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Autor: Merriam A. Grain
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Limp.
Hanging from those teeth.
What terror did you feel?
How could I teach?
This wolf turned into bitch,
By years and years of hefting I think.
Back to predator out of dry food's greed.
Euthanasia if you plead.
Disowning perhaps.
Whatever remains.
I'm sure I need to act.
But the fur kid smiles.
How to change what I can't?
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Te ayudaremos -dijo Rincewind, mirando con ansiedad el tocino que se quemaba. Aquello pareció sorprender al druida, que era bastante joven, cosa que sorprendió un poco a Rincewind. Suponía que debía de haber druidas jóvenes, al menos en teoría, pero nunca se los había imaginado.
La luz fantástica. Terry Pratchett
Y lo mismo con algunas otras cosas… Primero el vampiro «Nosferatu» salió en pantalla como un chupasangre poco sexy (horripilante de hecho) y después parecía que los vampiros no hacían otra cosa que … Bueno, copular con humanos, otros vampiros y finalmente, tener orgías sobrenaturales hasta que a alguien se le ocurrió desromantizarlos y regresarlos a su forma original; pero ya no había manera. Ya habíamos visto demasiadas películas. La imagen sí importa.¿Qué nueva imagen te propones desmitificar el día de hoy? Pasto kalo.
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WHY IS MUSICALITY IMPORTANT
Since the order of words affects the sequence of the poem ̶words and symbols are, after all, the compounding features of a poem̶ it affects the predictability and regularity given the factpredictability and regularity make metrics up, the rhythm in which verses are read.
SEQUENCE IS AKIN TO COMICS AND POETRY ALIKE
In conclusion, sequence (taking regularity and predictability) is something in common for comics and poetry alike. We can tell the same story changing the order—either symbolic or realistic; yet, the order changes the impact.
Paraphrasing Alfredo Ballesteros, both comics and poetry try to tell a story with the minimum1.
In my opinion, both take up the best of the media. Despite being an action based media, the same way films are; comics still have this corner to accommodate a bit of introspection. TV series and movies CAN’T. Nowadays authors might even add music to the experience2.
Poems are pure introspection. The author invents the same symbols they uses to communicate hate, love or desperation. The very same reason why poetry is so hard to read. It requires even more literacy than novels and tales. It requires to do with language what some comic artists do with ink. An absolute command of language/art and imagery.
Plus, poetry is not the same in English, Russian or French. Musicality and expression change altogether the relevance of the word order. Or its irrelevance. I think every author covets poetry in some way. The same way some artists may covet the expressivity of comics.
Tamed and changed,
Who to play the words does dare?
Her advice nor minor in any way.
She, the mistress and queen.
The wonder of narrative.
Ready to create sequences? Enjoy the regularity of measurements, enjoy the predictability of what comes next. Pasto kalo.
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A gopher’s day
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Anonymous it went alone
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Without a name,
it jumped out the fence.
Its tail green sparks of daytime.
Name after name we got barely to d,
To go back to coop,
And find it just the hen inside.
Where did anonymous go?
Everything in a day,
Sadly the cockerel vanished and we lost our rhyme.
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Criterio lector
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[…]la importancia de la lectura (por no hablar de la escritura) está muy sobrevalorada, y a lo que en realidad deberíamos prestar atención, en un mercado abarrotado y ahíto de libros, no es a la muerte de la lectura, sino a la muerte del criterio. Es relativamente fácil adquirir el hábito de la lectura; es mucho más difícil llegar a ser un lector exigente y con criterio.Contra la lectura.
Contra la lectura. Mikita Brottman. Blackie books. [The Solitary Vice (Counterpoint, 2008)].
Ikram Antaki decía que el gusto se educa. Y ahí el problema de dilucidar quien educa y cómo. Los autores ofrecen un escape… ¿Es siempre sólo un escape?Disfruta tus lecturas. Pasto kalo.
ORDER MATTERS
Thus, the order in which we present the elements does matter. It conditions the imagination to the following movement and the “what” we’re to tell.
Unfortunately, there are no magic formulas to know if 9, 8, 7 or 3, 6, 0 is better when telling a story. It is the writer, or the comic drawer who decides that. It is even your job to decide the cliffhanger. Something readers”hate” but need in order to remain interested.
ABOUT TRANSLATIONS
First, let me clear I demonstrated this in Spanish. English ain’t my mother tongue AND I’m a tad tone deaf. Of the possible 8 tones of the “ma” syllable in Chinese, I listen… None. However, I’m able to distinguish vowels in English. So, trying to figure this out in the atone, toned use of syllables for poetry in English won’t do1. I’ll translate, which probably won’t come through the way it is intended.
BORGES AND MUSICALITY
Borges does explain how the order of words mess up the musicality of verses in the way you will never be able to translate a poem written in a language to that same language, into what you would call a revised version.
<<Otra forma de traducción creo que es imposible, sobre todo si se piensa que dentro de un mismo idioma la traducción es imposible. Shakespeare es intraducible a otro inglés que no sea el suyo. Imaginemos una traducción literal de un verso de Darío:
Borges
«La princesa está pálida en su silla de oro» es literalmente igual a «En su silla de oro está pálida la princesa».
En el primer caso el verso es muy lindo, ¿no?, por lo menos para los fines musicales que él busca. Su traducción literal, en cambio, no es nada, no existe.»
<<Translation becomes impossible within the same language. Shakeaspeare can’t be rewritten in a different English, to his. This is another way in which translation becomes unthinkable. Let’s review a literal translation of a verse by Ruben Darío:
“In her gilded seat the pale princess be” is quite similar to “The pale princess is on her gilded chair”. The first case is lovelier than the second; given its musicality. The literal translation vanishes, it is nothing. 2>>
TO BE CONTINUED
- Yes, I’m able to use it to my advantage writing poetry BUT… I’m afraid I’m terrible at phonetics ↩︎
- Jorge Luis Borges, El oficio de traducir. Encuesta sobre la traducción por Fernando Sánchez Sorondo para La opinión cultural en el número sobre «Problemas de la traducción». Jorge Luis Borges, the craft of translating. Inquiry about translation by Fernando Sánchez Sorondo for La Opinión cultural about “Troubles in translation” in Borges todo el año (All round year Borges) blog; Lau키메라 showed me in regards to Borges. And this is quite a list of mentions.
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Narcisista
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Alardea, enfatiza.
¿Tanto así?
Yo no diría.
Su sonrisa, una bailarina en la pista.
Lentejuelas que brillan.
A la noche,
Tu parloteo,
Lejano y sin vida.