I have not shared here how utterly in love with the French language I have become. Last July, and I do not even remember exactly what happened but something did…last July I fell head over heels in love with French and all things Français. Like my other full blown long-term passions — field botany was the first, then poetry, then ——, then art, and now French — the transformation from someone who a few minutes before had no use for whatever it was — French in this case — into someone wildly passionate and devoted to the object of her desires happened in the space of moments. It was as usual truly like a religious “conversion experience”, no other expression adequately expresses this sort of Road to Damascus lightning strike experience. One minute I was just going along, doing art of course, and passionate about it, but having zilch interest in French…then with a nearly audible WHOMP! everything changes, as it changed last July and I literally transformed from someone who was at best lukewarm towards French, and France, to someone passionately in love!
i will write more about such experiences another time. (And never fear, my passion for art remains. ) but for now I wanted to share this poem, originally written in English for my book, LEARNING TO SEE IN THREE DIMENSIONS, but which last night I was moved to try to translate. If you perhaps are francophone and even a native speaker, I would LOVE any criticism or critique you might provide for how the French actually sounds to someone who knows it well.
Be that as it may, the translation in English, that is to say, the original version, is also below.
AU LECTEUR
qui pourrait être assis, comme moi,
dans un fauteuil vert, un thé à la main
regardant à travers de la porche
jusqu’au lampadaire sans lumière au dehors du restaurant,
livre sur les genoux, le mien j’espérerais,
le seul livre que je dois évoquer
si j’évoque aucun livre dans un poème,
au lecteur, le méticuleux,
qui pourrait être se demandant pourquoi
sur la page 47 il y a deux « et »
l’un après l’autre, et à qui est la faute,
et au lecteur qui est peut-être fatigué
après un long trajet en bus chez lui
après un repas qui ne valait rien,
un lecteur qui ramasse mon livre, mais s’endort
avant de l’ouvrir, à tous je dis : Pardonnez-moi
je ne suis qu’une écrivaine, assise
dans un fauteuil vert, un thé à la main,
je ne peux pas expliquer ces deux « et »
ni le lampadaire mystérieux
ni réchauffer les pieds d’un lecteur fatigué
dans son lit. Je ne peux que mettre la musique
et raconter histoires
pour que des films tournent dans la tête,
pour le réveiller avec la compréhension soudaine
que c’est la poésie qui peut faire achever la vie,
eh bien, il peut faire achever ma vie au moins,
et peut être la sienne, et peut-être la vie
d’un méticuleux, et votre vie aussi,
tous ici assis, regardant à travers de la porche
jusqu’au lampadaire sans lumière,
là où ce qui se passe si mystérieusement
est de la poésie –
et la nuit entière est enveloppée
dans les mots dits par deux étrangers
qui là se rencontrent,
ou peut-être les mots non-dits,
ce qui est de la poésie aussi,
et tous qui écoutent, nous attendons
la musique de ce qui se passera.
—————————-
TO THE reader
who may be sitting as I am
in a green recliner with a cup of tea
staring out through the porch
to a darkened streetlamp outside the diner,
with a book in her lap, mine, I hope
the only one I feel I should have to mention
if I mention a book in a poem I write;
to the reader, the nitpicker, the one
who may be wondering why
on p. 47 there are two ands, one
right after another, and whose fault that is;
and to the reader, who may be tired
after a long ride home on the bus
after dark and a meal not worth mentioning
who picks up my book but finds his eyes
closing before he has opened the cover,
I say: Forgive me
I am only a writer sitting in a green recliner
with a cup of tea, I can’t explain
those two ands or the mysterious
streetlamp or warm the feet of a tired
reader in his bed. I can only put music on
and tell him stories to make movies
turn in his head, to let him wake
with the sudden understanding that poetry
may be all it takes to make a life—
well, my life at any rate, and maybe his,
and maybe the nitpicker’s and yours, too,
staring through the porch to the streetlamp
where what happens so mysteriously ispoetry—
and the whole night is wrapped
in the words spoken by two strangers
meeting there, or not spoken, which is poetry too,
and all of us who listen are waiting
for the music of what is to happen.
M.
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