25. African Literature, Language, and Cultural Identity with Silindiwe from Zimbabwe

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In this episode of Elixir, Helen is talking to Silindiwe, who is from Zimbabwe, about the Birthday Song she wrote in Ndebele for her son, Mbulelo, when he was born. 

Topics of discussion:

  • The languages in Zimbabwe

  • English is considered the language of the elite in post-colonial Zimbabwe

  • Spreading awareness of African literature

  • Silindiwe: an ambassador for African literature 

  • Things Fall Apart by Chinua Achebe

  • The politics of cultural identity in Africa

  • What the hell a kind of name is Jack?

  • The power of music to bridge linguistic, cultural and racial boundaries. 

  • The Beautiful Ones Are Not Yet Born - Ayi Kwei Armah

Text of the Birthday Song in Ndebele:

Siyathaba

Uzelwe 

Ngalemini enhle

Silenhlanhla uzelwe

Usilethe uthando

Khula Mbulelo 

Uguge Mbulelo 

Ubelempilo 

Enhle

Ende



Translation of the Birthday Song:

We are overjoyed 

That you were born on this glorious day

We are blessed and lucky

You have brought love into our lives 

Grow Mbulelo 

Grow old Mbulelo

And have a long and beautiful life



Silindiwe’s African Literature Recommendations:

The Beautyful Ones Are Not Yet Born is the debut novel by Ghanaian writer Ayi Kwei Armah - Further info

http://www.socialiststories.com/en/writers/Sembene-Ousmane/

https://apersonalanthology.com/2019/09/06/black-girl-by-ousmane-sembene/

http://www.bookshybooks.com/2017/04/20-short-story-collections-by-african.html


If you’d like to support The Elixir Poetry Podcast, you are very welcome to buy Helen a coffee :)

24. Parental Love vs Romantic Love & Why We Need the Arts in Schools! Rozâ Reads Her Own Poems

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In this episode of Elixir, Helen is talking to Rozâ about two of her own poems ‘Mother’ & ‘My grandfather’s socks’

Topics of discussion:

  • Parental vs Romantic Love

  • Teaching Music

  • Motivating children with creative projects

  • The way creative teachers wish they could teach children

  • The importance of the arts in schooling

  • The vital importance of practising writing

My grandfather’s socks 



Although my grandfather died two years before I was born, 

I feel as if I know him by the things he forgot. 



I am the things he left behind in this world before he went 

to, well, wherever it is he went. 



I know him by my name, my Latvian, mysteriously spelled 

and wrongly pronounced name. 

Thank you for all the conversation starters with all the Smiths 

and Smythes of the world. 

I love to see their names squirm when they read mine. 



I know him by my bushy eyebrows that furrow 

in that way only a brooding Eastern European’s would, 

telling the world around me my deepest and darkest secrets. 



I know him from my teeth that sit in my mouth 

like an assembly of unruly children. 

I have your wife’s sweet mouth 

but I also have your tremendous teeth. 

You must have been very wise to have such teeth 

as those rearranging my jaw to fit in. 



I know him by the feel of my tongue, sitting wrongly in my mouth. 

Every time I slip up on a word I know it’s because my big, Latvian 

tongue won’t fit in my tiny English mouth 

and is too slow for my huge Italian voice. 



I know him by the tear in the corner of my Nonna’s eye 

each and every time she talks about you, 

and I know from it that you must have been as handsome 

as you were hers. I know you because 

she’ll never love another. 



I know him through my mother’s stories. 

I can even feel her cheek still stinging 40 years after 

you slapped her round the face with your huge, 

soapy, washing-up-gloved hands. 



I know him by the features in my brother’s face 

that tell the world that he’s not from around here 

though he was born in Homerton hospital like the rest of ya. 



But most of all I know you by my feet. 

Though you left me your name, face and memories, 

the thing that brings me closest to you are my feet: 

my cold, cold feet which cannot warm up 

without your old grey socks that your daughter 

gave me years ago when she realised I had your malady. 



And so, I sit here on the edge of my bed 

in another part of the world, 

a 24 year old, English speaking woman, 

unburdened by the hardships of war and refuge. 



And I am my grandfather, her Baba, his Nonno, 

her eternal fancy man, because I will always 

have your feet and I will always know you.



Mother 

Mother, like a god

Do you see me all at once?

From birth to the earth?

From womb to my tomb? 



How many times have you seen me born?

How many times will you see me die?

How did you watch all the boundless possibilities of pain and suffering 

And let us go forth as suckling babes into it?



Do you remember our first steps?

Did you see our first fall?

Do you look down on your creation?

Do you judge our choices?

Do you watch us fail and hope that we’ll find the right way again?



Do you see our faith and smile?

Do you hurt when we cry?

Do you hear our prayers and listen?

Do you know our wishes and grant them?

Do you know our wants and give all you possibly have to give?



Did you see that we would change?

Did you know that we would grow?

Did you know in your breast

That when evolution brought forth suckling 

It brought forth nurturing too?



On that first Mother’s Day, 

At the dawn of mammals 

the day that love was invented.



The people behind Rozâ’s poems:

Rozâ’s maternal grandfather Arvids

Some of the paperwork from when Arvids was seeking asylum in Germany

Maternal grandparents Arvids and Maria Rosa (Nonno and Nonna)

Paternal grandmother Paddy

If you’d like to support The Elixir Poetry Podcast, you are very welcome to buy Helen a coffee :)

22. Liberté: "Take The Brave Step By Putting Your Thoughts Into Writing" with Quitterie

In this episode of Elixir, Helen is talking to Quitterie about the poem ‘Liberté’ by Paul Éluard (1895-1952).

https://literatuurmuseum.nl/nl/overzichten/activiteitententoonstellingen/pantheon/hendrik-marsman

Text of the poem:

Liberté 

Sur mes cahiers d’écolier 

Sur mon pupitre et les arbres 

Sur le sable sur la neige 

J’écris ton nom 

Sur toutes les pages lues
Sur toutes les pages blanches 

Pierre sang papier ou cendre 

J’écris ton nom 

Sur les images dorées
Sur les armes des guerriers 

Sur la couronne des rois 

J’écris ton nom 

Sur la jungle et le désert 

Sur les nids sur les genêts 

Sur l’écho de mon enfance 

J’écris ton nom 

Sur les merveilles des nuits 

Sur le pain blanc des journées 

Sur les saisons fiancées 

J’écris ton nom 

Sur tous mes chiffons d’azur 

Sur l’étang soleil moisi
Sur le lac lune vivante 

J’écris ton nom 

Sur les champs sur l’horizon 

Sur les ailes des oiseaux
Et sur le moulin des ombres 

J’écris ton nom 

Sur chaque bouffée d’aurore 

Sur la mer sur les bateaux 

Sur la montagne démente 

J’écris ton nom 

Sur la mousse des nuages 

Sur les sueurs de l’orage 

Sur la pluie épaisse et fade 

J’écris ton nom 

Sur les formes scintillantes 

Sur les cloches des couleurs 

Sur la vérité physique 

J’écris ton nom 

Sur les sentiers éveillés
Sur les routes déployées 

Sur les places qui débordent 

J’écris ton nom 

Sur la lampe qui s’allume 

Sur la lampe qui s’éteint 

Sur mes maisons réunies 

J’écris ton nom 

Sur le fruit coupé en deux 

Du miroir et de ma chambre 

Sur mon lit coquille vide 

J’écris ton nom 

Sur mon chien gourmand et tendre 

Sur ses oreilles dressées
Sur sa patte maladroite
J’écris ton nom 

Sur le tremplin de ma porte 

Sur les objets familiers
Sur le flot du feu béni 

J’écris ton nom 

Sur toute chair accordée 

Sur le front de mes amis 

Sur chaque main qui se tend 

J’écris ton nom 

Sur la vitre des surprises 

Sur les lèvres attentives 

Bien au-dessus du silence 

J’écris ton nom 

Sur mes refuges détruits 

Sur mes phares écroulés 

Sur les murs de mon ennui 

J’écris ton nom 

Sur l’absence sans désir 

Sur la solitude nue
Sur les marches de la mort 

J’écris ton nom 

Sur la santé revenue 

Sur le risque disparu 

Sur l’espoir sans souvenir 

J’écris ton nom 

Et par le pouvoir d’un mot 

Je recommence ma vie
Je suis né pour te connaître 

Pour te nommer 

Liberté. 

Paul Éluard 

Poésie et vérité 1942 (recueil clandestin)
Au rendez-vous allemand (1945, Les Editions de Minuit)

Translation of the poem:

Liberté 

On my school notebooks
On my desk and on the trees
On the sands of snow
I write your name

On the pages I have read
On all the white pages
Stone, blood, paper or ash
I write your name

On the images of gold
On the weapons of the warriors
On the crown of the king
I write your name

On the jungle and the desert
On the nest and on the brier
On the echo of my childhood
I write your name

On all my scarves of blue
On the moist sunlit swamps
On the living lake of moonlight
I write your name 

On the fields, on the horizon
On the birds’ wings
And on the mill of shadows
I write your name

On each whiff of daybreak
On the sea, on the boats
On the demented mountaintop
I write your name

On the froth of the cloud
On the sweat of the storm
On the dense rain and the flat
I write your name

On the flickering figures
On the bells of colors
On the natural truth
I write your name

On the high paths
On the deployed routes
On the crowd-thronged square
I write your name

On the lamp which is lit
On the lamp which isn’t
On my reunited thoughts
I write your name

On a fruit cut in two
Of my mirror and my chamber
On my bed, an empty shell
I write your name

On my dog, greathearted and greedy
On his pricked-up ears
On his blundering paws
I write your name

On the latch of my door
On those familiar objects
On the torrents of a good fire
I write your name

On the harmony of the flesh
On the faces of my friends
On each outstretched hand
I write your name 

On the window of surprises
On a pair of expectant lips
In a state far deeper than silence
I write your name

On my crumbled hiding-places
On my sunken lighthouses
On my walls and my ennui
I write your name

On abstraction without desire
On naked solitude
On the marches of death
I write your name

And for the want of a word
I renew my life
For I was born to know you
To name you

Liberty.

Paul Éluard

All rights reserved, © Carla Yasmine Atwi. Copying without permission for non-personal use is forbidden. © by owner. provided at no charge for educational purposes.

About the poet:

https://en.wikipedia.org/wiki/Paul_Éluard

https://www.youtube.com/watch?v=PyFnoRrh6Lk    -

Paul Eluard : "Liberté" (dit par l'auteur)

https://en.wikipedia.org/wiki/Liberté_(poem)

If you’d like to support The Elixir Poetry Podcast, you are very welcome to buy Helen a coffee :)

21. "The Netherlands' Favourite Poem!" Nelleke reads Hendrik Marsman's ‘Memories of Holland’

In this episode of Elixir, Helen is talking to Nelleke about a Dutch poem called ‘Memories of Holland’ by Hendrik Marsman

https://literatuurmuseum.nl/nl/overzichten/activiteitententoonstellingen/pantheon/hendrik-marsman

Text of the poem:

Herinnering aan Holland 

Denkend aan Holland 

zie ik breede rivieren 

traag door oneindig 

laagland gaan, 

rijen ondenkbaar
ijle populieren
als hooge pluimen 

aan den einder staan; 

en in de geweldige 

ruimte verzonken 

de boerderijen
verspreid door het land, 

boomgroepen, dorpen, 

geknotte torens,
kerken en olmen
in een grootsch verband.
de lucht hangt er laag
en de zon wordt er langzaam 

in grijze veelkleurige 

dampen gesmoord,
en in alle gewesten
wordt de stem van het water 

met zijn eeuwige rampen 

gevreesd en gehoord. 




Translation of the poem: 


Memories of Holland


Thinking of Holland
I see broad rivers
slowly chuntering
through endless lowlands, 

rows of implausibly 

airy poplars
standing like tall plumes 

against the horizon;
and sunk in the unbounded 

vastness of space 

homesteads and boweries 

dotted across the land, 

copses, villages,
couchant towers,
churches and elm-trees, 

bound in one great unity. 

There the sky hangs low, 

and steadily the sun
is smothered in a greyly 

iridescent smirr,
and in every province
the voice of water
with its lapping disasters
is feared and hearkened. 


from Verzamelde Gedichten (Amsterdam: Em. Querido’s Uitgevers-Maatschappij, 1941) translated by Iain Bamforth 


https://www.scottishpoetrylibrary.org.uk/poem/memories-holland/


About the poet:

https://en.wikipedia.org/wiki/Hendrik_Marsman

https://www.worldliteraturetoday.org/author/hendrik-marsman

If you’d like to support The Elixir Poetry Podcast, you are very welcome to buy Helen a coffee :)

20. Lily Reads ‘The Lovesong of J. Alfred Prufrock’ by T.S. Eliot

In this episode of Elixir, Helen is talking to Lily about ‘The Lovesong of J. Alfred Prufrock’ by T.S. Eliot

Eliot in 1934

By Thomas Stearns Eliot with his sister and his cousin by Lady Ottoline Morrell.jpg: Lady Ottoline Morrell (1873–1938) derivative work: Octave. H - Thomas Stearns Eliot with his sister and his cousin by Lady Ottoline Morrell.jpg, Public Domain, https://commons.wikimedia.org/w/index.php?curid=7748785

Text of the poem:

The Love Song of J. Alfred Prufrock

by T.S. Eliot

S’io credesse che mia risposta fosse

A persona che mai tornasse al mondo,

Questa fiamma staria senza piu scosse.

Ma percioche giammai di questo fondo

Non torno vivo alcun, s’i’odo il vero,

Senza tema d’infamia ti rispondo.Let us go then, you and I,

When the evening is spread out against the sky

Like a patient etherized upon a table;

Let us go, through certain half-deserted streets,

The muttering retreats

Of restless nights in one-night cheap hotels

And sawdust restaurants with oyster-shells:

Streets that follow like a tedious argument

Of insidious intent

To lead you to an overwhelming question ...

Oh, do not ask, “What is it?”

Let us go and make our visit.


In the room the women come and go

Talking of Michelangelo.


The yellow fog that rubs its back upon the window-panes,

The yellow smoke that rubs its muzzle on the window-panes,

Licked its tongue into the corners of the evening,

Lingered upon the pools that stand in drains,

Let fall upon its back the soot that falls from chimneys,

Slipped by the terrace, made a sudden leap,

And seeing that it was a soft October night,

Curled once about the house, and fell asleep.


And indeed there will be time

For the yellow smoke that slides along the street,

Rubbing its back upon the window-panes;

There will be time, there will be time

To prepare a face to meet the faces that you meet;

There will be time to murder and create,

And time for all the works and days of hands

That lift and drop a question on your plate;

Time for you and time for me,

And time yet for a hundred indecisions,

And for a hundred visions and revisions,

Before the taking of a toast and tea.


In the room the women come and go

Talking of Michelangelo.


And indeed there will be time

To wonder, “Do I dare?” and, “Do I dare?”

Time to turn back and descend the stair,

With a bald spot in the middle of my hair —

(They will say: “How his hair is growing thin!”)

My morning coat, my collar mounting firmly to the chin,

My necktie rich and modest, but asserted by a simple pin —

(They will say: “But how his arms and legs are thin!”)

Do I dare

Disturb the universe?

In a minute there is time

For decisions and revisions which a minute will reverse.


For I have known them all already, known them all:

Have known the evenings, mornings, afternoons,

I have measured out my life with coffee spoons;

I know the voices dying with a dying fall

Beneath the music from a farther room.

               So how should I presume?


And I have known the eyes already, known them all—

The eyes that fix you in a formulated phrase,

And when I am formulated, sprawling on a pin,

When I am pinned and wriggling on the wall,

Then how should I begin

To spit out all the butt-ends of my days and ways?

               And how should I presume?


And I have known the arms already, known them all—

Arms that are braceleted and white and bare

(But in the lamplight, downed with light brown hair!)

Is it perfume from a dress

That makes me so digress?

Arms that lie along a table, or wrap about a shawl.

               And should I then presume?

               And how should I begin?


Shall I say, I have gone at dusk through narrow streets

And watched the smoke that rises from the pipes

Of lonely men in shirt-sleeves, leaning out of windows? ...


I should have been a pair of ragged claws

Scuttling across the floors of silent seas.


And the afternoon, the evening, sleeps so peacefully!

Smoothed by long fingers,

Asleep ... tired ... or it malingers,

Stretched on the floor, here beside you and me.

Should I, after tea and cakes and ices,

Have the strength to force the moment to its crisis?

But though I have wept and fasted, wept and prayed,

Though I have seen my head (grown slightly bald) brought in upon a platter,

I am no prophet — and here’s no great matter;

I have seen the moment of my greatness flicker,

And I have seen the eternal Footman hold my coat, and snicker,

And in short, I was afraid.


And would it have been worth it, after all,

After the cups, the marmalade, the tea,

Among the porcelain, among some talk of you and me,

Would it have been worth while,

To have bitten off the matter with a smile,

To have squeezed the universe into a ball

To roll it towards some overwhelming question,

To say: “I am Lazarus, come from the dead,

Come back to tell you all, I shall tell you all”—

If one, settling a pillow by her head

               Should say: “That is not what I meant at all;

               That is not it, at all.”


And would it have been worth it, after all,

Would it have been worth while,

After the sunsets and the dooryards and the sprinkled streets,

After the novels, after the teacups, after the skirts that trail along the floor—

And this, and so much more?—

It is impossible to say just what I mean!

But as if a magic lantern threw the nerves in patterns on a screen:

Would it have been worth while

If one, settling a pillow or throwing off a shawl,

And turning toward the window, should say:

               “That is not it at all,

               That is not what I meant, at all.”


No! I am not Prince Hamlet, nor was meant to be;

Am an attendant lord, one that will do

To swell a progress, start a scene or two,

Advise the prince; no doubt, an easy tool,

Deferential, glad to be of use,

Politic, cautious, and meticulous;

Full of high sentence, but a bit obtuse;

At times, indeed, almost ridiculous—

Almost, at times, the Fool.


I grow old ... I grow old ...

I shall wear the bottoms of my trousers rolled.


Shall I part my hair behind?   Do I dare to eat a peach?

I shall wear white flannel trousers, and walk upon the beach.

I have heard the mermaids singing, each to each.


I do not think that they will sing to me.


I have seen them riding seaward on the waves

Combing the white hair of the waves blown back

When the wind blows the water white and black.

We have lingered in the chambers of the sea

By sea-girls wreathed with seaweed red and brown

Till human voices wake us, and we drown.


Source: Collected Poems 1909-1962 (1963)

https://www.poetryfoundation.org/poetrymagazine/poems/44212/the-love-song-of-j-alfred-prufrock


About the poet:

https://en.wikipedia.org/wiki/T._S._Eliot

https://en.wikipedia.org/wiki/The_Love_Song_of_J._Alfred_Prufrock

https://www.poetryfoundation.org/poetrymagazine/poems/44212/the-love-song-of-j-alfred-prufrock

If you’d like to support The Elixir Poetry Podcast, you are very welcome to buy Helen a coffee :)

19. "The KGB Could Have Got Me For Reading This Poem". Growing Up In The Soviet Union (with artist Varvara Keidan Shavrova)

In this episode of Elixir, Helen is talking to Varvara Keidan Shavrova about a poem called ‘An autumn evening in the modest square’ by the Russian poet, Joseph Brodsky (1940-1996)

Joseph Brodsky (1940-1996)

Text of the poem:

Осенний вечер в скромном городке...


Осенний вечер в скромном городке, 

Гордящемся присутствием на карте 

(топограф был, наверное, в азарте 

иль с дочкою судьи накоротке). 

Уставшее от собственных причуд, 

Пространство как бы скидывает бремя 

величья, ограничиваясь тут

чертами Главной улицы; а Время 

взирает с неким холодом в кости 

на циферблат колониальной лавки,

в чьих недрах все, что мог произвести 

наш мир: от телескопа до булавки. 

Здесь есть кино, салуны, за углом

одно кафе с опущенною шторой, 

кирпичный банк с распластанным орлом 

и церковь, о наличии которой

и ею расставляемых сетей,

когда б не рядом с почтой, позабыли.

И если б здесь не делали детей,

то пастор бы крестил автомобили. 

Здесь буйствуют кузнечики в тиши.

В шесть вечера, как вследствии атомной 

войны, уже не встретишь ни души. 

Луна вплывает, вписываясь в темный 

квадрат окна, что твой Экклезиаст. 

Лишь изредка несущийся куда-то 

шикарный бьюик фарами обдаст 

фигуру Неизвестного Солдата. 

Здесь снится вам не женщина в трико,

а собственный ваш адрес на конверте. 

Здесь утром, видя скисшим молоко, 

молочник узнает о вашей смерти.

Здесь можно жить, забыв про календарь, 

глотать свой бром, не выходить наружу 

и в зеркало глядеться, как фонарь 

глядится в высыхающую лужу. 

1972 г. 




Translation of the poem: 


An autumn evening in the modest square

of a small town proud to have made the atlas

(some frenzy drove that poor mapmaker witless,

or else he had the daughter of the mayor).

Here Space appears unnerved by its own feats

and glad to drop the burden of its greatness--

to shrink to the dimensions of Main Street;

and Time, chilled to its bone, stares at the clockface

above the general store, whose crowded shelves

hold every item that this world produces,

from fancy amateur stargazers' telescopes 

to common pins for common uses.

A movie theater, a few saloons,

around the bend a café with drawn shutters,

a red-brick bank topped with spread-eagle plumes,

a church, whose net-to-fish for men – now flutters

unfilled, and which would be paid little heed,

except that it stands next to the post office.

And if parishioners should cease to breed,

the pastor would start christening their autos.

Grasshoppers, in silence, run amok.

By 6 p.m. the city streets are empty,

unpeopled as if by a nuclear strike.

Just surfacing, the moon swims to the center

of this black window square, like some Ecclesiastes, 

glowering; while on the lonely highway, 

from time to time, a Buick beams

its blinding headlights at the Unknown Soldier.

The dreams you dream are not of girls half nude

but of your name on an arriving letter.

A morning milkman, seeing milk that's soured,

will be the first to guess that you have died here.

Here you can live, ignoring calendars,

gulp Bromo, never leave the house; just settle

and stare at your reflection in the glass,

as streetlamps stare at theirs in shrinking puddles.



Brodsky, Joseph. Collected Poems in English. Edited by Ann Kjellberg. New York, N.Y.: Farrar, Straus & Giroux, 2000: 65-66.

This translation, by George L. Kline, first appeared in Confrontation 8, Spring, 1974. 



About the poet:

https://en.wikipedia.org/wiki/Joseph_Brodsky

https://www.youtube.com/watch?v=xkBAai34uO0


About the artist Varvara Keidan Shavrova:

Support The Elixir Poetry Podcast, buy Helen a coffee

18. "Tyrants and Bullies Will Ultimately Be Grounded". Tim Butcher reads ‘Ozymandias‘ by Shelley

In this episode of Elixir, Helen is talking to Tim Butcher about ‘Ozymandias’ by Percy Bysshe Shelley

Percy Bysshe Shelley by Alfred Clint https://en.wikipedia.org/wiki/Percy_Bysshe_Shelley

Text of the poem:

Ozymandias

I met a traveller from an antique land,

Who said—“Two vast and trunkless legs of stone

Stand in the desert. . . . Near them, on the sand,

Half sunk a shattered visage lies, whose frown,

And wrinkled lip, and sneer of cold command,

Tell that its sculptor well those passions read

Which yet survive, stamped on these lifeless things,

The hand that mocked them, and the heart that fed;

And on the pedestal, these words appear:

My name is Ozymandias, King of Kings;

Look on my Works, ye Mighty, and despair!

Nothing beside remains. Round the decay

Of that colossal Wreck, boundless and bare

The lone and level sands stretch far away.”

About the poet:

https://en.wikipedia.org/wiki/Percy_Bysshe_Shelley

https://en.wikipedia.org/wiki/Ozymandias

About Tim

Tim Butcher - acclaimed journalist and author

Tim Butcher is a full-time non-fiction author with a background as a Daily Telegraph foreign correspondent. British born but based in Cape Town, he blends travel with history, shaping literary accounts of challenging journeys that he undertakes to unravel complex places and issues.

His account of crossing the Congo, `Blood River – A Journey To Africa’s Broken Heart’, was a No 1 international bestseller, translated widely. He then hiked through Sierra Leone and Liberia to write ‘Chasing the Devil – The Search for Africa’s Fighting Spirit’. Most recently he followed the life journey of the Sarajevo assassin who sparked global war in 1914 for ‘The Trigger – The Hunt for Gavrilo Princip’.

All his books are available in English and a range of foreign languages. Amazon is one option but buying them from your local independent bookshop would make the author especially pleased.

www.tim-butcher.com

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17. “We Were Best Friends For 40 Years”. Rod Dedicates An Irish Blessing To Markie

In this episode of Elixir, Helen is talking to Rod about an Irish Blessing, ‘May the road rise to meet you’.

Text of the poem in Irish/Gaelic:

Go n-éirí an bóthar leat 
Go raibh an ghaoth go brách ag do chúl 
Go lonraí an ghrian go te ar d'aghaidh 
Go dtite an bháisteach go mín ar do pháirceanna 
Agus go mbuailimid le chéile arís, 
Go gcoinní Dia i mbos A láimhe thú.

The Daltai Discussion Boards Archive

Bitesize Irish Reading


Text of the poem in English:

May the road rise to meet you,
May the wind be always at your back.
May the sun shine warm upon your face,
The rains fall soft upon your fields.
And until we meet again,
May God hold you in the palm of his hand.

World Prayers Archive


Rod’s version for his friend Mark: 

Markie,

May the road rise up to meet you.

May the wind be always at your back.

May the sun shine warm upon your face,

The rains fall soft upon your self,

And, until we meet again,

May your god hold you in their arms

And you feel our love for you.

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16. Sitting With Your Emotions: "Each Has Been Sent as a Guide From Beyond" (with Nicole)

In this episode of Elixir, Helen is talking to Nicole about a Persian poem called ‘The Guest House’ by Rumi.

Rumi: https://en.wikipedia.org/wiki/Rumi

Text of The Guest House by Jalaluddin Rumi:

هست مهمانخانه این تن ای جوان

هر صباحی ضیف نو آید دوان

هین مگو کین ماند اندر گردنم

که همکنون بازپرد در عدم

هرچه آید از جهان غیب پوش

در دلت ضیف است او را دار خوش



Translation of The Guest House:

This being human is a guest house.
Every morning a new arrival.

A joy, a depression, a meanness,
some momentary awareness comes
as an unexpected visitor.

Welcome and entertain them all!
Even if they’re a crowd of sorrows,
who violently sweep your house
empty of its furniture,
still, treat each guest honorably.
He may be clearing you out
for some new delight.

The dark thought, the shame, the malice,
meet them at the door laughing,
and invite them in.

Be grateful for whoever comes,
because each has been sent
as a guide from beyond.


Translated by Coleman Barks


About the poem:

Rumi The Guest House in Farsi:  https://www.youtube.com/watch?v=7fb7RRpTlL4

https://en.wikipedia.org/wiki/Rumi

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15. "Say The Difficult Thing, Get The Monsters Out On The Page, & Explore Them" - Albanian Poet Amina Meshnuni

In this episode of Elixir, Helen is talking to Amina Meshnuni about her own poem ‘Our Children’ written in Albanian and also about a poem by another Albanian poet, Mojkom Zeqo, called ‘The Mask of God’

Amina Meshnuni

Text of Amina Meshnuni’s poem:


Fëmijët


Në cilin varr masiv do të hidhen toksinat tona 

Dikur menduam se mashtruam fatin, 

Embrione të abortuara, në qeska të vogla

I hodhëm në gojën e bishës, 

Le të hajë pjesë tonat qe të mos na vrasë ne 

Që ne, të jetojmë dhe pak, sado pak


Kemi nevojë të rikrijojmë bukurinë që shkatërruam vetë 

Kemi nevojë të rilindim femijët e palindur 

Femijët e vrarë, fëmijët e rrënojave, femijët e dhomave bosh, 


Fëmijët që i hodhën kazaneve të ologarkëve, demonëve, dhjetra zotave, vrasësve 

Fëmijët që i hodhëm

Ne që të qeshurat tona shoshitëm si mbeturina dhe i kompresuam në lotë komercial 


Kemi nevojë të rilindim fëmijë të zemëruar sa ne do na vrasin 

dhe botën do rindërtojnë me sytë nga ku buron zjarrmia e luftës, 

në kupolë të paqes, me duart e tyre pa jod e pa gjak, 

me oshëtima të përflakta në vaj rikthimi 


Më mirë kështu, më mirë të jemi ne kurbani i një jete të re 

Po për dreq, edhe mitrat tona i paskemi hedhur në gojën e bishës


Londër 2023

Translation of the poem: 

Our Children 


In which mass grave will our toxins be thrown

Once we thought we cheated fate, 

Aborted embryos, in small bags 

We threw them into the beast’s mouth, 

“Let it eat parts of us, so it won’t kill us, 

so we can live a little longer, even if it’s just for a bit longer” - we used to say,

We need to recreate the beauty we ourselves destroyed

We need to rebirth the unborn children 

The murdered children, the offspring of the ruins,

 the children of hollow rooms,

The children we threw into the cauldrons of oligarchs, demons, dozens of gods, murderers 

The children we threw away, 

We who sifted our laughter like waste and compressed it into commercial tears

We need to rebirth children so enraged they will kill us and rebuild the world with eyes where with the fever of war springs, in a dome of peace, with their hands unsullied by iodine and blood, with burning roars in the cry of return

It is better this way, we better be the sacrifice for a new life, 

But alas, we’ve even thrown our wombs into the mouth of the beast

London 2023

Amina’s own translation

Text of Mojkom Zeqo’s  ‘The Mask of God’

Mojkom Zeqo

Maska e Zotit 


Metropole të mëdha! Takikardi stuhie

Mbi labirinte rrugësh me ankthin e kohës. 

Semaforët – perëndi budiste

Shkëlqejnë nga fosforeshenca e jogës. 


Rrëmuja e bursës lëviz me vërtik, 

Kriza surreale ngrin si në bronz

Robotët e telefonave automatikë

I gëlltisin monedhat, po s’i tresin dot. 

I sfilitur në pritje të mijevjeçarit të ri 

Planetin futurologjik e sodis 

Me polipët e flokëve të mi 

Thith muzgjet e amshuara të Babilonisë!


Horizonti I pestë, apokaliptik, 

Zhurmëron me lemeri mes heshtjes. 

Në tejqyrën që zbret nga një yll

I shoh përbindëshat brenda vetes. 

Me ngulm kërkoj zjarr në acaret polare

E gjej Hiroshimën e pikës së lotit

Nën miniera vuan populli i djajve

Për floririn e maskës së Zotit! 

Washington D.C. 1997 



Translation of Mojkom Zeqo’s poem


Mojkom Zeqo

God’s Mask

Great metropolises! 

Tachycardia of the storm 

Above the labyrinth of streets with the anxiety of time. 

Traffic lights – Buddhist gods 

Shine with the phosphorescence of yoga.



The bustle of the stock exchange moves with a whirl, 

The surreal crisis freezes as if in bronze 

The robots of the automatic telephones 

Swallow the coins, but can't digest them.



Exhausted in the wait for the new millennium 

I gaze at the futurological planet 

With the polyps of my hair 

I inhale the eternal dusks of Babylon!



The fifth horizon, apocalyptic, 

Roars with terror amidst the silence. 

In the telescope descending from a star 

I see the monsters within myself.


I relentlessly seek fire in the polar frosts 

And find Hiroshima in the tear's drop 

Beneath mines, the devil’s people suffer 

For the gold of God's mask!


Translated by Amina Meshnuni



About the poet Mojkon Zeqo:


https://www.harvardreview.org/contributor/moikom-zeqo/

https://www.poetryinternational.com/en/poets-poems/poets/poet/102-30097_Zeqo

https://www.worldliteraturetoday.org/author/moikom-zeqo

https://sq.wikipedia.org/wiki/Moikom_Zeqo

https://www.harvardreview.org/contributor/moikom-zeqo/

About the poet Amina Meshnuni:

https://books.google.co.uk/books/about/Sy_që_nuk_vdesin.html?id=QaBBswEACAAJ&redir_esc=y

https://www.camdennewjournal.co.uk/article/dear-suella-try-living-for-a-week-in-rwandan-centre

https://www.facebook.com/media/set/?set=a.579662492185748&type=3&comment_id=579681728850491&paipv=0&eav=AfbbmhY-T-fQJwzCXfQD1l2JcE1iTxwwdpNMJMp9e1YTLHggdZ9IpjSlXnpXblf2kNg&_rdr

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14. "Nostalgic, Abstract & Inspiring". Chen Du Reads 'At Home' by Chinese Deaf Poet, Zuo You

In this episode of Elixir, Helen is talking to Chen Du about ‘At Home’ by a modern Chinese poet, Zuo You

Text of the poem:

《家中》

左右 (杜琛 陈锡生译)


日历掩上断了角的柴门。新年将近

年兽打着嗤嗤的呼噜声


外婆的脸上露出油桐的笑容,和着煮茶声

落下一地灰烬,落下

一首大于雪的诗。它开出妖艳的花瓣


冬天的激情也在肆意燃烧

这睡眼惺忪的凌晨!大雪已经侵尽故乡最后的疆域


厨门刚刚虚开。雀鸟闻声,与阡陌乡野渐靠渐拢

雪在午后,越下越响

炉火越烧越旺。炊烟扫开一条白茫茫的天路……


这些愈走愈新的路啊

此时,此刻,紧紧贴着大地幸福的颤动


Translation of the poem

The calendar has gently closed the broken-cornered wooden gate
With the approaching Chinese New Year
The man-eating monster is snoring with a whistle

A smile like a tung tree blooms on Grandma’s face
In harmony with the sound of brewing tea
She has dropped ashes all over the ground, dropped
A poem more magnificent than the snowfall
With enchanting blossoming petals

Winter’s passion is also wildly burning
On this bleary-eyed morning
The blizzard has occupied my hometown’s last territory

The kitchen door has just been set ajar     at the sound
Finches approach over the crisscrossing paths of the countryside
Mid-afternoon snow is falling louder and louder
And the stove fire burns hotter and hotter
With smoke sweeping out a whitish trail in the firmament…

Oh the paths that are newer the more they are trodden
Are trembling with joy while clinging to the earth
At this very moment


Translated by  Xisheng Chen and Chen Du

https://paper-republic.org/pubs/read/at-home/


About the poet:

https://paper-republic.org/pers/zuo-you/

https://u.osu.edu/mclc/bibliographies/lit/translations-aut/y-z/#Z


Bio of the poet: Zuo (family name) You (given name)

Zuo You is a handicapped poet based in Xi’an, China. He has published nineteen books including six full-length poetry collections in China, e.g., Kismet and Subway. His poems have been translated into various languages and appeared in some major literary magazines in North America, Canada, the UK, Japan, Korea and elsewhere, such as The Paris Review, The Malahat Review, and Modern Poetry in Translation. In China, he is also the winner of several major literary awards, such as The Fourth Liu Qing Literary Award. Suffering from hearing impairment, he speaks only a few simple words. He has been honored “Good Person” by Shaanxi Provincial Government several times and has taught poetry writing and Chinese to 100,000+ students. A set of poems by him titled “Deaf Person” which is translated by Chen Du and Xisheng Chen was shortlisted by Ugly Duckling Presse in its 2021 First Translation selection.


About the Translators:

Bios of the translators: Chen (given name) Du (family name) and Xisheng (given name) Chen (family name)

Chen Du is a voting member of the American Translators Association and an expert member of the Translators Association of China with a Master’s Degree in Biophysics from Roswell Park Cancer Institute, SUNY at Buffalo and a Master’s Degree in Radio Physics from the Chinese Academy of Sciences. In the United States and a few other Western countries, she has published 150+ pieces of English translations, poems, and essays in more than fifty literary journals. A set of five poems from Yan An’s poetry collection Rock Arrangement which was co-translated by her and Xisheng Chen won the 2021 Zach Doss Friends in Letters Memorial Fellowship. Yan An’s poetry book, A Naturalist’s Manor, translated by her and Xisheng Chen was published by Chax Press and shortlisted (one of four titles) for the 2022 Lucien Stryk Asian Translation Prize, administered by the American Literary Translators Association. Contact her at of_sea@hotmail.com.

Xisheng Chen, a Chinese American, is an ESL grammarian, lexicologist, linguist, translator and educator. His educational background includes: top scorer in the English subject in the National College Entrance Examination of Jiangsu Province, a BA and an MA from Fudan University, Shanghai, China (exempted from the National Graduate School Entrance Examination owing to excellent BA test scores), and a Mandarin Healthcare Interpreter Certificate from the City College of San Francisco, CA, USA. His working history includes: translator for Shanghai TV Station, Evening English News, lecturer at Jiangnan University, Wuxi, China, adjunct professor at the Departments of English and Social Sciences of Trine University (formerly Tri-State University), Angola, Indiana, notary public, and contract high-tech translator for Futurewei Technologies, Inc. in Santa Clara, California, USA. As a translator for over three decades, he has published many translations in various fields in newspapers and journals in China and abroad.

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13. "The Beautiful, Magical, Fantastic Power Of This Poem Will Carry You." - Emma

In this episode of Elixir, Helen is talking to Emma about ‘Lord Ullin’s Daughter’ by Thomas Campbell (1777 – 1844)

https://www.scottishpoetrylibrary.org.uk/poet/thomas-campbell/

Text of the poem:

A Chieftan to the Highlands bound,
Cries, ‘Boatman, do not tarry;
And I’ll give thee a silver pound
To row us o’er the ferry.’

‘Now who be ye would cross Lochgyle,
This dark and stormy water?’
‘Oh! I’m the chief of Ulva’s isle,
And this Lord Ullin’s daughter.

‘And fast before her father’s men
Three days we’ve fled together,
For should he find us in the glen,
My blood would stain the heather.

‘His horsemen hard behind us ride;
Should they our steps discover,
Then who will cheer my bonny bride
When they have slain her lover?’

Outspoke the hardy Highland wight:
‘I’ll go, my chief – I’m ready:
It is not for your silver bright,
But for your winsome lady.

‘And by my word, the bonny bird
In danger shall not tarry:
So, though the waves are raging white,
I’ll row you o’er the ferry.’

By this the storm grew loud apace,
The water-wraith was shrieking;
And in the scowl of heaven each face
Grew dark as they were speaking.

But still, as wilder blew the wind,
And as the night grew drearer,
Adown the glen rode armed men-
Their trampling sounded nearer.

‘Oh! Haste thee, haste!’ the lady cries,
‘Though tempests round us gather;
I’ll meet the raging of the skies,
But not an angry father.’

The boat has left a stormy land,
A stormy sea before her-
When oh! Too strong for human hand,
The tempest gathered o’er her.

And still they rowed amidst the roar
Of waters fast prevailing;
Lord Ullin reach’d that fatal shore-
His wrath was chang’d to wailing.

For sore dismay’d, through storm and shade,
His child he did discover;
One lovely hand she stretch’d for aid,
And one was round her lover.

‘Come back! Come back!’ he cried in grief,
‘Across this stormy water;
And I’ll forgive your Highland chief,
My daughter!- oh, my daughter!’

‘Twas vain: the loud waves lash’d the shore,
Return or aid preventing;
The waters wild went o’er his child,
And he was left lamenting.


About the poet:

https://en.wikipedia.org/wiki/Thomas_Campbell_(poet)

https://www.scottishpoetrylibrary.org.uk/poet/thomas-campbell/

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12. “My Mother Taught Us Love”. Teaching Children Emotional Literacy Through Poetry (with Tom)

In this episode of Elixir, Helen is talking to (our second) Tom about, ‘Mother any distance’ by Simon Armitage.

Text of the poem:

Mother, any distance greater than a single span by Simon Armitage

 

Mother, any distance greater than a single span
requires a second pair of hands.
You come to help me measure windows, pelmets, doors,
the acres of the walls, the prairies of the floors.

You at the zero-end, me with the spool of tape, recording
length, reporting metres, centimetres back to base, then leaving
up the stairs, the line still feeding out, unreeling
years between us. Anchor. Kite.

I space-walk through the empty bedrooms, climb
the ladder to the loft, to breaking point, where something
has to give;
two floors below your fingertips still pinch
the last one-hundredth of an inch...I reach
towards a hatch that opens on an endless sky
to fall or fly.


Source

About the poet:

https://en.wikipedia.org/wiki/Simon_Armitage

https://www.simonarmitage.com

11. The Brutality Of War: "This Is The Dark Truth About Human Nature!" - Richard

In this episode of Elixir, Helen is talking to Richard about an extract from book 22 of the Iliad by Homer

https://commons.wikimedia.org/wiki/Category:The_Iliad_in_art#/media/File:Peter_Paul_Rubens_-_Achilles_slays_Hector.jpg

Text of the poem extract in Homeric Greek:

τὸν δ᾽ ὀλιγοδρανέων προσέφη κορυθαίολος Ἕκτωρ:

‘λίσσομ᾽ ὑπὲρ ψυχῆς καὶ γούνων σῶν τε τοκήων

μή με ἔα παρὰ νηυσὶ κύνας καταδάψαι Ἀχαιῶν,

ἀλλὰ σὺ μὲν χαλκόν τε ἅλις χρυσόν τε δέδεξο

δῶρα τά τοι δώσουσι πατὴρ καὶ πότνια μήτηρ,

σῶμα δὲ οἴκαδ᾽ ἐμὸν δόμεναι πάλιν, ὄφρα πυρός με

Τρῶες καὶ Τρώων ἄλοχοι λελάχωσι θανόντα.

τὸν δ᾽ ἄρ᾽ ὑπόδρα ἰδὼν προσέφη πόδας ὠκὺς Ἀχιλλεὺς:

μή με κύον γούνων γουνάζεο μὴ δὲ τοκήων:

αἲ γάρ πως αὐτόν με μένος καὶ θυμὸς ἀνήη

ὤμ᾽ ἀποταμνόμενον κρέα ἔδμεναι, οἷα ἔοργας,

ὡς οὐκ ἔσθ᾽ ὃς σῆς γε κύνας κεφαλῆς ἀπαλάλκοι,

οὐδ᾽ εἴ κεν δεκάκις τε καὶ εἰκοσινήριτ᾽ ἄποινα

στήσωσ᾽ ἐνθάδ᾽ ἄγοντες, ὑπόσχωνται δὲ καὶ ἄλλα,

οὐδ᾽ εἴ κέν σ᾽ αὐτὸν χρυσῷ ἐρύσασθαι ἀνώγοι

Δαρδανίδης Πρίαμος: οὐδ᾽ ὧς σέ γε πότνια μήτηρ

ἐνθεμένη λεχέεσσι γοήσεται ὃν τέκεν αὐτή,

ἀλλὰ κύνες τε καὶ οἰωνοὶ κατὰ πάντα δάσονται.


Translation of the poem extract:

Strength all spent, spake Hector, he of the gleaming helm.

“I implore you by thy life and thy knees and thy parents, suffer me not to be devoured of dogs by the ships of the Achaeans. 

Nay, take thou my store of bronze and gold, gifts that my father and royal mother shall give thee, but my body return to my home, that the Trojans and the wives of Trojans may give me in death my due meed of fire.” 

But with an angry stare from beneath his brows spake Achilles, swift of foot.

“Implore me not, dog, speak not of knees or parents. My wrath and fury bid me carve thy flesh and myself eat it raw, because of what thou hast wrought, as surely as there lives no man that shall ward off the dogs from thy head.

About the poet:

https://en.wikipedia.org/wiki/Homer

https://en.wikipedia.org/wiki/Iliad

10. “Zhuangzi Gave Me Strength To Deal With All My Traumas." The Poet Of Transcendence with Vivienne Lo

In this episode of Elixir, Helen is talking to Vivienne Lo about 2 Daoist poems: Chapter 8 of Lao Tzu’s Tao Te Ching and Zhangzi's (Chuang-Tzu's) Butterfly Dream Parable.

The Tao Te Ching

Laozi (Lao Tzu) riding a water buffalo

Laozi - UnknownThis image was copied from bg.wikipedia. Laozi, Public Domain

Text of Lao Tzu’s Tao Te Ching Chapter 8:


第八章

上善若水。水善利萬物而不爭,處眾人之所感,故几于道。

居善地,心善淵,與善仁,言善信,政善治,事善能,動善時。

天唯不爭,故無尤。


Translation of Lao Tzu’s Tao Te Ching Chapter 8:

  1. The highest good is like water.

  2. Water gives life to the ten thousand things and does not strive.

  3. It flows in places men reject and so is like the Tao.

  4. In dwelling, be close to the land.

  5. In meditation, go deep in the heart.

  6. In dealing with others, be gentle and kind.

  7. In speech, be true.

  8. In ruling, be just.

  9. In business, be competent.

  10. In action, watch the timing.

  11. No fight: No blame.

The Butterfly Dream Parable

Dschuang-Dsi-Schmetterlingstraum-Zhuangzi-Butterfly-Dream

Lu Zhi - Upload of December 2007: http://www.asianart.com/exhibitions/taoism/butterfly.html Upload of April 2012: Not given

Text of The Butterfly Dream Parable:

昔者莊周夢為胡蝶,栩栩然胡蝶也,自喻適志與。

不知周也。

俄然覺,則蘧蘧然周也。不知周之夢為胡蝶與,胡蝶之夢為周與。

周與胡蝶,則必有分矣。

此之謂物化。


Translation of The Butterfly Dream Parable:

Once upon a time, I, Zhuangzi, dreamt I was a butterfly, fluttering hither and thither, to all intents and purposes a butterfly. I was conscious only of my happiness as a butterfly, unaware that I was Zhuangzi. Soon I awakened, and there I was, veritably myself again. Now I do not know whether I was then a man dreaming I was a butterfly, or whether I am now a butterfly, dreaming I am a man. Between a man and a butterfly there is necessarily a distinction. The transition is called the transformation of material things.


https://www.learnreligions.com/butterflies-great-sages-and-valid-cognition-3182587


About the poems:

https://www.learnreligions.com/butterflies-great-sages-and-valid-cognition-3182587

https://en.wikipedia.org/wiki/Zhuangzi_(book)

https://www.wussu.com/laotzu/laotzu08.html

https://en.wikipedia.org/wiki/Tao_Te_Ching

About the reader: Vivienne Lo

9. "I Have My Wife's Heart With Me All The Time". The Power Of True Love with Martyn

In this episode of Elixir, Helen is talking to Martyn about [i carry your heart with me(i carry it in] by e.e. cummings (1894–1962).

The poem is read twice with a musical underscore on the second reading. You can find the text of the poem below.

They discuss:

  • The portability of love e.e. cummings conveys in the poem 

  • Otherness due to being an immigrant, or minority in a country - an experience Martyn shares with his wife.

  • Being rooted in a place through one’s love & relationship.

  • Assimilation & acculturation and one’s sense of self living in a foreign country.

  • Cummings’s experience in WW1

Let us know what you think of the episodes by replying to our emails or in the comments or our DMs on Instagram @elixirpoetry.podcast

Screenshot from YouTube: https://www.youtube.com/watch?v=jutVovQFqvI

Text of the poem:

i carry your heart with me (i carry it in

my heart) i am never without it (anywhere

i go you go,my dear; and whatever is done

by only me is your doing, my darling)

                                                      i fear

no fate (for you are my fate, my sweet)i want

no world (for beautiful you are my world, my true)

and it’s you are whatever a moon has always meant

and whatever a sun will always sing is you


here is the deepest secret nobody knows

(here is the root of the root and the bud of the bud

and the sky of the sky of a tree called life; which grows

higher than soul can hope or mind can hide)

and this is the wonder that's keeping the stars apart


i carry your heart (i carry it in my heart)


“[i carry your heart with me(i carry it in]” Copyright 1952, © 1980, 1991 by the Trustees for the E. E. Cummings Trust, from Complete Poems: 1904-1962 by E. E. Cummings, edited by George J. Firmage. Used by permission of Liveright Publishing Corporation.

Source: Complete Poems: 1904-1962 (Liveright Publishing Corporation, 1991)

About the poet:

https://www.poetryfoundation.org/poetrymagazine/poems/49493/i-carry-your-heart-with-mei-carry-it-in

https://en.wikipedia.org/wiki/E._E._Cummings

https://www.youtube.com/watch?v=jutVovQFqvI e.e. cummings documentary

https://www.youtube.com/watch?v=jutVovQFqvI the poet reading his own work

8. Sharp Edges: "How I Learnt That My Body Is My Best Friend" - Tom

In this episode of Elixir, Helen is talking to Tom, our producer, about one of his own poems, ‘Sharp Edges’. The poem is read twice with a musical underscore on the second reading. You can find the text of the poem below.

They discuss:

- Seamus Heaney
- Tom's cycling accident and lucky escape
- How and why he started writing poetry after the accident
- How time slows down in a moment of survival
- Applying poetry writing to songwriting
- The importance of allowing your brain to wander
- Viewing the body and the mind as separate entities

Let us know what you think of the episodes by replying to our emails or in the comments or our DMs on Instagram @elixirpoetry.podcast

Tom Platts taken by Fin Nichols

Text of the poem:

Sharp Edges

The whirling vortex of late nights
that are not planned but still arise.
I fall into one day and find myself sharp.
The next day I have a sharp fall.

My alarm doesn't mean to punish me.
It just follows orders. My orders.
Submerged below full consciousness
I robotically, ironically
Awake for a doctors’ appointment.

Time wafts by, beyond when I should leave
On my road bike. It'll be a push and a breeze
I think, as I peddle with weary power
Down the beaten track, a tickling pebble shower.

A lean and a turn and here we go,
Over the brow, dripping down towards the Styx.

To eternally baffle, in my edgy rush,
I speed for show, lifting my possessed body
Off the saddle and low... outstandingly misjudged:
Slip, wobble. I'm going down. Instinct avoids concrete
Nudging me onto the thorn-riddled, rimmed bank.
A dressing of barbed wire. I am no tank.

If only for a shallower incline -
To not grate my temple on the devil's spine.

Yet how grateful I am to the stars
For just some peripheral scars
For warning my body: the key to life,
Against balancing oneself on a knife.

(Event: 19/10/2017)

About the poet:

Tom Platts works with Helen as the Producer of The Elixir Poetry Podcast, as well as some other podcasts. Find out more about his podcast productions: soundsapien.com

He is also a jazz singer and saxophonist who gigs around London. He is in the process of preparing a body of original songs to release - Helen asks Tom about his songwriting process in the episode. 

To follow Tom’s music you can find him on Instagram: @tomplattzs

7. I do not crush the world’s corolla of wonders: "This Is The Way I See The World!" - Andreea

In this episode of Elixir, Helen is talking to Andreea about a Romanian poem called ‘I do not crush the world’s corolla of wonders’ by Lucian Blaga.

Blaga's portrait, Museum of the Romanian Peasant

By Unknown author - [1], Public Domain

Original text of the poem:

Eu nu strivesc corola de minuni a lumii

de Lucian Blaga

Eu nu strivesc corola de minuni a lumii

şi nu ucid

cu mintea tainele, ce le-ntâlnesc

în calea mea

în flori, în ochi, pe buze ori morminte.

Lumina altora

sugrumă vraja nepătrunsului ascuns

în adâncimi de întuneric,

dar eu,

eu cu lumina mea sporesc a lumii taină -

şi-ntocmai cum cu razele ei albe luna

nu micşorează, ci tremurătoare

măreşte şi mai tare taina nopţii,

aşa îmbogăţesc şi eu întunecata zare

cu largi fiori de sfânt mister

şi tot ce-i neînţeles

se schimbă-n neînţelesuri şi mai mari

sub ochii mei -

căci eu iubesc

şi flori şi ochi şi buze şi morminte.



Translation of the poem:

I do not crush the world’s corolla of wonders


I do not crush the world’s corolla of wonders

and I do not kill

with the mind the mysteries that I encounter

on my path

in flowers, eyes, lips, or graves.


The light of others

suffocates the spell of the impenetrable unknown

that lies in depths of darkness,

but I,

with my light deepen the world’s mystery -

and just like the moon with her white rays

does not diminish, but tremulously

enhances the night’s mystery even more,

this is how I too enrich the dark horizon

with great shivers of sacred mystery

and all that is indecipherable

becomes even harder to decipher

before my eyes -

because I love

flowers, and eyes, and lips, and graves.



About the poet:

https://allpoetry.com/Lucian-Blaga

https://en.wikipedia.org/wiki/Lucian_Blaga

6. Winter Swans: "So Many Of Us Don't Have Someone To Rely On" - Donna

In this episode of Elixir, Helen is talking to Donna about ‘Winter Swans’ by Owen Sheers.

Text of the poem:

Winter Swans

The clouds had given their all -
two days of rain and then a break
in which we walked,
the waterlogged earth
gulping for breath at our feet
as we skirted the lake, silent and apart,
until the swans came and stopped us
with a show of tipping in unison.
As if rolling weights down their bodies to their heads 

they halved themselves in the dark water,
icebergs of white feather, paused before returning again 

like boats righting in rough weather.
'They mate for life' you said as they left,
porcelain over the stilling water. I didn't reply
but as we moved on through the afternoon light, 

slow-stepping in the lake's shingle and sand,
I noticed our hands, that had, somehow,
swum the distance between us
and folded, one over the other,
like a pair of wings settling after flight. 


About the poet:

https://en.wikipedia.org/wiki/Owen_Sheers

https://www.bbc.co.uk/bitesize/guides/zxtxmnb/revision/8

5. Assembly Line: "I Worked In A Chinese Missile Factory When I Was 16" - Lijia Zhang

In this episode of Elixir, Helen is talking to Lijia Zhang about ‘Assembly Line’ by Shu Ting

Shu Ting

Chinese ‘Misty’ poet Shu Ting

Text of the poem in Chinese:

流水线 舒婷



在时间的流水线里
夜晚和夜晚紧紧相挨
我们从工厂的流水线撤下
又以流水线的队伍回家来
在我们头顶
星星的流水线拉过天穹
在我们身旁
小树在流水线上发呆

星星一定疲倦了
几千年过去
它们的旅行从不更改
小树都病了
烟尘和单调使它们
失去了线条和色彩
一切我都感觉到了
凭着一种共同的节拍

但是奇怪
我惟独不能感觉到
我自己的存在
仿佛丛树与星群
或者由于习惯
对自己已成的定局
再没有力量关怀

1980.1-2



Translation of the poem:

Assembly Line

On the assembly line of Time

Nights huddle together

We come down from the factory assembly lines

-And join the assembly line going home

Overhead

An assembly line of stars trails across the sky

By our side

A young tree looks dazed on its assembly line

The stars must be tired

Thousands of years have passed

Their journey never changes

The young trees are ill

Dust and monotony deprive them

Of grain and colour

I can feel it all

Because we beat to the same rhythm

But strangely

The only thing I do not feel

Is my own existence

As though the woods and stars

Maybe out of habit

Maybe out of sorrow

No longer have the strength to care

About a destiny they cannot alter.



In 4 Renditions 1987

https://www.cuhk.edu.hk/rct/pdf/e_outputs/b2728/v27&28p253.pdf


About the poet:

https://en.wikipedia.org/wiki/Shu_Ting

https://www.latimes.com/archives/la-xpm-1992-02-02-bk-1769-story.html

http://poem.tuweng.com/1970/shuzuo/2594.html

https://www.cuhk.edu.hk/rct/renditions/e_outputs.html

https://www.cuhk.edu.hk/rct/pdf/e_outputs/b2728/v27&28p253.pdf

About the reader Lijia Zhang: