We have a colossal zest for life

 

some of us gain weight bear fruit

and those above do not shy away from eating us

rolled in sugar

 

sweet to temptation with bitter bodies

 

we canoodle crouched down thinned down

beautiful people of dirt

fulfilling the lives of those above

 

from our loves a way to forget

 

the fruits on trees unpicked. a kind of water that dries up.

we laugh heartily under the dirt where we make love to

the point of defiance

 

we aren’t afraid of the neighbouring skulls

rolled down into their chests. from me to you

from you to me.

 

 

We shine with good health and E numbers. some fireflies

 

from a distance at night they confuse us

with ursa major. man look at those fellas how they shine

you’d think they’re our shooting stars

from the greater

 

in that world that keeps its children on its head

the vegetable eggs under its armpits

we dance tighter the hora of unification in cast iron pots

in the hunger for cornmeal of the ducklings in spring the sun

 

a cast iron soup on low heat

so all nations would claim us and

they drag us like whores.

to roll us home

those fellas are our guards of the nettles.

 

if we’d ever been security guards we would’ve left a trail on the water

a natural light some rustling among the willows

at least in kindergarten children’s colouring books

for moms and dads watching

to see us behaving.

 

 

Those who come from where they come at the table with us

 

and the Uninvited’s even in the sign of the cross asking us for

bread and wine.

we give him some of everyone of everything. the Uninvited

begins asking for us for everything for marigolds for dandelions.

 

we mutter this fella’s making us into some

ointment. he says one thing and starts on another. so much

he looks like the one who put stones over

stones that he glimmers but doesn’t gleam. he comes

to ask us quickly for what we’d given him willingly.

 

we thought we were a support from the top

down something like reverse gravity. we

thought we were living and mad in the poetry of the master

we marveled at the half that marveled at the other half.

we tempted him like some

old hags praying it won’t rain ’cause they don’t have

umbrellas. we didn’t know either-or didn’t mean

and-and

 

but instead the fella makes us into ointments

for those who’re coming.

 

 

And the moment missus English teacher shows up

 

i act so manly

that i don’t recognize myself. i even take

the posture of the night security guard.

oh look at the legs

she got since the end of the world

if i could find my eyes again

i’d put stickers on her legs to find out

their mystery

 

sometimes we wonder how they took root in her purple

booties from the flower shop.

we marvel

at how they shine like wet leaves in the evening.

we don’t know to whom they belong we just assume

it’s ’cause of the dew on the flowers in the morning.

maybe ’cause of other school subjects

who knows from which greenhouse

sprinkled several times a day with rose water

 

missus English teacher changes her dresses every day

sometimes brunettes sometimes blondes so fresh you can’t

recognize them anymore. the ripped jeans she changes on

her knees to let us see her legs better. we never see her face

we only know her legs grow in one year like others’

in ten. 

 

 

The colleague on the second floor caught a disease that left him breathless

 

and he fell in love with it. they hid

in each other. said they wanted to get married.

he held it by the sleeve of the wedding dress. said it was his.

at work we sometimes asked him if he’s got

the dress on. he got a spot on his lungs

when he ran out of breath he showed us his lungs

victorious like an organ recipient.

 

we guessed how long till he’d even cough up

daws’ nests.

we bet on cigarettes.

such a stain on the lungs. the map of a

mysterious realm full of tobacco leaves

which we’ll smoke careless they won’t

cost us much. a realm where

we’ll tumble down naked.

 

sometimes we tempted him with cigarettes made in

the rolling machine

we’d never before seen a guy

with such lungs in the posters of naked women

thumbtacked to the walls

inhaling our smoke breath till

our chests rose to our shoulders.

Avem un chef colosal de viață

 

unii dintre noi se îngrașă dau roade

iar cei de deasupra nu se feresc să ne mănânce

tăvăliți prin zahăr

 

dulci până la provocare cu corpuri amare

 

ne drăgostim ghemuiți subțiați

frumoşi de țărână

împlinim viața celor de deasupra

 

din iubirile noastre un fel de a uita

 

fructele prin pomi neculese. un fel de apă care seacă.

râdem cu toata gura sub țărâna în care ne iubim

până la sfidare

 

nu ne înspăimântăm de craniile vecine

rostogolite prin piepturi. de la mine la tine

de la tine la mine.

 

 

Lucim de sănătoşi şi e-uri. niște licurici

 

noaptea de la depărtare ne confundă

cu carul mare. ia uită-i și p-ăștia cum lucesc

zici că sunt stelele noastre căzătoare

de la mai mare

 

în lumea aceea care își ține copiii în cap

ouăle vegetale la subțiori

ne strângem hora unirii în tuciuri

în foamea cu mălai a bobocilor de rață primăvara soarele

 

zeamă de fier la focu’ mic

toate neamurile să ne revendice și

trag de noi ca de curve.

să ne rostogolească acasă

ăștia sunt paznicii noștri de la urzici

 

dacă am fi fost vreodată paznici lăsam și noi o dâră pe apă

o lumină naturală un foșnet ceva printre sălcii

măcar prin cărțile de colorat ale copiilor de grădiniță

să ne arate la părinți

că suntem cuminți.

 

 

Cele ce vin de unde cele ce vin la masă cu noi 

 

și Nechematul aflat până și în semnul crucii ne cere

pâine şi vin.

noi îi dăm din toate ale totului. începe Nechematul

să ne ceară de tot de brusturi de gălbenele.

 

noi murmurăm ăsta ne face vreo

alifie. spune un lucru şi se dă pe altul. atât

se aseamănă cu ăla care a pus piatră peste

piatră că luceşte da’ nu străluce. vine el

să ne ceară repede ce i-am dat binevoitori.

 

credeam că suntem o sprijinire de sus în

jos aşa ca o gravitație inversă. ne-am

crezut trăitori şi nebuni întru poezia meşterului

ne miram de jumătatea care se miră de cealaltă jumătate.

l-am ispitit ca nişte

babe care se roagă să nu plouă că nu au

ele umbrele. nu ştiam ori ori nu înseamnă

şi şi

 

când colo ăsta ne folosește să ne facă alifii

pentru cei care vor veni.

 

 

Şi cum apare doamna de engleză

 

aşa de bărbat mă dau

că nu mă recunosc. iau şi eu

poziția paznicului de noapte.

să vezi ce picioare

a prins de la sfârşitul lumii

dacă mi-aş mai găsi ochii

aş lipi abțibilduri pe picioarele ei

ca să le aflu taina

 

uneori ne minunăm cum s-au prins în ghetuțele

ei mov de la florărie.

cum lucesc ca frunzele umede pe înserat

ne minunăm.

noi nu ştim cui aparțin doar presupunem

de la flori i se trage dimineața pe rouă.

poate de la alte materii

cine ştie din ce seră

udate de mai multe ori pe zi cu apă de trandafiri

 

doamna profesor de engleză îşi schimbă în fiecare

zi rochiile când brunete când blonde de nu se mai recunosc

de proaspete. blugii rupți şi-i schimbă în genunchi ca

să îi vedem picioarele mai bine. pe ea nu o vedem la față

ştim ea creşte într-un an în picioare cât cresc alții

în zece.

 

 

Colegul de la etajul doi a prins o boală care îl lăsa fără aer

 

şi s-a îndrăgostit de ea. se pitulau

unul în altul. ziceau că vor să se căsătorească.

o ținea de mâneca rochiei de mireasă. zicea ca este a lui.

la serviciu îl mai întrebam dacă și-a luat

rochia pe el. i s-a pus pata pe plămâni

când nu mai avea aer ne arăta plămânii

victorios ca un purtător de organe.

 

noi ne dădeam cu presupusul cât mai are

până când o să tușească și cuiburi de stăncuță.

puneam pariu pe țigări.

o pată aşa pe plămâni. o hartă a unui

tărâm misterios plin de frunze de tutun

pe care le vom fuma la rece nu ne

vor costa cine știe ce. un tărâm

în care ne vom rostogoli dezbrăcați.

 

câteodată îl ispiteam cu țigări făcute la aparat

nu mai văzusem vreodată

vreunul cu plămânii în pioneze postere

cu femei goale

să tragă expirația noastră de fum până când

ni se ridicau umerii în piept.

Translator's Note

Avoiding both self-victimization and explicit sociopolitical activism, Emil-Iulian Sude’s poetry is defined by an organic mixture of irony and self-irony with existential reflection, the search for identity, human rights concerns, and the challenging of ethnic discrimination. Both he, as the writer, and the first-person speaker in his poems, belong to the Roma ethnic minority. Enslaved in Eastern Europe, and specifically until 1856 in Romania, Roma have been discriminated against, feared or derisively stereotyped, mistreated or ignored ever since. As a security guard at a public school in Bucharest, Sude also reflects on the experience of classist stereotyping. Surrealist images are often built with everyday details, suggesting a literary style I previously identified as magic naturalism in the note I wrote to accompany the first ever translations and publication of his poetry in English (for the Winter 2022 issue of Asymptote).

Metaphorically, the school’s security guards are neither dead nor alive; relegated to the ground level, they are unseen as individuals, and often cannot even see the faces of those they protect: “missus English teacher changes her dresses every day … we never see her face / we only know her legs grow in one year like others’ / in ten.” Like it is customary in French with titles like « Mme professeur d'anglais », “doamna profesoară de engleză” has been abbreviated in spoken Romanian to “doamna de engleză” [word by word, the miss/lady of English] since at least the 1970s, when I was grade-five student in communist Romania. To subvert the required “comrade [teacher],” my peers and I called all our female teachers “doamna” [miss, lady], respectfully though informally, much like Sude’s speaker does in “Şi cum apare doamna de engleză” [And the moment missus English teacher shows up]. As “English teacher” is rather neutral, after much consideration I’ve decided to use “missus” in the hope that it would further emphasize the subconscious acceptance of the lower social status, which Sude challenges in his work.

The differences between Romanian and English, especially the lack of declension of nouns and adjectives in English, make translating poetry quite difficult in general. In Romanian, for instance, the plural of nouns and adjectives is marked by gender-specific desinences (grammatical suffixes): “i” for masculine, “e” or “i” for feminine, and “e” for neutral. This makes it much easier for Romanians to rhyme—intentionally or unintentionally. Sude often uses very simple perfect rhymes, recreating the light-hearted vibe of Romanian folk and children’s songs, which cynically contrasts to his poetry’s dark themes and imagery. “Lucim de sănătoşi şi e-uri. niște licurici” / “We shine with good health and E numbers. some fireflies,” included in this selection, is a multilayered poem, like most ones in Paznic de noapte (Casa Cărţilor, 2023 [The Night Security Guard]). It worries about toxic E additives that could transform us into shiny radioactive fireflies even after death, and which are more likely present in the cheaper processed food affordable to Sude’s impoverished characters and speaker. The poem also deplores the fate of people who don’t leave any kind of legacy behind, not even “a trail on the water” or “at least in kindergarten children’s colouring books.” Even though I had to give up on rhyming in some of my translations, I’ve felt that the end of this poem needed it. Sude uses a simple perfect rhyme, “să ne arate la părinți / că suntem cuminți,” “to show us to their parents / because we are well-behaved,” in a literal translation. The plural masculine noun, “părinți” [parents], has in Romanian the same desinence as the plural masculine adjective, “cuminți” [well-behaved, obedient, especially about young children], suggesting the speaker’s naïve but desperate plea, as he wishes they could become post-mortem something that children would excitedly share with their parents. To suggest at least some of the meaning and the feeling of the final two lines, I’ve chosen to slightly alter the content, portraying the parents as the actants, “for moms and dads watching / to see us behaving,” as if expanding their watchful parenting to the dead security guards. This has allowed me to use the simple “-ing” rhyme in the hope that it’d have a similar childish tinge like in Romanian. Finding the best solutions can be a fascinating task, while it also serves as a way to introduce English readers to Roma literature from Romania in general, and Sude’s poetry in particular.


Diana Manole

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