20 July 2023

A mapping of literary translation residencies in Europe

🌐 The digital edition of the 'Mapping of literary translation residencies in Europe' is now live 👉 https://www.re-cit.org/a-mapping-of-literary-translation.../
🗺️ The Mapping:
🔹 Presents the various creative residency opportunities for literary translators across Europe;
🔹 Sheds light on the variety of organizational and funding models of the literary translation centers;
🔹 Offers a typology of their programs;
🔹 Includes case studies and founding stories.
ℹ️ The Mapping is produced by RECIT in the framework of the Translation in Motion project.
--
The Translation in Motion project (1/2/21-31/8/23) is co-funded by the Creative Europe program of the European Union.

Sladjana Nina Perković in POETEKA - Tirana in Between: "In the Ditch" excerpt

On the 10th anniversary (July 2023), we welcomed her in the Residence for Writers, Literary Translators, and Artists "POETEKA - Tirana in Between", supported by TRADUKI. Read below an excerpt from the novel "In the Ditch" by Sladjana Nina Perković.

* * *
I had to go halfway across town. We usually pay the bills for our apartment—you know the ones, electric power, trash removal, heat, the cable connection, and so forth—at a bank in our neighborhood, but their system crashed or whatever and they sent me to their main office in another part of town. So, off I went across town, walked into the bank, and there were more people there than at a soccer stadium during the World Cup finals. And to make matters worse, of the seven teller windows, only three were working, and so many people were cutting in that there was no telling where a line began and where it ended. The bank's number dispenser, the one upon which civilization relies, broke down, resulting in a real case of gridlock. People were breathing down each other's necks and swearing under their breath, bristling with hatred. "I gave birth to three children and worked till the last day with my belly up to my chin, but ladies these days seem so helpless", hissed a woman with highly teased bangs when we let a pregnant woman cut in front of us in line. And then another woman nearly had a nervous breakdown when she saw them letting in a man in a wheelchair. "But he's in a wheelchair. He's sitting. Why him? I'm so much worse off with my varicose veins!" People began to fidget, and a fight nearly broke out, but then a bald security guy showed up, and, calling us "uncultured livestock", organized us into two lines, because, meanwhile, the third window had closed. The teller had gone off, no doubt, for her hard-earned break. It was, of course, my lot to wait in the line that moved much more slowly. At one point I remembered a cartoon in which Gustav is working as a bank teller and has a glass of red wine hidden under the counter. So first he dips his finger in the wine, then licks it and turns the page. I thought of the likelihood that these tellers were doing the same and my lips spread in a silly grin. Smiles in the line for paying bills, however, were such an unnatural and suspicious thing that the security guy, that same baldy, shot me one of those sideways glances, like "What have you got to grin about, kid", and in an instant all trace of the smile on my face was gone. After that I just waited, huffing and puffing like everyone else. When my turn finally came and the teller greedily snatched the money from my hand, I felt pleased and satisfied. The torture was over. I was free, at least until next month.
Outside I was greeted by rain. I had no umbrella, though I couldn't believe I'd forgotten it. For the last two months, rain had been falling every godforsaken day. My umbrella had become an extension of my arm. Whatever. When I finally got home, I was soaked through and through. Even my ankle boots were drenched. I turned the key quietly in the lock and slipped into the front hall. The pressure cooker sound came from the kitchen. Mama was cooking beans and didn't hear me. I slowly peeled off my ankle boots and my soaking-wet socks and tiptoed into my room. I put my socks on the radiator to dry, though there was no heat, because, as usual, the city heating system was on the blink, slipped in under my coverlet, and turned on the television. For two hundred and fifty thousand monthly payments my folks recently bought a television set with a 40-inch screen at the huge shopping center that sprouted up on the site of Dad's former, not to call it "late great", factory, and I inherited their old one, which wasn't at all bad. And, better yet, I was there in the nick of time. My favorite detective show was just starting.
It has been like three years that I haven't been up to much but lying around in bed and watching detective shows. I don't know how else to describe the mood I'm in, except that my organism sank into a state of general lethargy. My boyfriend—and we were together for absolutely ever, you know what I mean, like since tenth grade—was sent a letter of guarantee by his aunt in Sydney, and off he went. The idea was that he'd take care of my paperwork and I'd join him, but Mama almost had a seizure when she heard. "Do you even know where Australia is?" she foamed at the mouth. I know perfectly well where Australia is. There'd be at least three lightyears between me and Mama. But don't get me wrong. It's not Mama's fault that I didn't go. What happened is that my boyfriend sent me a postcard when he got to Australia. He wrote, "This is a country with great possibilities", and then he vanished along with all the possibilities. He neglected to write anymore. I kept a close eye on his Facebook posts. Him holding a crocodile by the tail. Him sunbathing on a beach. Him slathering on yogurt he'd bought at a Bulgarian market to treat his sunburn. Him eating Yugo-Smoki peanut puffs to ease his nostalgia. Him tucking a bill between the breasts of a singer at a nightclub. And then one morning, when I was sitting on the john and frantically scrolling through social media, my phone fell out of my hand, straight onto the floor tiles. The screen cracked. The man behind the counter at the mobile phone repair service said the repair would cost more than a new phone and he gestured to a glass case where Chinese smartphones were on display. "They don't cost much and they work just fine", he said and went on talking about how they make these phones at the same factories, using the same parts, as the iPhone. I looked at the man behind the counter and said, "But I don't want a new phone". He rolled his eyes and said that if I insisted, he could order a new screen for my phone. Then I broke down completely. "But I don't want any sort of phone at all". And from that moment, on, I didn't want anything and that's how I sank into the state I already mentioned. The only thing I still wanted was to be in my bed, watching detective shows. That was the only thing that made me happy.
Of course, my happiness didn't last long. Mama had already sniffed me out. Exactly one second before Detective Frost would uncover the murderer, she charged into the room, completely blocking my view of the screen. She looked pretty upset. I didn't catch on right away to what was going on, because her arms were flailing and she was talking really fast. When she saw that all I could do was stare at her, she stopped, took a breath, and repeated everything. Aunt Stana had choked on a mouthful of chicken. Uncle Radomir found her on the kitchen floor, all blue, her eyes bugging out. With her fingernails, she'd nearly clawed away her whole throat. In her desire to convey the scene as faithfully as possible, Mama grabbed herself by the throat with both hands. She stuck out her tongue and rolled her eyes.
I had no chance to catch who the murderer was. When Mama finally stepped away from the television screen, the credits were already rolling by.
"Awful", I huffed, grumpy, thinking of the detective show that had just finished. I suspected the murderer was the little old lady who'd been raising pigeons, but maybe not. Sometimes they tangle the story up so much that right to the end you can't say with certainty who the murderer is. That is why I love the British detective shows. The newer American ones, where the main detective uses expensive laboratory tests that can take them from a mote of dust to the killer instead of relying on brains and intuition, are sheer idiocy. Though I watch them, too, but only when there's nothing else on.
" Awful. And awfuller than awful!" Mama repeated and added, "The funeral is tomorrow at the village graveyard".
"Tomorrow", I said absentmindedly, while trying to recall the schedule for when the episode would be rerun tomorrow.
"It has to be tomorrow. They have no mortuary in the village so they have to bury the dead right away. What a blessing in disguise that she choked to death now that the cold weather is here. Imagine this in the middle of a summer heatwave". Mama shuddered at the very thought of the deceased, mid-heatwave.
"Awful", I continued staring, disinterested, at the television screen at a toothpaste ad.
"What have you got to wear? Let me see if there's anything halfway decent in here", Mama opened my closet and thrust her head in among the clothes. There were all sorts of things from pink flannel pajamas that I have worn since I was ten, to plaid shirts, a total disaster, bought in my appalling and confusing teen phase, and all the way to the old washed-out t-shirts and sweat pants for "around the house". There wasn't a stitch of serious, halfway-decent clothing. Or at least I'd never been able to dig up something like that. The closet was in such disarray that I was even a little alarmed to push my head in so I generally wore the two or three shirts that were right on top.
"To wear?" I blinked.
"Well, you must have something suitable for a funeral. I hope you're not planning to go in jeans and this red blouse!" Mama wriggled out of the closet and quickly put back a lipstick-red silk blouse she'd worn back in the 1980s. She generally hated those years of her life and tried to erase them by ripping up all the pictures on which she struck cheery poses, with all sorts of war paint smeared over her face and shoulder padding worthy of one of Napoleon's officers. The lipstick-red blouse was the sole item to survive the hell of the Inquisition. Probably because it ended up, by mistake, among my stuff.
"Why've I got to go? Can't you go by yourself?" I jumped off the bed as if scalded. If there was anything I hated, it was her making me go to funerals. Old lady Smilja's maid-of-honor died and we're going to the funeral, our first-floor neighbor's cousin died. People were non-stop dying of cancer, bee stings, tiger mosquitoes, ticks, rare auto-immune disorders, cardiac arrest, strokes, mouse fever, alcoholism, but also traffic accidents, wars, and sometimes even old age. So we were forever going to somebody's funeral. Proportionately far more than weddings, showers, saints' days, and other festivities.
"Don't be a spoiled brat!" Mama rolled her eyes. "And besides, I'm not going. You're going alone".

Translated from Bosnian by Ellen Elias-Bursać

____________

Sladjana Nina Perkovic (1981) is a Franco-Bosnian journalist and a fiction writer. After finishing her studies in Political Sciences at the University of Paris 1 Panthéon-Sorbonne, she mainly worked as a news correspondent for media outlets in ex-Yugoslavia. Her work has also been featured in many European news outlets such as The Guardian. Today, Sladjana is mostly committed to her writing career. She has published a collection of short stories "Kuhanje" ("Cooking") and the novel "U jarku" ("In the Ditch"). "U jarku" was listed for the 2021 NIN Award, the "Meša Selimović" Award and it was awarded as the EUPL 2022 special mention. She lives, works, and writes in between Banja Luka and Paris.

13 July 2023

10 vjet Rezidenca "POETEKA - TIRANA IN BETWEEN": shkrimtarët - përkthyesit dhe artistët pjesëmarrës

2023

Sladjana Nina Perković - Bosnia and Herzegovina / France

Laura Freudenthaler – Austria

Damir Šodan – Kroaci / Netherlands

 

2022 

Petar Denchev - Bulgaria

Adina Popescu - Romania

Vanja Šunjić - Bosnia and Herzegovina

Rigels Halili – Albania / Poland

Cord Pagenstecher - Germany

Evelyne Noygues - France

 

2021
Eleana Zhako – Albania / Belgium
Zuzana Finger – Germany
Neđad Ibrahimović – Bosnia and Herzegovina
Sonja Porle – Slovenia
Maria Dragnić – Montenegro

2020
Sasho Ognenovski – North Macedonia
Nataša Sardžoska – North Macedonia
Petar Andonvski – North Macedonia

2019
Robert Menasse – Austria
Alen Brlek – Croatia
Vitomirka Trbovac – Serbia
Marko Tomaš – Bosnia and Herzegovina

2018
Erwin Einzinger – Austria
Miroslav Čurćić – Serbia
Sandra Hoffmann – Germany
Marko Pogačar – Croatia
Lidija Dimkovska – North Macedonia
Emina Žuna – Bosnia and Herzegovina
Barnara Korun – Slovenia

 

2017 

Shpëtim Selmani – Kos ova

Jasna Dimitrijević – Serbia

Gašper Malej – Slovenia

Daim Miftari – Macedonia

Jasna Šamić – Bosnia and Herzegovina

 

2016

Petra Rosandić  Croatia

Ervina Halili – Kosova

Dorian Steinhoff   Germany

Dejan Čančarević  Serbia

Christian Thanhauser – Austria

Bogomil Gjuzel – Macedonia

Ilija Đurović – Montenegro

Zuzana Finger – Germany

 

2015

Elena Prendjova  Macedonia

Dušan Čater  Slovenia

Bojan Krivokapić  Serbia

Dan Coman  Romania
Karen Köhler
  Germany
Daša Drndić
  Croatia

Dragana Tripković  Montenegro

 

2014

Luan Starova  North Macedonia

Barbara Pogačnik  Slovenia

Srdjan Srdić  Serbia

Robert Perišić  Croatia

Olya Stoyanova  Bulgaria

Jovan Nikolaidis  Montenegro

 

2013
Nikola Madzirov – 
North Macedonia
Tanja Bakić - Montenegro
Jasmina Topić - Serbia

 

12 July 2023

POETEKA NË HARTËN E REZIDENCAVE TË PËRKTHIMIT LETRAR NË EUROPË

Publikohet Harta e Rezidencave të Përkthimit Letrar në Europë (A Mapping of Literary Translation Residencies in Europe), në të cilën zë vend edhe Rezidenca "POETEKA - Tirana in Between", si një nga projektet kryesore të shoqatës POETEKA, përmes së cilës realizohet Programi Rezidencial për Shkrimtarë, Përkthyes Letrarë dhe Artistë. 


Që nga themelimi i saj, në vitin 2013, kjo Rezidencë ka pritur dhe ka organizuar veprimtari për 58 shkrimtarë, përkthyes letrarë dhe artistë, duke u bërë një hapësirë unike në Shqipëri për shkrimtarët, përkthyesit dhe artistët e vendeve të BE-së dhe rajonit të Ballkanit Perëndimor.

 

Botimi Harta e Rezidencave të Përkthimit Letrar në Europë ofron një pasqyrë të rezidencave duke u thelluar në çështjet lidhur me krijimin, vendndodhjen, veprimtarinë, kriteret e përzgjedhjes së pjesemarrësve në këto rezidenca dhe financimin, duke theksuar rolin e tyre në promovimin e shkëmbimit kulturor dhe mbështetjen e përkthimit letrar. 

 

Tipologjia e paraqitur në këtë botim i ndihmon përkthyesit të përcaktojnë pritshmëritë dhe qëllimet e tyre, duke marrë parasysh faktorë të tillë si shkëmbimi kulturor, përmirësimi i aftësive gjuhësore dhe mundësitë e rrjetëzimit.

 

Rastet studimore ilustrojnë qasjet dhe burimet e ndryshme të mbështetjes financiare të përfshira në krijimin e programeve të rezidencave. Në këtë botim, theksohet rëndësia e rrjeteve rajonale dhe e bashkëpunimeve ndërkufitare për rritjen e dukshmërisë dhe lehtësimin e përkthimit ndërmjet vendeve fqinje.

 

Gjithashtu, aty diskutohen sfidat me të cilat përballen rezidencat, duke përfshirë nevojën për përditësime, mirëmbajtje dhe rishikim të programeve të disponueshme për shkak të ndryshimit të mundësive të financimit. Aty përfshihet dhe projekti "Translation in Motion", i bashkëfinancuar nga programi Europa Krijuese, i cili ofron rezidenca përkthimi për gjuhët e Ballkanit Perëndimor në shumë qendra evropiane.

 

Botimi në fjalë ofron njohuri të vlefshme për peizazhin e rezidencave të përkthimit letrar në Evropë, duke shërbyer si një burim për përkthyesit, organizatat kulturore dhe institucionet e interesuara për të krijuar ose marrë pjesë në programe të tilla.

 

"Harta e Rezidencave të përkthimit letrar në Europë", botuar në kuadër të projektit Translation in Motion hedh dritë mbi shumëllojshmërinë e modeleve organizative dhe financuese dhe do të frymëzojë organizata të tjera, politikëbërësit dhe aktivistët kulturorë.

Projekti Translation in Motion (1/2/21-31/8/23) bashkëfinancohet nga programi Evropa Krijuese e Bashkimit Evropian.

 #CreativeEurope4Books

 __________________


The publication Mapping of Literary Translation Residencies in Europe 
provides a comprehensive overview of literary translation residencies in Europe. It delves into the establishment, funding, location, amenities, and selection criteria for these residencies, highlighting their role in promoting cultural exchange and supporting literary translation. The typology presented in the document helps translators define their expectations and goals for a residency, considering factors such as collegial exchange, language skills enhancement, and networking opportunities.

 

Case studies and founding stories of various residency centers across European countries illustrate the diverse approaches and funding sources involved in establishing these programs. The importance of regional networks and cross-border collaborations for enhancing visibility and facilitating translation between neighboring countries is emphasized.

 

The document also discusses the challenges faced by residency centers, including the need for regular updates and review of available programs due to changing funding opportunities. It mentions the Translation in Motion project, co-funded by the Creative Europe program, which offers translation residencies for languages of the Western Balkans in multiple European centers.

 

Overall, the document provides valuable insights into the landscape of literary translation residencies in Europe, serving as a resource for translators, cultural organizations, and institutions interested in establishing or participating in such programs.

 

The Mapping of Literary Translation Residencies in Europe, produced within the Translation in Motion project sheds light on the variety of organizational and funding models and will inspire other organisations, policymakers, and cultural activists.

 

Translation in Motion project (1/2/21-31/8/23) is co-funded by the Creative Europe program of the European Union.

 

#CreativeEurope4Books

30 June 2023

Sladjana Nina Perković në rezidencën letrare "POETEKA - Tirana in Between".

SLADJANA NINA PERKOVIĆ në rezidencën për shkrimtarë dhe përkthyes letrarë "POETEKA - Tirana in Between".

Në muajin korrik shkrimtarja franko-boshnjake Sladjana Nina Perković do të qëndrojë në Tiranë për të realizuar një programin e saj të pasur kulturor, si fituese e bursës për autorët në redidencë, mbështetur nga TRADUKI dhe realizuar prej 10 vjetësh nga shoqata POETEKA.  

Sladjana Nina Perković (1981) është shkrimtare dhe gazetare, autore e vlerësuar e prozës fiction, e cila është e njohur për tregimet dhe romanet e saj. Pas përfundimit të studimeve për Shkenca Politike në Paris (Panthéon-Sorbonne - Univ. Paris 1), ajo punoi kryesisht si korrespondente lajmesh për mediat në ish-Jugosllavi, por kontributi i saj është bërë e njohur ndërkombtarisht përmes paraqitjes në shumë media europiane si në "The Guardian" apo "Today". 

Pa lënë mënjanë gazetarinë, Sladjana Nina Perković i është kushtuar në mënyrë të posaçme karrierës së saj si shkrimtare. Në pesë vitet e fundit ajo ka botuar përmbledhjen me tregime "Kuhanje" dhe romanin "U jarku", vepër kjo që u kandidua për çmimin e lartë letrar NIN 2021 si dhe për çmimin e mirënjohur "Meša Selimović ". Ky roman u vlerësua si prurja speciale e EUPL 2022 (The European Union Prize for Literature). 

Sladjana Nina Perković jeton, punon dhe shkruan mes Banja Lukës dhe Parisit. 

BIBLIOGRAFIA:

"KUHANJE", përmbledhje tregimesh, "Booka", Beograd, 2018;
"U JARKU", roman, Imprimatur, Banja Luka, 2020.

"POETEKA - Tirana in Between" është një nga projektet kryesore të shoqatës POETEKA, përmes së cilës realizohet Programi Rezidencial për Shkrimtarë, Përkthyes Letrarë dhe Artistë. Që nga themelimi i saj, në vitin 2013, kjo rezidencë pritur më 58 shkrimtarë, përkthyes letrarë. , dhe artistët, duke u bërë një hapësirë unike në Shqipëri për shkrimtarët, përkthyesit dhe artistët e vendeve të BE-së dhe rajonit të Ballkanit Perëndimor.

Programi "POETEKA - Tirana in Between" është zbatuar në kuadër të projekteve "Reading Balkans" dhe "Translation in Motion" të bashkëfinancuar nga TRADUKI, rrjeti europian për letërsinë dhe librat dhe Programi i "Europës Krijuese" të Bashkimit Evropian, si dhe nga Ambasada. të Gjermanisë, Goethe Zentrum Tirana, Ambasada e Austrisë dhe Ministria e Kulturës së Shqipërisë. Së fundmi, "POETEKA - Tirana in Between" është përfshirë në Hartën e Rrjetit Evropian të Rezidencave të Përkthimeve Letrare (RECIT – Réseau Européen des Centres de Traducteurs).

26 June 2023

DAMIR ŠODAN - POETEKA - Tirana in Between - A Farewell Meeting

Gjatë muajit qershor 2023, autori kroat DAMIR ŠODAN qëndroi në në Rezidencen "POETEKA - Tirana in Between" si fitues i bursës për shkrimtarë, përkthyes letrarë dhe artistë, duke realizuar projektin e tij krijues dhe duke u bërë pjesë e skenës kulturore të kryeqytetit. 

Rezidenca "POETEKA - Tirana in Between" është një hapësirë kulturore për shkrimtarët, përkthyesit letrarë dhe artististët nga BE dhe Europa Juglindore e cila, në bashkëpunim me rrjetin TRADUKI, Creative Europe, Goethe Zentrum, Ambasadën e Gjermanisë, Austrisë dhe partnerëve të tjerë, zhvillon prej dhjetë vitesh veprimtari në Tiranë, duke krijuar mundësi pune për 58 autorët e ftuar dhe kontakte bashkëpunuese mes kulturave. 

Në vijim poezi në 3 gjuhë (shqip/kroatisht/anglisht). 

TUNDIMI I SHËN ANTONIT

tanimë e di se forca
e cila kuajve të harbuar
ua shtrëngonte këmbët fort
që moti ka pushuar në mitrën
e kryqëzimit të fshatit.

por njeriu është i verbër
teksa ëndërron futbollin
dhe i lëshon lakuriqët t'i zbresin 
mbi supet e ngushta të rekrutit.

nëse do të dish
diçka për religjionin
duhet të provosh më parë
seks në eks(tazë),
me gjimnaziste të moshës së mesme,
Testamentin e Vjetër ose kërcimin bungee.
diçka të marrë, kryesisht.

Dalí e kuptoi menjëherë.
sigurisht që Zoti nuk ekziston
teksa gjunjëzohesh 
para bankomatit.


POEZIA NË NJË GJUHË TË VOGËL

Kork, Irlandë

Poezia e një gjuhe të vogël
është si një zile
në një fshat të largët
që mbrëmjeve rreh mbytas
përmes lagështisë së provincës
e vetëharruar
dhe mjaft e vetëkënaqur
- mund të thuhet -
Po të mos ishin ato delet e leckosura
Grumbulluar në vathë para shiut rrebesh
përballë stallës me gurë
pak nga pak,
ato tundin kokat e bardha
për të ta bërë me dije
se pavarësisht medias
porosia gjithnjë
arrin në cak.

NË TREN PËR NË KASHAISH

në trenin për në Kashaish
pa vajzën më të bukur.

lëkurë ulliri
dhe gjinjtë e rrumbullakët
(si Ornela Muti)
kishte një T-shirt
Dolce & Gabbana
dhe qëndrimin e Theresa Avilskës
duke soditur shtizën
me të cilën gjuetari saj
etj

por mbase e refuzoi
Biografia e Wittgensteinit
në duart e tua,
sepse befas u ngrit
dhe doli në Estoril,
e ti vazhdove për në Kashaish
me bindjen e trishtë
se të iku prej dore 

gruaja e jetës tënde
(ose dikujt tjetër): 

Atlantidase e bukur 
si trupi i dialektit të saj të pakapshëm
i lëngshëm dhe shushuritës
si ajo samba  
asaj vere në Bohinj
kur ishte tetëmbëdhjetë vjeç.

dhe çfarë mund të bëje?
vazhdove ta lexosh atë libër të mallkuar
me njohjen e hidhur
se janë kufijtë e gjuhës tënde
por edhe kufijtë e botës tënde,
që është e gjitha një rastësi,
si kjo
që as i vdekuri nuk do të heshtte.

Përktheu nga origjinali kroatisht: Lulzim Haziri

________________

DAMIR ŠODAN  

Iskušenje Sv. Antuna 

sad znaš da je sila 
koja je onim razuzdanim konjima 
tako napasno istezala noge
počivala još davno u utrobi 
seoskog raspela. 

ali čovjek je slijep 
dok sanja nogomet 
i pušta šišmiše da mu slijeću 
na uska regrutska ramena.  

ako poželiš znati 
nešto o religiji 
moraš prije toga probati 
seks na exu, 
sredovječne gimnazijalke, 
Stari zavjet ili bungee jumping. 

uglavnom, nešto malo 
pomaknuto. 

Dalí je to odmah znao. 

naravno da ne postoji Bog 
dok klečiš 
ispred mašine za novac.  



Poezija u malom jeziku 

Cork, Irska

poezija u malom jeziku 
je kao zvono 
u zabačenom selu
što tuče muklo s večeri 
kroz memlu provincije
samozaboravno 
i poprilično samodovoljno
- reklo bi se - 
da nije tih par kuštravih ovaca
skutrenih pred pljusak
u oboru 
ispred kamene pojate
što malo-malo 
trznu bjelkastim glavama
da ti daju do znanja 
da bez obzira na medij
poruka uvijek 
stiže na odredište.  



U vlaku za Cascais 

u vlaku za Cascais
vidio si najljepšu djevojku. 

maslinaste puti 
i oblih grudi 
(poput Ornelle Muti)
imala je majicu 
Dolce & Gabbana
i držanje Tereze Avilske 
dok kontemplira koplje 
kojom će je njezin kopljonoša 
itd. 

ali mora da ju je odbila 
Wittgensteinova biografija 
u tvojim rukama, 
jer najednom se digla 
i izašla u Estorilu, 
a ti produžio za Cascais
s tužnim uvjerenjem 
da si možda propustio 
ženu svog 
(ili barem nečijeg)  
života:  

Atlantiđanku lijepu 
kao tijelo njenog neuhvatljivog narječja,  
sočno i šuškavo 
poput one sambe 
onog ljeta na Bohinju 
kad ti je bilo osamnaest godina. 

i što si mogao?
nastavio si čitati tu prokletu knjigu
s gorkom spoznajom 
da su granice tvog jezika ipak 
i granice tvog svijeta,  
koji je sve što je i slučaj.  
poput ovog 
što ga ni mrtav ne bi prešutio.

____________

DAMIR ŠODAN 

The Temptation of St. Anthony

now you know that the force
that stretched the legs of those horses
so unrelentingly  
once rested in the belly
of the village crucifix. 

but man is blind
as he dreams of soccer 
allowing fluttering bats to land 
on his narrow soldierly shoulders.  

if you wish to know 
something about religion 
you must first try 
sex on X, 
middle-aged prom queens, 
the Old Testament or bungee jumping. 

generally speaking: something a little  
twisted. 

Dalí knew that from the beginning. 

of course, there is no God 
when you're kneeling 
below a cash machine. 



Poetry In Small Language  

Cork, Ireland 

is like a church bell 
in some remote village 
tolling mutely in the evening
through the musty provincial air 
self-obliviously 
and quite self-sufficiently  
- one might add - 
if it weren't for the pair of those 
ragged sheep 
huddled before the rain 
on the empty lot 
in front of a stone barn 
bobbing their whitish little heads 
up and down 
just to let you know 
that regardless of medium 
the message will always 
arrive at the destination.  

On the Train to Cascais 

on the train to Cascais 
you saw the most beautiful girl. 

with olive skin 
and round breasts 
(just like Ornella Muti's)
wearing a T-shirt
by Dolce & Gabbana, 
poised like St. Theresa of Avila 
contemplating that spear
about to pierce her chest
etc. 

she must have been put off 
by the Wittgenstein's biography 
in your hands, for she suddenly 
sprung up and exited 
in Estoril, 
as you continued to Cascais 
with the sad realisation
that you'd just missed 
the woman of your (or somebody 
else's) life: 

an Atlantean as beautiful 
as the body of her slippery language, 
juicy and rustling 
like the samba 
you heard that summer 
on the lake of Bohinj 
when you were eighteen.  

so what choice did you have,  
but to continue reading that damn book 
bitter in the knowledge
that the limits of your language 
are indeed the limits of your world 
that is the case; 
much like this one 
whereof you wouldn't want to be silent;  
not even in death.

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