Poetry International Poetry International
Poem

Rui Cóias

What tiny, quivering impulse do we never quite forget?

What tiny, quivering impulse do we never quite forget?
On what exalted ground do we dance with the singing mothers?
Where are the real tears that we don’t see?
After years of retreat, low fires, candlelight,
after the torpor of sounds covered by frost
and lingering in the fraying contours of cities
– what grace do we confess to having truly touched?
Coming from afar, from gallows no one will ever tell,
with hazy junctures and choices written in our faces,
caught between the pain of one age and the next,
we come to see that the hovels we set out from
– where for years most people still smiled in the yards –
are all but lost and that we make our path by putting our hand
to what continually slips away, fading without a sound.
Time is being abolished, it’s the time of fire over water,
and we’ve repeatedly moved from the universal to the exact,
immersed in the background noise of a staircase,
gradually compressing life to that ultimate size,
that portion of our ever more accurate biography
in which a simple withdrawal, like climbing a set of stairs,  
is the essence of what we did in our own favor,
the happiness emerging in the wake of our captivity.

What tiny, quivering impulse do we never quite forget?

Que exíguo impulso se move e não esquecemos?
Em que dádiva de chão dançamos com as mães cantantes,
onde estão as verdadeiras lágrimas, que as não vemos?
Após anos de retiro, lumes brandos, luz de círios,
decorrido que foi o langor de sons pela geada, que
bem remanesce no contorno puído de cidades
– que graça confessamos ter decididamente tocado?  
Viemos de longe, de patíbulos que ninguém contará,
evocando pontos brumosos e vagas escolhas,
a custo apartados da dor de uma época a outra sobrepondo-se,  
para ver enfim esquivas as mansardas donde partimos
– ainda a maioria sorria nos terreiros, tantos anos –
e perceber que o caminho se faz lançando mão
ao que dele continuamente resvala, inaudível – apagando-se.
O tempo vai sendo abolido, é o tempo da chama sobre a água,  
e fomos amiúde derivando do maior para o mais justo,
imersos no ruído de fundo de uma escadaria,
pouco a pouco premindo a vida ao tamanho último,
a essa porção da biografia toda a vez mais nítida,  
na qual só um recolhimento, tal a subir-se um vão de escada,
é a raiz do que em favor de nós fizemos,
a alegria que emana após o cativeiro.
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What tiny, quivering impulse do we never quite forget?

What tiny, quivering impulse do we never quite forget?
On what exalted ground do we dance with the singing mothers?
Where are the real tears that we don’t see?
After years of retreat, low fires, candlelight,
after the torpor of sounds covered by frost
and lingering in the fraying contours of cities
– what grace do we confess to having truly touched?
Coming from afar, from gallows no one will ever tell,
with hazy junctures and choices written in our faces,
caught between the pain of one age and the next,
we come to see that the hovels we set out from
– where for years most people still smiled in the yards –
are all but lost and that we make our path by putting our hand
to what continually slips away, fading without a sound.
Time is being abolished, it’s the time of fire over water,
and we’ve repeatedly moved from the universal to the exact,
immersed in the background noise of a staircase,
gradually compressing life to that ultimate size,
that portion of our ever more accurate biography
in which a simple withdrawal, like climbing a set of stairs,  
is the essence of what we did in our own favor,
the happiness emerging in the wake of our captivity.

What tiny, quivering impulse do we never quite forget?

What tiny, quivering impulse do we never quite forget?
On what exalted ground do we dance with the singing mothers?
Where are the real tears that we don’t see?
After years of retreat, low fires, candlelight,
after the torpor of sounds covered by frost
and lingering in the fraying contours of cities
– what grace do we confess to having truly touched?
Coming from afar, from gallows no one will ever tell,
with hazy junctures and choices written in our faces,
caught between the pain of one age and the next,
we come to see that the hovels we set out from
– where for years most people still smiled in the yards –
are all but lost and that we make our path by putting our hand
to what continually slips away, fading without a sound.
Time is being abolished, it’s the time of fire over water,
and we’ve repeatedly moved from the universal to the exact,
immersed in the background noise of a staircase,
gradually compressing life to that ultimate size,
that portion of our ever more accurate biography
in which a simple withdrawal, like climbing a set of stairs,  
is the essence of what we did in our own favor,
the happiness emerging in the wake of our captivity.
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Gemeente Rotterdam
Nederlands Letterenfonds
Stichting Van Beuningen Peterich-fonds
Ludo Pieters Gastschrijver Fonds
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