Tomaž Šalamun

slovenščina

Michael Biggins

angleščina

MRTVI FANTJE

mrtvi fantje! mrtvi fantje!
kjer v stepah hušknejo ptice in se razpolovi dan
kjer so kocke glav jadrnice za šepetanje in se vozovi desk odbijajo od skal
kjer so jutra bleščeča kot oči slovanov
kjer se na severu kloftajo bobri da odmeva kot vabilo k smrti
kjer kažejo otroci podplute oči in z besom skačejo po butarah
kjer z odtrganimi rokami plašijo sosedom bike
kjer čakajo mraz v vrsti
kjer smrdi kruh po kisu, ženske po zvereh
mrtvi fantje! mrtvi fantje!
kjer se čekani zabliskajo in zašumijo pravljice
kjer je največja umetnost pribiti sužnja v loku skoka
kjer koruzo zažigajo na ogromnih ploskvah da jo zavoha bog
mrtvi fantje! mrtvi fantje!
kjer so posebne cerkve ptic da se privajajo bremenu duše
kjer prebivalci pri vsakem obroku hrane tleskajo z naramnicami in pod mizo teptajo
                                                                                        svete tekste
kjer so konji črni od saj
mrtvi fantje! mrtvi fantje!
kjer so keglji orodje velikanov ki si trejo mastne dlani ob hlodih
kjer bi šalamuna pozdravili s krikom
mrtvi fantje! mrtvi fantje!
kjer so vsi vratarji rumenokožci da porabijo manj časa za zapiranje oči
kjer prodajalce mesa dotolčejo z loparji in jih ne pokopljejo
kjer teče donava v kino iz kina v morje
kjer je vojaška trobenta znak za pomlad
kjer delajo duše visoke loke in šepetajo v zboru zveri
mrtvi fantje! mrtvi fantje!
kjer je branje utrjeno z gramozom da se sliši če se udari obenj
kjer so drevesa na navoj, drevoredi na sklepe
kjer otrokom že prvi dan po rojstvu zarežejo kožo kot plutovcem
kjer točijo alkohol starkam
kjer si mladina grebe po ustih kot bager po dnu reke
mrtvi fantje! mrtvi fantje!
kjer so matere ponosne in rujejo iz sinov vlakna
kjer so lokomotive polite z losovo krvjo
mrtvi fantje! mrtvi fantje!
kjer luč zgnije in poči
kjer so ministri oblečeni v granit
kjer so čarovniki začarali da so živali padle v košare šakali stoje na očeh vider
mrtvi fantje! mrtvi fantje!
kjer s križi označujejo strani neba
kjer je žito hrapavo in lica zabuhla od požarov
kjer imajo črede usnjene oči
kjer so vsi slapi iz testa, vežejo jih s črnimi trakovi mladih bitij
kjer genijem razbijejo nartne kosti s kavlji za transportiranje lesa
mrtvi fantje! mrtvi fantje!
kjer je fotografiranje omejeno na rastline ki potem rasejo naprej in razženejo papir
kjer se na podstrešjih sušijo slive in kapljajo v stare pesmi
kjer matere vojakov pakete s hrano navijajo na kolo
kjer so čaplje stesane kot atletske postave argonavtov
mrtvi fantje! mrtvi fantje!
kjer pridejo mornarji na obisk
kjer v vilah razgečejo konji, dišijo popotniki
kjer so kahlice po kopalnicah prelepljene z risbami irisovih semen
kjer ljudožrce hranijo s skodlami
kjer so trte zavite v sive pajčolane da se naredi mrena na očeh ljubosumnih

© Tomaž Šalamun
Iz: Bela Itaka
Ljubljana : DZS, 1972
Avdio produkcija: Študentska založba

DEAD MEN

dead men, dead men
where in the steppes the birds flit and the day splits in half
where the cube heads are sailboats of whispering and the wagon
         loads of boards rebound off cliffs
where mornings glitter like the eyes of Slavs
where in the north the beavers slap each other, it resounds as an
         invitation to death
where the children point to their livid eyes and jump with rage on
         the timber
where, with their torn-off arms, they scare the bulls belonging to the
         neighbors
where they stand in line for the cold
where the bread stinks of vinegar, women of wild animals
dead men, dead men
where the tusks flash and fairy tales rustle
where the highest art is to nail the slave in midair
where the corn is burned on the vast plains so that God can smell it
dead men, dead men
where there are special churches for birds to teach them to bear the
        burdens of their souls
where the inhabitants at every meal snap their braces and step on
         sacred texts under the table
where the little balls are orange, mothers are nailed onto square
         shapes
where the horses are black with soot
dead men, dead men
where the skittles are tools of giants bruising their greasy hands on
        logs
where Šalamun would be greeted with screams
dead men, dead men
where all doormen are yellow men because they blink faster
where meat dealers are beaten to death with rackets and left
        unburied
where the Danube flows into the movie, from the movie into the sea
where the soldier's bugle is the signal for spring
where souls leap high and whisper in chorus
dead men, dead men
where the reading is strengthened with gravel, to be heard when we
         strike it, it booms
where the trees have screw threads, the boulevards knee joints
where they cut into children's skin the first day after birth, as into
         cork trees
where they sell alcohol to the old women
where the youth scrapes his mouth as the dredger scrapes the
         bottom of the river
dead men, dead men
where mothers are proud and pluck out filaments from their sons
where the locomotives are covered with elk's blood
where the light rots and cracks
where the ministers are dressed in granite
where wizardry causes animals to fall into baskets, the jackals
         tread on the eyes of otters
dead men, dead men
where one marks the sides of the sky with the cross
where the wheat is rugged and the cheeks puffed up by fires
where the flocks have eyes of leather
where all waterfalls are of dough, they tie them with black ribbons of
         young beings
where they break the instep bones of geniuses with timber hooks
dead men, dead men
where photography is limited to plants that grow and blow up the
         paper
where the plums dry in the lofts and fall in the old songs
where soldiers' mothers wheel the food parcels up to the rack
where the herons are built as athletic Argonauts
dead men, dead men
where sailors come to visit
where in the villas the horses neigh, the travelers smell
where the little bathroom tiles are covered with drawings of iris seeds
where the cannibals are fed wooden shingles
where the vine branches are wrapped in gray veils so that the eyes of
         the jealous film over

Translated by Michael Biggins
© by White Pine Press