Klaudiju
Komartin rođen je 1983. u Bukureštu. Debitovao je knjigom poezije Lutkar i
druge nesanice (2003, 2007), za koju je dobio najznačajnije nagrade za debi
u Rumuniji, uključujući i Nacionalnu nagradu „Mihaj Eminesku” Opera Prima. Za
knjigu Kućni cirkus (2005, objavljenu uz CD sa autorovim čitanjem) dobio
je Nagradu Rumunske akademije za poeziju. Slede knjige Godišnje doba u
Berčenju (2009, 2010) i kobalt (2013), kao i dvojezična antologija
na rumunskom i nemačkom jeziku Und wir werden die Maschinen für uns weinen
lassen / I pustićemo mašine da plaču umesto nas (Edition Korrespondenzen,
Viena, 2012, prevod Georg Aescht).
Njegova
poezija je prevedena i objavljena u časopisima i antologijama na engleskom,
francuskom, holandskom, švedskom, poljskom, bugarskom, korejskom, japanskom,
srpskom itd. Bio je učesnik brojnih književnih radionica i međunarodnih
festivala u preko 20 zemalja Evrope i Azije.
Preveo je
pet romana sa francuskog jezika i poeziju sa engleskog, francuskog i
italijanskog jezika.
Od 2010.
godine je glavni urednik časopisa „Poesis international” i Izdavačke kuće Max
Blecher. Uredio je oko 50 knjiga poezije i antologija, a koautor je dve
pozorišne predstave, postavljene 2008, odnosno 2010. godine.
Claudiu Komartin was born in Bucharest in 1983.
His first poetry collection, “The
Puppeteer And Other Insomnia” (2003, 2007) won the most prestigious
awards for literary debut (among which “Mihai Eminescu” National Award). He also published “Domestic Circus” (2005), which was
awarded The Romanian Academy Poetry Prize, “A Season in
Berceni” (2009,
2010) and “Cobalt” (2013). He is also co-author of
two plays and of three antologies of
Romanian contemporary poetry.
A
selection from his work was translated in German by Georg Aescht: Und wir
werden die maschinen für uns weinen lassen (Ed. Korrespondenzen, Vienna,
2012).
His poetry was translated into more than 15
languages and he participated in numerous international poetry festivals,
residencies, book fairs and workshops (London, Paris,
Vienna, Berlin, Belgrade, Praga, Zagreb, Bruxelles, San Sebastian, Novi Sad,
Sarajevo, Göteborg, Poznan, Druskininkai, Istanbul, Tel Aviv, Seoul).
Since 2010, Claudiu Komartin is editor-in-chief
of “Poesis international” literary magazine and of “Max Blecher” Publishing
House. He is also coordinating a popular reading club in Bucharest, called “Institutul
Blecher”.
He translated literature from French, English
and Italian (most notable: Matthew Sweeney, Pier Paolo Pasolini, JMG Le Clezio,
Tahar Ben Jelloun, Philippe Claudel).
Poeme sa taticom
priča za Ruslana
***
Četiri je sata ujutru i
tatica neprestano kašlje.
Već ga satima slušamo kako
hrkče, bori se,
moli za još jedan gutljaj
vazduha.
Nasitili smo se, iako ne
onako kako bi pomislio,
ali niko ništa ne govori.
Četiri je sata i tatica ne
da nikome da spava –
njegovo je telo mrtvački
sanduk od mesa
u kom su crvi već započeli
dugotrajni posao.
Baš tako, gospođice:
tatica je samo polutka
ćelija u raspadanju,
džak kože u kom
bolest sve više uzima maha
a đavo buši sve dublje i
dublje, iz glave do grudi
iz grudi do stomaka
sve dok se kost iz
paleozoika ne čuje da pršti.
Njegovi
bi sinovi viknuli neka ćuti ili neka crkne već jednom,
zabili bi kolac u njegovo
veliko nekrotično srce,
ali tatica još uvek donosi
hleb, i bilo bi šteta.
Čak iako mi znamo da je on
džak pun gnoja i govana.
Ali onda bi, zaista, mama
trebalo da ode
na rad u Španiju, kao njena
rođaka Maša.
***
Tata sedi na kraj kreveta,
skoro je potpuno modar
i viče
da ga pustimo na miru. Držim mu glavu među rukama
i ptica prelete kroz
prostoriju u pokušaju da pronađe izlaz.
Tata me udara njegovom
grubom dlakavom rukom
i pada
na krevet iznova jecajući: o vi tamo, koji nas posmatrate
kroz prljav prozor i
kliberite se, kad bi samo znali...
gnoj iz grudi zahvatio mu je
i glavu.
Ništa, ništa ga više ne može
spasti.
Sedim i dokono ga posmatram
kako me gleda i vidi sebe –
sve bi dao da u sebi ima bar
malo života
tek
toliko da mi teškom i velikom pesnicom razbije lobanju.
Tata je bolestan, džabe mu
mama donosi lavor.
Stomak
mu brboće i jeca na njegovom vlažno-lepljivom jeziku:
tatica je bardak u koji neko
duva kroz plastično
crevo u 5 ujutru.
The Poems With Pop
a tale for Ruslan
It’s four in the morning and pop
can’t stop coughing.
We’ve been listening for hours as
he squirms,
begging for extra mouthfuls of
air.
We’re fed up, though not as you’d
think,
but no one says a word.
It’s four in the morning and pop
won’t let anybody sleep –
his body’s a coffin of flesh
in which the worms are already
doing their long slow work.
Just that, miss :
pop’s just a corpse of
decomposing cells,
a leather sack in which
little by little
affliction makes its way
and the demon digs ever deeper,
from the head to the chest
from the chest to the gut
until you hear a Paleozoic bone
crack.
His sons would yell at him just
to shut up or somehow to die,
would drive a stake through his
big rotted heart,
but pop still brings food to the
table so it’d be a waste.
Even though we know he’s a sack
full of puss and shit.
But then, really, mum would have
to go &
work in Spain, like her cousin
Masha.
* * *
Pop sits on the edge of the bed,
he’s almost purple
and he bawls at us to leave him
alone. I cup his head in my hands
and a bird flutters around the
room looking for a way out.
Pop hits me with his rough, hairy
hand
and falls back on the bed moaning
again: oh, all of you, watching
through a dirty window, and
giggling, if you only knew …
The rot in his chest has spread
to his head.
Nothing, nothing can save him now.
I watch him in jest
watching me and seeing himself –
he’d give anything to have some
life left
to crack my skull with his big
heavy fist.
Pop’s ill, in vain does mum bring
him the washbasin.
His guts gurgle and sigh in their
sticky-humid tongue :
pop’s a tub in which someone
blows air through a plastic
hose at five in the morning.
Нема коментара:
Постави коментар