i named myself coffeelover, as
a joke: young turk seeks young turkess
smart rhymes written, for undercover work.
first one reply, then five later,
an honest smile overpowers my sense
more emails sent: interested then?
why don’t we just meet?
it was easy to write, words tapped at home

far from real life where we’ll talk
with untexted words
so i sms a bar, and she texts
i know john snow, bad wall paper!
see you there at 6, ok?
i hoped at first, inside, for a no show
a date with a stranger in the john snow
and then the other voice in my mind

what if i don’t fancy her,
if making small talk, is more than i can bear?
i wonder how to make my exit, yes leave
when she peered from around the bar
smiling, and we sat down, nervous, and laughed
at how we’d just met, let’s just act as if
we chatted each other up, fair and square

on to a jazz cellar singing red-raw blues
and we were dancers, with our searching hands,
though too self-conscious to join in the high
last in a pub with wine foods
where we talk automatic writing
i say, we should auto-text each other
you are like my mirror she says
i text, i really like you: blush!

As if water were stone, we cycle our eyes and ears upon the towpath, breathe harder, and focus our way forward. Our concentration is swifting, but as the canal moves along, we notice—as gently as if cafe lattes were being placed on pine-topped tables— the changing scenes on the canalside. We do know, yes I think, this is the Regent’s Canal, but it is hard to know what that means.

Image © Julian Lass 2011



London 2011

Image © Julian Lass 2011


London, 1933




It so happens that I tire of being a man

It so happens that I’ll enter the tailors or the cinemas

withered, faint, impenetrable like a cygnet with feathery down

swimming in a livid sea of ash.


The smell of hairdressers makes me cry like a baby

All I want is quiet, no stones, no down-feather

I don’t want to see any shops, any gardens

no goods, no spectacles, no lifts.


Sucede que me canso de ser hombre.

Sucede que entro en las sastrerías y en los cines

marchito, impenetrable, como un cisne de fieltro

navegando en un agua de origen y ceniza.


El olor de las peluquerías me hace llorar a gritos.

Sólo quiero un descanso de piedras o de lana,

sólo quiero no ver establecimientos ni jardines,

ni mercaderías, ni anteojos, ni ascensores.


From Residencia en la Tierra 2, Libro 2, Parte II (1931-1935)

Translation © 2011 Julian Lass



Neruda wrote ‘Walking Around’ in Buenos Aires between October and December 1933, when he was 29, and his partner Maruca became pregnant with his child.

Around this time, Neruda had a dream: of being surrounded by immense quantities of water, everywhere, and his bed was surrounded by clouds of smoke. He got up and went to the kitchen. Through the kitchen’s blueish glass panes he saw a tall, dark shadow, in profile. A black silhouette, motionless. ‘I saw death,’ he later said.



Compare this poem by Tennyson:



Tithonus

The woods decay, the woods decay and fall,

The vapors weep their burthen to the ground,

Man comes and tills the field and lies beneath,

And after many summers dies the swan.


Me only cruel immortality

consumes; I wither slowly in thine arms,

Here at the quiet limit of the world,

A white-haired shadow roaming like a dream

The eve-silent spaces of the East,

Far-folded mists, and gleaming halls of morn.



This from Shakespeare’s Anthony and Cleopatra (III, 2)



Her tongue will not obey her heart, nor can

Her heart inform her tongue, —the swan’s

down-feather,

That stands upon the swell at full of tide,

And neither way inclines.



From King John (V, 7)



I am the cygnet to this pale faint swan,

Who chants a doleful hymn to his own death,



And from Joyce’s Ulysses, which Neruda was reading at the time:


‘His shadow lay over the rocks as he bent, ending. Why not endless till the farthest star? Darkly they are there behind this light, darkness shining in the brightness, delta of Cassiopeia, worlds. Me sits there with his augur’s rod of ash, in borrowed sandals, by day beside a livid sea, unbeheld, in violet night walking beneath a reign of uncouth stars. I throw this ended shadow from me, manshape ineluctable, call it back. Endless, would it be mine, form of my form? Who watches me here?’