REMORSES AND REGRETS

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ΥΠΟΘΕΣΕΙΣ

Ταχτοποίησες όλες τις υποθέσεις σου
με συγγενείς και φίλους

που ποτέ δεν θυμούνται
να σε καλέσουν
σε χαρούμενες μέρες
αλλά μόνο σε κηδείες.

Ταχτοποίησες τις ενοχλητικές σου
αναμνήσεις, όνειρα απραγματοποίητα

και τώρα γαλήνιος βάζεις
το καπέλο σου και ξεκινάς
έξω απ’ τη φυλακή σου να βαδίσεις

μία στροφή προς το εμπορικό κέντρο
που θα συναντήσεις φίλους σου
και μετά από μια παρτίδα τάβλι
δύο καφέδες και τρία τσιγάρα

θα επιστρέφεις πάλι σπίτι
για μιαν ακόμα βουβή βραδιά.

AFFAIRS

You’ve settled your affairs with
friends and relatives who
forget to call you during their

festive events though they always
invite you to funerals

you’ve settled with annoying memories
dreams that never turned into reality

in peace with yourself now
you put on your cap and

walk out of your prison
turn toward the shopping mall
where you’ll meet your pals and

after a game of backgammon
two coffees and three cigarettes

you walk back to your house
for another long soundless night

OF REMORSES AND REGRETS, Collection in Progress.

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AUSTERITY MEASURES

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The only reason the EU would force Greece to leave the euro is to punish it
Date: July 2, 2015 – 12:34AM
~ Clive Crook
In my more than 30 years writing about politics and economics, I have never before witnessed such an episode of sustained, self-righteous, ruinous and dissembling incompetence — and I’m not talking about Alexis Tsipras and Syriza. As the damage mounts, the effort to rewrite the history of the European Union’s abject failure over Greece is already underway. Pending a fuller post-mortem, a little clarity on the immediate issues is in order.
On Monday, European Commission President Jean-Claude Juncker said at a news conference that he’d been betrayed by the Greek government.

A woman passes a banner supporting the No vote to the upcoming referendum in Athens. Photo: AP
The creditor institutions, he said, had shown flexibility and sought compromise. Their most recent offer involved no wage cuts, he emphasised, and no pension cuts; it was a package that created “more social fairness”. Mr. Tsipras had misled Greeks about what the creditors were asking. The talks were getting somewhere. Agreement on this package could have been reached “easily” if Mr. Tsipras hadn’t collapsed the process early on Saturday by calling a referendum.
What an outrageous passel of distortion. Since these talks began five months ago, both sides have budged, but Mr. Tsipras has given vastly more ground than the creditors. In particular, he was ready to accede to more fiscal austerity — a huge climb-down on his part. True, the last offer requires a slightly milder profile of primary budget surpluses than the creditors initially demanded; nonetheless, it still calls for severely (and irrationally) tight fiscal policy.
In contrast, the creditors have refused to climb down on the question of including debt relief in the current talks, absurdly insisting that this is an issue for later. On Tuesday, Mr. Tsipras made his most desperate attempt yet to bring the issue forward.
Far from expressing any desire to compromise, dominant voices among the creditors — notably German Finance Minister Wolfgang Schaeuble, who often seemed to be calling the shots — have maintained throughout that there is nothing to discuss. The program already in place had to be completed, and that was that.
Yes, the program had failed. No, it wouldn’t achieve debt sustainability. Absolutely, it was pointlessly grinding down Greek living standards even further. What did that have to do with it?
Juncker says the last offer made no demand for wage cuts. Really? The offer says the “wage grid” should be modernised, including “decompressing the [public sector] wage distribution”. On the face of it, decompressing involves cuts. If the creditors were calling for public-sector wages to be decompressed upward perhaps they should have made this clear. Regardless, the increases in value-added taxes demanded by the creditors mean lower real wages, public and private alike. As for no pension cuts, the creditors called for phasing out new early-retirement penalties and the so-called social solidarity payment for the poorest pensioners. Those are cuts.
The creditors called for a lot else, too. Remember that the Greek economy is on its knees. Living standards have collapsed and the unemployment rate is 25 per cent. Now read the offer document, and see if you think the advance in “social fairness” that Juncker stressed at his news conference shines through.
But I haven’t mentioned the biggest distortion of all. Noticing for the first time that Greece has EU citizens within its borders, Juncker addressed them directly on the subject of the July 5 referendum. Greeks will be asked whether they accept the offer presented by the creditors – an offer, by the way, that the creditors say no longer stands. “No [to the offer that no longer exists] would mean that Greece is saying no to Europe,” Juncker explained. President Francois Hollande of France clarified: The vote would determine “whether the Greeks want to stay in the euro zone”.
Nonsense. There’s no doubt that Greeks want to stay in the euro system – though I find it increasingly difficult to see why. If Greece leaves the system, it won’t be because Greeks decide to leave; it will be because Europe decides to kick them out.
This isn’t just semantics. There’s no reason, in law or logic, why a Greek default necessitates an exit from the euro. The European Central Bank pulls this trigger by choosing – choosing, please note – to withhold its services as lender of last resort to the Greek banking system. That is what it did this week. That is what shut the banks and, in short order, will force the Greek authorities to start issuing a parallel currency in the form of IOUs.
A truly independent European Central Bank, willing to do whatever it takes to defend the euro system, could have announced that it would keep supplying Greek banks with liquidity. If the Greek banks are deemed in due course to be insolvent (which hasn’t happened yet), that doesn’t have to trigger an exit, either. Europe has the wherewithal and a bank-rescue mechanism that would allow the banks to be taken over and recapitalized. These options are foreclosed because the supposedly apolitical European Central Bank has let Europe’s finance ministers use it as a hammer to extract fiscal concessions from Greece.
Nobody ever imagined that a government default in Europe would dictate ejection from the euro zone. The very possibility would have been correctly recognized as a fatal defect in the design of the system.
If the Greeks vote no, a Greek exit is a possible and even likely consequence. But if it happens, the reason won’t be that Greece chose to go. The reason will be that the European Union and its politicized central bank chose to inflict exit as punishment.

~ Copyright © 2015 Fairfax Media

Constantine Cavafy-Poems/Translated by Manolis Aligizakis

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THE CITY

You said: “I’ll go to another land, to another sea;
I’ll find another city better than this one.
Every effort I make is ill-fated, doomed;
and my heart —like a dead thing—lies buried.
How long will my mind continue to wither like this?
Everywhere I turn my eyes, wherever they happen to fall
I see the black ruins of my life, here
where I’ve squandered, wasted and ruined so many years.”
New lands you will not find, you will not find other seas.
The city will follow you. You will return to the same streets.
You will age in the same neighborhoods; and in these
same houses you will turn gray. You will always
arrive in the same city. Don’t even hope to escape it,
there is no ship for you, no road out of town.
As you have wasted your life here, in this small corner
you’ve wasted it in the whole world.

Η ΠΟΛΙΣ

Είπες «Θά πάγω σ’ άλλη γή, θά πάγω σ’ άλλη θάλασσα.
Μιά πόλις άλλη θά βρεθεί καλλίτερη από αυτή.
Κάθε προσπάθεια μου μιά καταδίκη είναι γραφτή
κ’ είν’ η καρδιά μου—σάν νεκρός—θαμένη.
Ο νούς μου ώς πότε μές στόν μαρασμό αυτόν θά μένει.
Όπου τό μάτι μου γυρίσω, όπου κι άν δώ
ερείπια μαύρα τής ζωής μου βλέπω εδώ,
πού τόσα χρόνια πέρασα καί ρήμαξα καί χάλασα.»
Καινούριους τόπους δέν θά βρείς, δέν θάβρεις άλλες θάλασσες.
Η πόλις θά σέ ακολουθεί. Στούς δρόμους θά γυρνάς
τούς ίδιους. Καί στές γειτονιές τές ίδιες θά γερνάς
καί μές στά ίδια σπίτια αυτά θ’ ασπρίζεις.
Πάντα στήν πόλι αυτή θά φθάνεις. Γιά τά αλλού—μήν ελπίζεις—
δέν έχει πλοίο γιά σέ, δέν έχει οδό.
Έτσι πού τή ζωή σου ρήμαξες εδώ
στήν κώχη τούτη τήν μικρή, σ όλην τήν γή τήν χάλασες.

“C. P. Cavafy-Poems”, Libros Libertad, 2008/Translated by Manolis Aligizakis
http://www.libroslibertad.ca

IMAGES of ABSENCE/ΕΙΚΟΝΕΣ ΑΠΟΥΣΙΑΣ

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HASTE

It was still too early for us to choose our new path
when the door of the morgue opened and
we went inside to identify our dead relative while
the ones with the money hidden in the worn out
mattresses, pointed their finger to the scale with
the lone feather on one side and

with no words or hesitation they began to write down
the weight of his soul with numbers that
represented the size of the coffin into which
its eternal beauty would fit forever
ΒΙΑΣΥΝΗ

Ήταν πολύ νωρίς και ψάχναμε το δρόμο μας να βρούμε
όταν ξαφνικά άνοιξε η πόρτα του νεκροτομείου
και μέσα μπήκαμε να βεβαιώσουμε
ταυτότητα του πεθαμένου συγγενή μας
καθώς εκείνοι με χρήματα κρυμμένα
στα ξεχαρβαλωμένα στρώματα
έδειξαν με το δάχτυλο τη ζυγαριά
με το φτερό στη μια μεριά

χωρίς πολυλογία και κατάγραψαν το βάρος
της ψυχής του με αριθμούς που αντιπροσωπεύαν
το μέγεθος του φερέτρου που μέσα του
θ’ αναπαυόταν του κάλλους της η αιωνιότητα

~IMAGES of ABSENCE, Ekstasis Editions, Victoria, BC, 2015
http://www.ekstasiseditions.com
http://www.authormanolis.wοrdpress.com
http://www.libroslibertad.ca

TASOS LIVADITIS-SELECTED POEMS

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SILENT FACES

“Don’t go”, I say to him, but he had already started along with
the other convicts; he only left behind his hand that often held me
by the edge of the bridge; a sick horse was rotting away on the side
of the road and at night I would hear the weathervane helping it to
turn to the other side
I remembered the first night when we buried father — oh, how
I hated him for the role of the servant he played, opening our door
to the great darkness
forlornness and only the cracked walls made visible the horrible
silent faces we often pass by.
There I lived so lonely that I heard the other voices and when
night came the dead stole my blanket and lied outside the door
until the new day broke and the rooster’s call was crucified
over my body.

ΒΟΥΒΑ ΠΡΟΣΩΠΑ

“Μή φεύγεις” του λέω, μα εκείνος είχε κιόλας ξεκινήσει με τους
άλλους καταδίκους, μου άφησε μόνο το χέρι του, που συχνά με
κράτησε στην άκρη της γέφυρας, ένα άρρωστο άλογο σάπιζε στην
άκρη του δρόμου, και τις νύχτες άκουγα τους ανεμοδείχτες που το
βοηθούσαν ν’ αλλάξει πλευρό,
θυμήθηκα το πρώτο βράδυ που θάψαμε τον πατέρα — πως τον
μισούσα γι’ αυτόν το βρόμικο ρόλο του υπηρέτη που έπαιξε, ανοί-
γοντας την πόρτα μας στο μεγάλο σκοτάδι,
ερημιά, και μόνο οι ραγισμένοι τοίχοι άφηναν να φαίνονται τα
φοβερά, βουβά πρόσωπα, που περνάμε κάποτε πλάι τους.
Εκεί έζησα τόσο μονάχος, που άκουσα τις άλλες φωνές, κι όταν
νύχτωνε, οι νεκροί μου κλέβαν την κουβέρτα και πλάγιαζαν έξω
απ’ την πόρτα, ώσπου ξημέρωνε και σταυρωνόταν πάνω μου το
λάλημα του πετεινού.

~Τάσου Λειβαδίτη-Εκλεγμένα Ποιήματα/Μετάφραση Μανώλη Αλυγιζάκη
~Tasos Livaditis-Selected Poems/Translated by Manolis Aligizakis
http://www.libroslibertad.ca
http://www.authormanolis.wordpress.com

YANNIS RITSOS-SELECTED POEMS/TRANSLATED BY MANOLIS ALIGIZAKIS

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Yannis Ritsos – Poems

A careful hand is needed to translate the poems of Yannis Ritsos, and Manolis is the ideal poet to undertake such an enormous task. Born in Crete, Manolis’s youth was intermingled with the poetry of Ritsos. Once a young man moved by the Theodorakis version of Epitaphios, he’s now a successful poet in his own right who is still moved to tears hearing the refrains of those notes from half a century ago. His Greek heritage, with its knowledge of the terrain, people, history and cultural themes, makes his translation all the more true to what Ritsos intended. Having visited the very places of which Ritsos wrote, he knows how the light and sea shift, and how Ritsos imagined those changes as being a temperament and personality of the Greece itself. The parallels in their lives are uncanny: when Ritsos was imprisoned, Manolis’ father also was imprisoned on false charges. Both men dealt with the forces of dictators and censorship, and experienced the cruel and unreasoning forces of those times. In fact, they even lived for a time in the same neighborhood. In his foreword to Poems, Manolis relates that he viewed him as a comrade, one whose “work resonated with our intense passion for our motherland and also in our veracity and strong-willed quest to find justice for all Greeks.” In Poems, Manolis chose to honor Ritsos first by not just picking and choosing a few titles to translate, although that might have been far easier. Instead, he undertook the complex task of translating fifteen entire books of Ritsos work-an endeavor that took years of meticulous research and patience. It should be noted that along with the translation, edited by Apryl Leaf, that he also includes a significant Introduction that gives a reader unfamiliar with Ritsos an excellent background on the poet from his own perspective. Dated according to when Ritsos composed them, it’s fascinating to see how some days were especially productive for him. These small details are helpful in understanding the context and meaning. For example, in Notes on the Margins of Time, written from 1938-1941, Ritsos explores the forces of war that are trickling into even the smallest villages. Without direct commentary, he alludes to trains, blood, and the sea that takes soldiers away, seldom to return. Playing an active role in these violent times, the moon observes all, and even appears as a thief ready to steal life from whom it is still new. From “In the Barracks”:

The moon entered the barracks It rummaged in the soldiers’ blankets Touched an undressed arm Sleep Someone talks in his sleep Someone snores A shadow gesture on the long wall The last trolley bus went by Quietness

Can all these be dead tomorrow? Can they be dead from right now?

A soldier wakes up He looks around with glassy eyes A thread of blood hangs from the moon’s lips

In Romiosini, the postwar years are a focus (1945-1947), and they have not been kind. The seven parts to this piece each reflect a soldier’s journey home.

These trees don’t take comfort in less sky These rocks don’t take comfort under foreigners’ Footsteps These faces don’t’ take comfort but only In the sun These hearts don’t take comfort except in justice.

The return to his country is marked by bullet-ridden walls, burnt-out homes, decay, and the predominantly female populace, one that still hears the bombs falling and the screams of the dead as they dully gaze about, looking for fathers, husbands, and sons. The traveler’s journey is marked by introspection and grim memories reflected on to the surfaces of places and things he thought he knew.

And now is the time when the moon kisses him sorrowfully Close to his ear The seaweed the flowerpot the stool and the stone ladder Say good evening to him And the mountains the seas and cities and the sky Say good evening to him And then finally shaking the ash off his cigarette Over the iron railing He may cry because of his assurance He may cry because of the assurance of the trees and The stars and his brothers

An entirely different feeling is found in Parentheses, composed 1946-1947. In it, healing is observed and a generosity of spirit exerts itself among those whose hearts had been previously crushed. In “Understanding”:

A woman said good morning to someone – so simple and natural Good morning… Neither division nor subtraction To be able to look outside Yourself-warmth and serenity Not to be ‘just yourself’ but ‘you too’ A small addition A small act of practical arithmetic easily understood…

On the surface, it may appear simple, a return to familiarity that may have been difficulty in times of war. Yet on another level, he appears to be referring to the unity among the Greek people-the ‘practical arithmetic’ that kept them united though their political state was volatile. Essentially timeless, his counsel goes far beyond nationalism.

Moonlight Sonata, written in 1956, is an impossibly romantic and poignant lyric poem that feels more like a short story. In it, a middle-aged woman talks to a young man in her rustic home. As he prepares to leave, she asks to walk with him a bit in the moonlight. “The moon is good –it doesn’t show my gray hair. The moon will turn my hair gold again. You won’t see the difference. Let me come with you”

Her refrain is repeated over and over as they walk, with him silent and her practically begging him to take her away from the house and its memories:

I know that everyone marches to love alone Alone to glory and to death I know it I tried it It’s of no use Let me come with you

The poem reveals her memories as well as his awkward silence, yet at the end of their journey, she doesn’t leave. Ritsos leaves the ending open: was it a dream? If not, why did she not go? What hold did the house have over her? Was it just the moonlight or a song on the radio that emboldened her?

In 1971, Ritsos wrote The Caretaker’s Desk in Athens, where he was under surveillance but essentially free. At this time he seems to be translating himself-that of how he was processing his own personal history. Already acclaimed for his work, perhaps he was uncertain of his own identity.

From “The Unknown”,

He knew what his successive disguises stood for (even with them often out of time and always vague) A fencer a herald a priest a rope-walker A hero a victim a dead Iphigenia He didn’t know The one he disguised himself as His colorful costumes Pile on the floor covering the hole of the floor And on top of the pile the carved golden mask And in the cavity of the mask the unfired pistol

If he is indeed discussing his identity, it’s with incredible honesty as to both his public persona and his private character. After all, he’d been nominated for the Nobel Prize for Literature in 1968 (and eight more times) and he was likely weighing, in his later years, all that he’d endured.

The beauty of this particular translation is that, while subjects and emotions change over time, they still feel united by the underlying character of Ritsos. Some translators leave their own imprint or influence, yet this feels free of such adjustment. It’s as if Ritsos’ voice itself has been translated, with the pauses, humor, and pace that identify the subtle characteristics of an individual.

~Wikipedia

Erotokritos, longhand copy by Manolis Aligizakis-Ερωτόκριτος, χειρόγραφο Μανώλη Αλυγιζάκη

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Το μοναδικό χειρόγραφο βιβλίο αυτού του είδους στον κόσμο. Αποτελείται από 10012 ομοιοκατάληκτους δεκαπεντασύλλαβους που αντέγραψα το 1958 σε ηλικία 11 χρονών.

Σαν μοναδικό είδος τέχνης το σπάνιο αυτό βιβλίο στην αρχική του χειρόγραφη μορφή είναι διαθέσιμο μόνον από τον εκδότη Libros Libertad για τους λάτρεις των καλών τεχνών και τους εκλεκτικούς συλλέκτες σπανίων βιβλίων. Έκδοση που αποτελείται από μόνον εκατό αριθμημένα αντίτυπα, με αφιέρωση στον εκάστοτε αγοραστή και υπογεγραμμένα από το Μανώλη Αλυγιζάκη και με ασφαλισμένο τρόπο αποστολής σ’ οποιοδήποτε σημείο της υφηλίου.

Tο κάθε αντίτυπο έχει αξιολογηθεί στα 5,000 δολλάρια Καναδά.
Ακολουθεί δείγμα της γραφής μου του 1958.

The only longhand book of its kind in the entire world. Consists of 10012 fifteen syllable rhyming verses I hand copied in 1958 at the age of 11.

As a rare piece of art this book in its original longhand version and with a detailed informative piece for the English speaking art lover, is available only from the publisher Libros Libertad for the eclectic collectors of rare books and fine art. An edition of only 100 numbered copies, with a dedication to each purchaser, signed by Manolis Aligizakis and guaranteed shipment to every corner of the Globe.

Book is available at 5,000 Canadian dollars per copy.
Sample of my transcription follows.
http://www.libroslibertad.ca
http://www.authormanolis.wordpress.com
info@libroslibertad.ca
http://www.longhandbooks.com

Books Published in 2014

Υπερανθρωπος

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MANOLIS-borító

Manolis-Übermensch-web

Tasos Livaditis_Vanilla

autumn leaves cover

Idolaters_cover_Jul2.indd

Τα ακόλουθα βιβλία εκδόθηκαν το 2014, δική μου ποίηση, ή μεταφράσεις μου, ή δική μου ποίηση σε ξένη μετάφραση.
The following books published in 2014 with me as poet or translator or my poetry translated in another language.

~ΥΠΕΡΑΝΘΡΩΠΟΣ, BY MANOLIS, ΕΝΕΚΕΝ, ΘΕΣΣΑΛΟΝΙΚΗ, 2014

~ΙΕΡΟΔΟΥΛΕΣ, BY MANOLIS, ΣΑΙΞΠΗΡΙΚΟΝ, ΘΕΣΣΑΛΟΝΙΚΗ, 2014

~AUTUMN LEAVES, BY MANOLIS, EKSTASIS EDITIONS, 2014

~IDOLATERS, BY IOANNA FRANGIA, TRANSLATED BY MANOLIS, LIBROS
LIBERTAD, 2014

~TASOS LIVADITIS-SELECTED POEMS, TRANSLATED BY MANOLIS, LIBROS LIBERTAD, 201

~ESZMELET, BY MANOLIS, TRANSLATED INTO HUNGARIAN BY KAROLY CSIBY, AB-ART, BRATISLAVA SLOVAKIA, 2014

~UBERMANESCH, BY MANOLIS, TRANSLATED INTO GERMAN BY ENIKO CSEKEI THIELE, WINDROSE, AUSTRIA, 2014

Τάσου Λειβαδίτη-Εκλεγμένα Ποιήματα/Tasos Livaditis-Selected Poems

Tasos Livaditis_Vanilla

ΜΙΑ ΚΟΙΝΗ ΚΑΜΑΡΑ

Ανέβαινα απ’ ώρα τη σκάλα, μου άνοιξε μια γριά με μια μαύρη
σκούφια, “εδώ έχουν πεθάνει πολλοί” μου λέει “γι αυτό ό,τι κι αν
πεις δεν ακούγεται”, τότε είδα κάποιον που σερνόταν κάτω απ’ τον
καναπέ, “τί ψάχνει;” ρώτησα, “ο Χριστός” μου λέει “θα `ρθει κι
άλλες φορές”, η γυναίκα έριχνε τα χαρτιά, τρόμαξα καθώς είδα το
χέρι της ν’ ανεβαίνει, “θα χάσεις πολλές φορές το δρόμο” μου λέει,
“μα πώς θα τον χάσω” της λέω “εγώ είμαι ανήπηρος και δεν περ-
πατάω, άλλος σέρνει το καροτσάκι”, “κι όμως θα τον χάσεις” μου
λέει, “είσαι μια πουτάνα” της λέω “να με ταράζεις άγιον άνθρωπο
—κι εσύ, αφού κανένας δε σε θέλει, γιατί κουνιέσαι;”, “δεν κουνιέ-
μαι εγώ” μου λέει “το καντήλι τρέμει”, την λυπήθηκα, “σε ξέρω”
τής λέω “δέν αποκλείεται, μάλιστα, να `χουμε ζήσει πολύν καιρό
μαζί”, η ώρα ήταν επτά ακριβώς, κοίταξα το ρολόι μου κι έδειχνε
κι εκείνο το ίδιο, “τώρα αρχίζει” σκέφτηκα με απόγνωση, κι η
γριά με συρτά βήματα πήγε και μαντάλωσε την πόρτα.

A COMMON ROOM

I was going up the stairs for a while when an old woman with a black
hood opened the door “everyone has died here” she says to me
“whatever you say nobody listens”; then I saw someone crawling
under the sofa “what is he looking for?” I asked “Christ” she says to me
“will come a few more times”; the woman started to read the cards
I was scared when I saw her hand pointing at me “you will lose
your way many a time” she says to me “how can I lose it” I say
“I’m crippled, I don’t walk, someone else pulls the cart”, “you will still
lose it”, “you are a whore” I say to her “and you disturb me, a holy man
—and you, if no one wants you why do you tease me?”, “I don’t tease
you, it’s the candle that flickers”; I felt sorry for her. “I know you”
I say to her “in fact it’s possible that we lived together long time ago”
the time was exactly seven o’clock; I looked at my watch and it showed
the same time “now she’ll start again” I thought in despair and
the old woman with slow steps went and locked the door.

~Τάσου Λειβαδίτη-Εκλεγμένα Ποιήματα/Μετάφραση Μανώλη Αλυγιζάκη
~Tasos Livaditis-Selected Poems/Translated by Manolis Aligizakis
http://www.libroslibertad.ca

Übermensch/Υπεράνθρωπος

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Ascertainment

 

     Early on we understood it was too late for us. There was

no place left where we could honor our saintly dead. Ηow

with lashes to discern who to punish and who to reward

with ephemeral fame while we got flogged by the wrath

of the right? Full moon witnessed tragedies and measures,

unimaginable delight of the confessor who tried to calm down

our resolve, ‘I looked at the impossible end’ he told us and fear,

unblemished fear, how heavy you weighted down onto

our lives as we kept marching in sunny days and in the darkness

of our guilt and we sang courage to give to our courage and

to accept that god was dead the days of the Ubermensch

had commenced.

 

ΔΙΑΠΙΣΤΩΣΗ

 

      Νωρίς το καταλάβαμε ήταν πολύ αργά για μας, τόπο δεν

είχαμε για ν’ αποδώσουμε τιμές στους άγιους νεκρούς μας.

Πώς να ξεχωρίσεις ποιον να μαστιγώσεις και ποιον

να ανταμείψεις με την εφήμερη τη φήμη, ενώ

μας χτύπαγε η οργή της δεξιάς; Πανσέληνος μάρτυρας

τραγωδίας και μέτρων μιαρών, αφάνταστη χαρά πνευματικού

που επίσης γαλήνευε τη φλογερή μας φύση, «προσπάθησα

ξανά προσεκτικά να δω το τέλος μα ήταν αδύνατο», μας είπε

κι ο φόβος, άχραντος φόβος που τόσο βάραινε τη νειότη μας

και το ταξίδι συνεχίσαμε σε μέρες φωτεινές και σ’ ενοχής

σκοτάδι κι ετραγουδήσαμε το θάρρος μας να ενθαρρύνουμε,

που πέθανε ο θεός, οι μέρες του Υπερανθρώπου αρχίσανε.

 

Ubermensch, Ekstasis Editions, Victoria, BC, spring 2013

Υπεράνθρωπος, ΕΝΕΚΕΝ, Θεσσαλονίκη, Μάτριος 2014, τηλ 2310-833665