

is idiosyncratic. Poetry
is where we are ourselves,

(though Sterling Brown said
“Every ‘I’ is a dramatic ‘I’”)

digging in the clam flats
for the shell that snaps,

emptying the proverbial pocketbook.
Poetry is what you find

in the dirt in the corner,
overhear on the bus, God

in the details, the only way
to get from here to there.

Poetry (and now my voice is rising)
is not all love, love, love,

and I’m sorry the dog died.
Poetry (here I hear myself loudest)

is the human voice,
and are we not of interest to each other?

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Det blir spennende å høre det nye diktet hennes i dag!

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Og her er det:



Praise Song for the Day
A Poem for Barack Obama’s Presidential Inauguration


Each day we go about our business,
walking past each other, catching each other’s
eyes or not, about to speak or speaking.

All about us is noise. All about us is
noise and bramble, thorn and din, each
one of our ancestors on our tongues.

Someone is stitching up a hem, darning
a hole in a uniform, patching a tire,
repairing the things in need of repair.

Someone is trying to make music somewhere,
with a pair of wooden spoons on an oil drum,
with cello, boom box, harmonica, voice.

A woman and her son wait for the bus.
A farmer considers the changing sky.
A teacher says, Take out your pencils. Begin.

We encounter each other in words, words
spiny or smooth, whispered or declaimed,
words to consider, reconsider.

We cross dirt roads and highways that mark
the will of some one and then others, who said
I need to see what’s on the other side.

I know there’s something better down the road.
We need to find a place where we are safe.
We walk into that which we cannot yet see.

Say it plain: that many have died for this day.
Sing the names of the dead who brought us here,
who laid the train tracks, raised the bridges,

picked the cotton and the lettuce, built
brick by brick the glittering edifices
they would then keep clean and work inside of.

Praise song for struggle, praise song for the day.
Praise song for every hand-lettered sign,
the figuring-it-out at kitchen tables.

Some live by love thy neighbor as thyself,
others by first do no harm or take no more
than you need. What if the mightiest word is love?

Love beyond marital, filial, national,
love that casts a widening pool of light,
love with no need to pre-empt grievance.

In today’s sharp sparkle, this winter air,
any thing can be made, any sentence begun.
On the brink, on the brim, on the cusp,

praise song for walking forward in that light.

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Og her på programmet "The Colbert Report" diskuterer hun Praise Song for the Day - og forklarer forskjellen på en metafor og en løgn:


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lørdag 10. januar 2009

There is only one danger for you here…

















The Soldiers in the Garden
Isla Negra, Chile, September 1973

After the coup,
the soldiers appeared
in Neruda’s garden one night,
raising lanterns to interrogate the trees,
cursing at the rocks that tripped them.
From the bedroom window
they could have been
the conquistadores of drowned galleons,
back from the sea to finish
plundering the coast.


The poet was dying;
cancer flashed through his body
and left him rolling in the bed to kill the flames.
Still, when the lieutenant stormed upstairs,
Neruda faced him and said:
There is only one danger for you here: poetry.
The lieutenant brought his helmet to his chest,
apologized to señor Neruda
and squeezed himself back down the stairs.
The lanterns dissolved one by one from the trees.

For thirty years
we have been searching
for another incantation
to make the soldiers
vanish from the garden.


Martín Espada,
fra The Republic of Poetry (Norton, 2006)

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