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  •  

Charl-Pierre Naudé

Athena’s breastplate

  • 1 Die man wat Livingstone gesien het | Translations: ende
  • 2 Vampiere | Translations: ende
  • 3 Nature and the revolution | Translations: afde
  • 4 Die grond van die voorvaders | Translations: ende
  • 5 Eergister en môre, met visse | Translations: ende
  • 6 Oggend en aand met duiwe | Translations: ende
  • 7 Athena’s breastplate | Translations: afde
  • 8 Rekenkunde | Translations: ende
  • 9 Skuinslig op die plato | Translations: ende
  • 10 Teen die liefde | Translations: ende
Language: english
Translations: afrikaans (Athena se harnas), german (Athenes Harnisch)
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Athena’s breastplate

My girl is facing her image in the mirrror.
With the faintest trace 
of concern the one gazes at the other.

The two of them were born 
at the same time 
and in the selfsame place.

And since then

these sisters have been reaching out 
to the other by hand,
across the unstirable silicon river
which separates them for ever.

They stare one another down.
Each is the other’s play doll
from childhood –
and on the birthday 
of every new day 
each gets delivered to the other
in an identical carton.

This mirror image of something,
this replica-striving-for-zero-difference,
is what allows for the “natural” to flow 
into what is super- or un-
natural, or simply unusual.

Metastasis – otherwise seen
a Siamese twin –

doesn’t differ much
from the second chamber of the House of Representatives;

or the disaffiliated state;

and that burlesque notion
called evil is nothing
but a fairground looking glass 
playing grotesque.

Then still you have to arrive 
at that point of shrewd doubling-by-default
known as the soul,

comparable to an life-support lung, 
or being seated on a tricycle.

Every day my girl gathers these shimmerings 
which she sees 
as her personal canopy of stars,
in her feminine basket –
her dressing mirror.

Under a summer tree
two boys are collecting berries;
the one arranges his compilation
into a visage, the other’s depiction 
resembles the corrals of a sheep farm.

Imagine: 
One can pick the selfsame far-off fruit 
– tiny oranges by the sea, tiny 
oranges in the hinterland – 
in the molecule orchards 
of either Jesus’s cloak or 
the turban of Mohammed.

No joke, one can go out 
and do the plucking 
for such breathtaking,
widely distinguishable bouquets
recognisable as “words”,

as things

or thought constructs.

Drifting in 
on the wind from outside 
is a drum solo
that comes to within earshot.
It’s a pointillist draft 
on the tympanum, 
a delineation that wrings 
into something seen, and from there
it becomes a mental conception;

viewed from one angle:
a palace built of knobkerries;
and differently: a heavenly spread 
of teeming, hardheaded demigods.

I turn my sights to the nocturnal expanse
and I swing my sickle for a harvest:
stars cascade with a crackle 
into my 
concave crucible; 
like atoms that in their small turn 
would whirl together alchemically
in systems.

Then I sweep the blinding specks 
into a small heap and whack them 
into artifact like an iron monger. 
The tinkling sound 
of an earthly roof takes shape
from the surrounding chaos 
in which time travel and space mechanics 
reach equal 
to myth and the faiths.

My oneday species and I
remind one another 
of the other like swarming mosquitoes.
Abuzz we are beneath
the breastplate of Athena.

She left it here on her rivergrass patch
beneath the trees, 
a short while ago 
when she went inside for a nap.

And thus we remain
(amid countless tiny bustling facts),
a tribute to a mould
of the breathing deities.

© Charl-Pierre Naudé
From: unpublished
Audio production: Literaturwerkstatt Berlin, 2015
Categories: mythology, family, identity (personal), religion / sprituality

Translations:

Language: afrikaans

Athena se harnas

My vrou staan voor haar spieëlbeeld.
Met net ’n sweem besorgdheid
kyk die een na die ander.

Die twee is op een plek 
en oomblik gebore,

en sedertdien

strek dié susters vergeefs 
hande na mekaar uit
oor die onverstoorbare silikonstroom 
wat hul ewig skei.

Hulle staar na mekaar;
elk is die ander se pop
uit kinderjare –
op die verjaardag van elke dag 
telkens weer afgelewer 
in identiese bokse.

Hierdie iets-se-spieëlbeeld, 
die weergawe strewende na geen-verskil, 
is wat die “natuurlike” so onopsigtelik
laat vervloei tot wat bo- of onnatuurlik
of buitengewoon is.

Metastase – ánders gesien:
’n Siamese tweeling –

verskil nie veel 
van die Volksraad met ’n tweede kamer nie;

of van die afgestigte staat;

en daardie burleske idee 
genaamd boosheid, 
is maar net 
die sirkusspieël-wat-potsierlik-speel.

Dan moet mens nog uitkom
by die vernuftige dubbeldmaak-by-verstek: 
die siel –
vergelykbaar met ʼn kunslong,
of ʼn driewiel.

Elke dag versamel my vrou dié skitterings
wat sy herken 
as haar uitspanseltjie sterre
in haar meisiemandjie,
in haar eie spieël.

Onder ’n somerboom
maak twee seuns bessies bymekaar;
een rangskik sý versameling 
tot ’n gelaat, die ander een s’n lyk 
soos die houkrale van ’n plaas.

Dink net: 
Jy kan dieselfde verre vrugte 
– lemoentjies by die see, lemoentjies 
uit die binneland –
loop pluk 
in die partikeltjieboorde 
van óf Jesus se kleed óf Mohammed se tulband.

Jou werklikwaar, mens kan dit 
versamel vir sulke asembenemende, 
uiteenlopende rankskikkings
herkenbaar as “woorde”,

as dinge

of dink-samestellings.

Op die wind van buite 
dryf ’n tromsolo tot binne hoorafstand … 
dis ’n stippeltekening 
op die oor, 
en dié voorstelling spring 
tot ooglikheid,
en van daar tot geestesbeeld;

van een kant gesien:
’n paleis gebou van stokke,
en ánders: ’n hemeltrans
van vervloeiende, hardkoppige gode.

Ek rig my blik op die nagtelike uitspansel
en lig my sekel gereed vir die oes:
Sterre stort ritselend
tot langs my in my konkawe smeltkroes
soos atome wat op hul klein beurt
ver uit mekaar en alchemisties 
in stelsels dryf.

Dan vee ek die spikkels op ʼn hoop 
en smee dit tot artefak soos ʼn ystersmid.

Uit die omringende baaierd waarin 
reise in die tyd en die ruimtemeganika 
saam met die mites en gelowe reik,
boetseer ek ʼn dak hier ondermaans.

My eendagspesie en ek
zoem hier soos muskiete 
wat mekaar aan mekaar herinner,

onder die harnas van Athena
wat sy net ’n rukkie gelede nog neergesit het 
op haar kweekgras

en ingegaan het om te gaan rus;

en so bly ons (onwetend 
weens al die wemelende wetetjies) 
’n huldeblyk aan die gode en godinne.

Afrikaans from Charl-Pierre Naudé
Language: german

Athenes Harnisch

Mein Mädchen steht vor dem Spiegel.
Mit einer leisen Spur
von Beunruhigung schaut eine die andere an.

Alle beide sind
zur selben Zeit
und an demselben Ort geboren.

Und seither

strecken diese Schwestern die Hände
nach einander aus
über den nicht aufzurührenden Siliziumfluss,
der sie für immer trennt.

Sie zwingen einander zum Wegsehen.
Eine ist die Puppe der anderen
von Kindheit an -
zum Geburtstag
jedes neuen Tages
wird eine der anderen ausgeliefert
in einer völlig gleichen Schachtel.

Dieses Spiegelbild von etwas,
Replik eines gen Null strebenden Unterschieds,
erlaubt dem “Natürlichen”
in das zu münden, was über- oder un-
natürlich ist, oder ungewöhnlich.

Metastasierung - anders gesehen:
ein Siamesischer Zwilling -

unterscheidet sich nicht sehr
von der Zweiten Kammer des Repräsentantenhauses

oder vom feindseligen Staat;

und diese possenhafte Vorstellung,
Bosheit genannt, ist nichts
als der Zerrspiegel auf einem Jahrmarkt,
der Grimassen schneidet.

Dann musst du immer noch hinter
den gerissenen Verdoppellungsmechanismus kommen,
bekannt als Seele,

vergleichbar mit einer Herz-Lungen-Maschine,
oder Platz auf einem Dreirad nehmen.

Jeden Tag hortet mein Mädchen diese Reflexe,
betrachtet sie
als ihren persönlichen Baldachin aus Sternen
in ihrem Schminkkörbchen -
ihrem Ankleidespiegel.

Unter einem Sommerbaum
sammeln zwei Jungen Beeren;
der eine ordnet seine Sammlung
zu einem Gesicht an, das Bild des anderen
ähnelt den Weidezäunen auf einer Schaffarm.

Stell dir vor:
Man kann dieselbe Frucht von weit her
- winzige Orangen von der Küste, winzige
Orangen aus dem Hinterland -
in den Molekülplantagen
entweder aus Jesu Umhang pflücken,
oder aus Mohammeds Turban.

Kein Witz, man kann hinausgehen
und sie pfücken
für so atemberaubende,
weithin auszumachende Sträuße,
erkennbar als “Wörter”

wie Dinge

oder Denkgebäude.

Auf dem Wind                                                        
fegt von draußen
ein Trommelsolo heran
bis auf Hörweite.
Ein pointilistischer Entwurf
auf dem Trommelfell,
eine Linie, die sich in etwas
Kenntliches verdreht, und von da an
wird es Anschauung, Auffassung, Mentalität;

aus dem einen Blickwinkel:
ein Palast, erbaut aus Zeremonialknüppeln;
aus dem anderen: Ausdehnung eines
Wimmelhimmels dickköpfiger Halbgötter.

Ich wende mich der nächtlichen Weite zu
und schwinge meine Erntesichel:
Sterne stürzen mit einem Knistern
ab in meinen
gewölbten Schmelztiegel;
wie Atome, die auf ihrer engen Umlaufbahn
alchimistisch zueinander taumeln
in Systeme.

Dann kehre ich die blendenden Flecken
zu einem Haufen und haue ein Werkzeug
daraus zusammen, wie ein Schrotthändler.
Das klirrende Geräusch
eines irdischen Dachs hebt sich
aus dem Chaos rundum,
in dem Zeitreisen und Weltraummechaniker
so viel zählen
wie Mythos und Glauben.

Meine Eintagsspezies und ich
erinnern einander an
einander wie Schwärme Moskitos.
Summen sind wir unter
dem Harnisch Athenes.

Sie ließ ihn hier in ihrer Schilfwiese
unter den Bäumen,
als sie vor einer kleinen Weile
auf ein Schläfchen nach drinnen ging.

Und so bleiben wir
(mitten unter zahllosen winzigen, emsigen Fakten)
ein Tribut an eine Hohlform
von Gottheiten, die atmen.

Deutsch von Sylvia Geist
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Charl-Pierre Naudé

photo © gezett.de
* 27.08.1958, Kokstad, South Africa
lives in: Johannesburg, South Africa

Charl-Pierre Naudé is a poet, prose writer and essayist, and lives in Johannesburg, South Africa. He has published three volumes of poetry in Afrikaans, one in English, and a second English volume is underway. His first novel will appear shortly.

Naudé has worked as a journalist, editor, freelance literary critic and book reviewer. He has published in notable magazines in the Netherlands and in South Africa. In Germany some of his latest work has appeared in Schreibheft 84. He has often read at international festivals. In 2014 he lived in Berlin on the Artists-in-Berlin Program of the DAAD.

 photo © gezett.de
He has received several prizes for poetry in his home country. His latest volume, Al die lieflike dade (which could be translated as "All the comely actions") has recently been a finalist for two well-known poetry prizes.

He likes to rely on a mixture of imagery and ideas, and mixing up the personal and the social dimensions. Though he comes from a very politically minded society, his poetry refers to this sphere mostly obliquely and in indirect ways. The indirect commentary, which strays from the known route and arrives unexpectedly, covered in barnacles, is what he favours.

He has on occasion said he likes writing about a country that he has dreamed up. This place has strong similarities to a real, geographical place, but it exists entirely separately. And only poetry knows its name.

Publications
  • Nomadiese Oomblik

    Cape Town: Tafelberg Publishers Ltd, 1995

  • In die geheim van die dag

    Menlopark: Protea Boekhuis, 2004

  • Against the Light

    Englisch

    Menlopark: Protea Boekhuis, 2007

  • Al die lieflike dade

    Afrikaans

    Cape Town: Tafelberg Publishers Ltd, 2014

Awards
  • 1997 INGRID JONKER Prize

  • 2005 MNET Prize for Afrikaans poetry

  • 2005 PROTEA Prize

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