marshtide: (Default)
Två dikter av Tomas Tranströmer. Jag har inte läst mycket Tranströmer, men jag fortsätter att läsa några stycke då och då, och jag blir helt fascinerad av dem. De här har fastnat på nåt sätt:

Stenarna

Stenarna som vi kastat hör jag
falla, glasklara genom åren. I dalen
flyger ögonblickets förvirrade
handlingar skränande från
trädtopp till trädtopp, tystnar
i tunnare luft än nuets, glider
som svalor från bergstopp
till bergstopp tills de
nått de yttersta platåerna
utmed gränsen för varat. Där faller
alla våra gärningar
glasklara
mot ingen botten
utom oss själva.



Kväll - morgon

Månens mast har murknat och seglet skrynklas.
Måsen sväver drucken bort över vattnet.
Bryggans tunga fyrkant är kolnad. Snåren
dignar i mörkret.

Ut på trappan. Gryningen slår och slår i
havets gråstensgrindar och solen sprakar
nära världen. Halvkvävda sommargudar
famlar i sjörök.



(Jag har nog stavat fell tusen gånger, den här datorn vill bara kontrollera stavning på engelska och jag är för trött för att kolla efter varje ord... Ni förstår ändå, skulle jag tro.)

(I'm posting about Swedish poetry which I have no idea how to translate. I know they have been translated, but am a. sceptical as to how well tranströmer translates and b. haven't got around to looking for translations online yet.)
marshtide: (Mist)
We've been talking about language. I'm beginning to feel like I'm living in Swedish; I have control over my language and I think in it and I can communicate increasingly complicated ideas in it. I don't have fine control. If I'm not concentrating I use the wrong one out of present tense/infinitive fairly often. There are words I'm missing and have to talk around. Sometimes my subclauses end up with weird word order. But I have a different grasp of the language now to the one I've had before, and it's one where words stop just being words and start being big, complicated and loaded with associations.

We talked about Swedish literature. I've been reading quite a bit by modern authors, ones who aren't particularly literary, and they have quite sparse language; they just don't use many words. Mian Lodalen and Maria Sveland use so few words when you compare them with Birgitta Stenberg. If they didn't have things to say - and they do - then I wouldn't bother, basically, because there is nothing they do with language itself that's particularly exciting. The excitement has to come from characters and ideas; which is fine. But in terms of learning Swedish and feeling out the extent of it they have basically nothing to teach me. Against that, Theodor Kallifatides has heaps to teach me. For example.

Then Val said: If you want to see what the Swedish language can do, read Tranströmer.

So I did.

I am fascinated.

Tranströmer is a poet. He writes about nature a lot, but not like anyone else writes about nature.

He writes lines like, Gryningen slår och slår i havets gråstensgrindar.

And,

I en långsam virvel har tystnaden stigit
hit från jordens mitt, att slå rot och växa
och med yvig krona beskugga mannens solvarma trappa.


The texture is somehow as fascinating as the content to me right now.

(Also discussed: whether I write in English or Swedish, this experience, living in another language, will change my writing. I find that really exciting. I'm beginning to find this whole experience, with language, really genuinely exciting. Before I was just fighting to get a grip on it; now I'm learning nuances.)

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