El dret a encendre els llums de l’habitació,
de nit, i donar un tomb amunt i avall mig nua
sense córrer cortines ni abaixar persianes
i, de pas, a observar-la d’un tros lluny a través
dels finestrals.
Les ganes de saber què serà
d’ella d’aquí a molts anys, quan tots siguem “uns altres”.

El pretext per quedar-me immòbil rere uns vidres,
no provocar cap canvi ni posar res en ordre.

El greu que sap de “veure” sense poder “saber”.
Coneix L’amant de lady Chatterley? Va al teatre?
Intenta ser feliç? Pateix depressions?

La traça a imaginar-se-la com una astuta sílfide
estesa amb regust clàssic sobre un fresc sòl claustral,
quasi poetitzada per Pere Serafí.

L’avantatge de ser colpit d’emoció
furtivament i a canvi d’un desengany segur.

L’esforç per sentir fressa on no se sent ni un so,
per percebre tragins en el sí del no-res.
El temor de mirar fixament com es miren
corpuscles, aus, satèl•lits, i no obtenir respostes.

La propensió a creure’s tot el que es veu quan tot,
per regla general, fa ferum d’impostures.

© Viena
From: Edward Hopper
Barcelona: Viena, 2006
Audio production: institut ramon llull


The right to switch on the lights in the bedroom
at night and to take a turn back and forth half naked
without drawing curtains or lowering blinds
and, chancing by, to peep at her little ways away
through the tall windows.
The desire to know what’ll come
of her, years from now, when we all turn into “someone else”.

The lame excuse of my staying put behind the glass,
not to trigger any change or tidying things up.

The kicker of being able to “see” but unable to “know”.
Is she up on Lady Chatterley’s Lover? Does she go to the theatre?
Mean to be happy? Suffer from depression?

The artfulness of picturing her as some crafty sylph
stretched out in classic bad taste on a cool cloister floor,
as if poeticized by Pere Serafí.

The advantage of tingling with excitement
on the sly in return for a sure letdown.

The strain to hear noise where not a sound can be heard,
to detect commotion in the thinnest of air.

The creepiness of watching unblinkingly the way we watch
corpuscles, birds, satellites, – and without getting a response.

The propensity to believe in everything you see when everything,
as a general rule, gives off a whiff of imposture.

Translated into English by Lawrence Venuti
Edward Hopper, Graywolf Press, 2009