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    • Translates into 
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        afar
        afrikaans
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        bashkir
        basque
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        hebrew
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        kannada
        kashmiri
        kazakh
        kirghiz
        korean
        kumyk
        kurdish
        latin
        latvian
        lezghian
        lithuanian
        lushai
        macedonian
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        maltese
        marathi
        mayan language
        mongolian
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        oriya
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        sardinian
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        scottish gaelic
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        slovak
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        sorbian language
        southern sami
        spanish
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        tatar
        telugu
        tetum
        turkish
        turkmen
        udmurt
        ukrainian
        urdu
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        vietnamese
        welsh
        yakut
        yiddish
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Lies Van Gasse

Wenteling XVII

  • 1 Wenteling II | Translations: en
  • 2 Wenteling XVII | Translations: deenfr
  • 3 Wenteling XVIII | Translations: fr
  • 4 Wenteling XXI | Translations: deenfr
  • 5 een huis in de zon | Translations: de
  • 6 (…) Het bad is vol | Translations: fr
  • 7 Orakel | Translations: en
  • 8 Droog Woud
  • 9 kers | Translations: frro
  • 10 appel | Translations: frro
Language: dutch
Translations: german (Verwirbelung XVII), english (Revolution XVII), french (Révolution XVII)
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Wenteling XVII

Deze avond, wanneer de lucht zingt als bloed
en het laken scheurt, zit zij kaal op de einder.

Wij kunnen recht in haar hart kijken.

De wind is zwak en veranderlijk.
Ze knipt paarden en dames.

Deze avond, wanneer stenen splijten
en zij het haar als touwen rond zich draagt,
zien wij u staan.

U kan in een muur van water veranderen.

Het zijn de laatste uren
die haar in de vernieling zuigen,
maar u schijnt licht in het middelpunt.

Ze zit haar mannen op het vel,
gooit trossen los, steekt over,
bevaart een beter leven.

Ze zal niet meer zingen,
leest uw schaduw
op de wand die haar omsluit.

Ze kan ballen.
Het houdt haar warm.

Dus deze avond,
wanneer zij in het donker overzwemt
als een kuiken dat zijn ei niet vindt,
bergt geen man zijn meisje.

Waarom zou men zoeken?

Ze zal zich om u heen slaan
als zacht touw.

Ze zal u omhelzen als draad.

En zo,
het jong,
het nest

en al het grind daartussen
zit als een kleine veer in haar
die soms tot vleugels groeit.

Ik heb geen stok onder uw taal
en ik weet niet waar het schip zal stranden,
of de rivier zich inwaarts trekt,

maar wat het mooiste zweeft, valt hard.

Niets hiervan is noodzakelijk.
Wij hebben een wak te vullen in elkaar.

© Lies Van Gasse
From: Wenteling
Uitgeverij Wereldbibliotheek, 2013
Audio production: Haus für Poesie, 2016

Translations:

Language: german

Verwirbelung XVII

An diesem Abend, an dem die Luft singt wie Blut,
und das Laken zerreißt, sitzt sie kahl am Horizont.

Wir können ihr direkt ins Herz schauen.

Der Wind ist schwach, veränderlich.
Sie schneidet Pferde und Damen.

An diesem Abend, an dem Steine splittern,
und sie ihr Haar wie Taue um sich wickelt,
sehen wir Euch dort stehen.

Ihr könnt Euch in eine Wand aus Wasser verwandeln.

Das sind die letzten Stunden,
die sie aufsaugen, zerstören,
aber Ihr leuchtet hell in der Mitte.

Sie sitzt ihren Männern im Nacken,
löst die Leinen, setzt über,
fährt in ein besseres Leben.

Sie wird nicht mehr singen,
lest Euren Schatten
auf der Wand, die sie umschließt.

Sie kann sich zusammenballen.
So hält sie sich warm.

An diesem Abend,
an dem sie im Dunklen hinüberschwimmt
wie ein Küken, das sein Ei nicht findet,
behütet kein Mann sein Mädchen.

Warum sollte man auch suchen?

Es wird sich um Euch schlagen
wie weiches Tau.

Sie wird Euch umarmen wie ein Strick.

So,
das Junge,
das Nest

und der feine Schutt dazwischen
klebt in ihrem Haar wie eine kleine Feder,
die manchmal zu Flügeln heranwächst.

Ich habe keinen Stock, um Eure Sprache anzufachen
und weiß nicht, wo das Schiff stranden wird,
ob sich der Fluss zurückzieht,

denn was am schönsten schwebt, fällt am härtesten.

Nichts hiervon ist notwendig.
Das Eis in uns hat Löcher, die wir uns gegenseitig stopfen.

Aus dem Niederländischen übersetzt von Stefan Wieczorek
Language: english

Revolution XVII

This evening, when the air sings like blood
and tears the sheet, she sits bald on the horizon.
 
We look straight into her heart.
 
The wind is weak and changeable.
She cuts out horses and ladies.
 
This evening, when stones split
and she dresses the hair around her like ropes,
we see you stand.
 
You can change into a wall of water.
 
It’s the final hours
that suck her into destruction,
but you radiate light at the core.
 
She gives her men a hard time,
casts off, crosses over,
voyages to a better life.
 
She will sing no more,
reads your shadow
on the wall enclosing her.
 
She can ball up.
It keeps her warm.
 
So this evening,
when she swims over in the dark
like a chick unable to find its egg,
no man will guard his girl.
 
Why would one search?

She will lash herself about you
like soft rope
 
She will embrace you like thread.
 
And so,
the young,
the nest
 
and all the shingle in between
sits like a tiny feather in her
that might grow sometimes into wings.
 
I have no prop beneath your language,
and I don’t know where the ship will strand,
whether the river runs inwards,
 
but what floats best, falls hard.
 
None of this is necessary.
We have a gap to fill in each other

Translated by Rosalind Buck
Language: french

Révolution XVII

Ce soir, quand le ciel chantera comme le sang

et que le drap se déchirera, elle sera assise chauve sur l’horizon.


Nous pouvons voir droit dans son cœur.


Le vent est faible et changeant.

Elle coiffe les chevaux et les dames.


Ce soir, quand les pierres se fendront

et qu’elle s’enveloppera de ses cheveux comme de cordes

nous vous verrons.


Vous pouvez changer en un mur d’eau.


Ce sont les dernières heures

qui l’aspirent vers la destruction,

mais vous semblez léger au centre.


Elle cherche des poux à ses hommes,

largue des amarres, traverse,

vogue sur une vie meilleure.


Elle ne chantera plus,

lit votre ombre

sur le mur qui la ceint.


Elle peut jouer au ballon.

Ça lui tient chaud.


Donc ce soir,

quand elle traversera à la nage dans le noir

comme un poussin qui ne trouve pas son œuf,

pas un homme ne sauvera sa douce.


Pourquoi chercherait-on?


Elle s’enveloppera de vous

comme d’une corde douce.


Elle vous embrassera comme du fil.


Et ainsi,

le petit,

le nidet


tout le gravier qui s’y mêle

est en elle comme une petite plume

qui pousse parfois et forme des ailes.


Je n’ai pas d’aiguillon pour votre parler

et j’ignore où échouera le bateau,

si le fleuve se retire vers l’intérieur,


mais ce qui plane le mieux, chute lourdement.


Rien de tout cela n’est nécessaire.

Nous avons une trouée à combler l’un dans l’autre.

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Lies Van Gasse

photo © private
* 07.10.1983, Sint-Niklaas, Belgium
lives in: Borgerhout, Belgium

Lies Van Gasse made her debut in 2008 with the collection Hetzelfde gedicht steeds weer (The Same Poem Over and Over Again), which immediately captured the attention of readers and critics. Trained as an artist, Van Gasse often collaborates on art and poetry projects, such as Waterdicht(Waterproof), in which she illustrates a text written by poet Peter Theunynck. She also creates her own combinations of text and image, in what she calls “graphic poems;” in Sylvia, she disperses her verses with, over and in between drawings made with thick, black ink.

 photo © private
With Annemarie Estor, Van Gasse developed a project based on the story of Kaspar Hauser, which they worked on between 2009-2013 and spun with new twists and a new format, enriched with colorful illustrations. As part of their collaborative procedure, each week Estor and Van Gasse wrote a postcard to each other on which they wrote a new stanza. They also invited other writers to contribute to the ever-evolving story. The project has been collected and published as The Book of Hauser.

Van Gasse’s most recent poetry collection is Wenteling(Revolution). In Dutch, “wenteling” has a whole set of connotations, from “a turning motion,” via “revolution,” to “surrender,” “enjoy” and “revel in.” The volume describes one day that is perceived differently in the minds of various speakers. The speakers find themselves locked in double binds and paralyzing impasses: when they move forward, they stumble upon walls; when they want to move backward, they realize that it is impossible.

The circle, then, is one of the dominant, most frequently repeated images in this collection, which is evident even on a formal level. The poem cycle, and the collection-as-whole, is one of the primary structuring principles underlying Van Gasse’s writing. Rather than composing separate, individual poems, Van Gasse often combines poems into systems held together by repeated themes and rhythmic musical language. She has characterized Wenteling as a “a piece of music in which themes are built into a composition, with nice improvisations or variations here and there.”

Struggle is the main subject of most poems in Wenteling, whether it is the struggle between two people in a relationship; the struggle of an individual to establish a self in relation to idealized images, dreams and desires of others; or the struggle of the poet with the pen and blank paper. A sense of loss, difficult to heal, looms in every poem, although sometimes irony and humor soften this melancholic tone. Theunynck, author of Waterdicht, observes, “Wenteling is an oppressing, cleverly formulated collection that leaves a lot of questions to the reader. It intrigues from the first until last stanza and forces readers to read over and over again.”

Publications
  • Hetzelfde gedicht steeds weer

    Amsterdam: Uitgeverij Wereldbibliotheek, 2008

  • Sylvia

    Amsterdam: Uitgeverij Wereldbibliotheek, 2010

  • Waterdicht

    Amsterdam: Uitgeverij Wereldbibliotheek, 2011

  • Brak de waterdrager

    Amsterdam: Uitgeverij Wereldbibliotheek, 2011

  • Het boek Hauser

    Amsterdam: Uitgeverij Wereldbibliotheek, 2013

  • Wenteling

    Amsterdam: Uitgeverij Wereldbibliotheek, 2013

  • Een stem van paardenhaar

    Maastricht: Azul Press, 2014

  • Zand op een zeebed

    Amsterdam: Uitgeverij Wereldbibliotheek, 2015

Links
  • Lies Van Gasse's blog

  • 3am magazine interview with Lies Van Gasse

  • Lies Van Gasse @ Vimeo

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