Image credit: Nicole Shaver: "Mad Moon Rising"

Field of Rage

 

Where are you going with your anger
child,
when the way is blocked by words
you do not understand,
and your fear is larger
than your punishment –

 

Where are you going with your hate
when your mother
thoughtlessly
misconstrues your seriousness,
and strangers laugh
at your game –

 

You pat a field
into the box’s willing sand
and sow
your anger’s first seed.
You play your game
of dead dolls.

 

Tell the upright men
in the world
that they must harvest
your ripened hate
and plow your field of rage
before they meet your gaze.

 

 

The Day’s Ruin

 

On the edge
between day and night –
a burned-out castle ruin
with smouldering contours
in the ether-green air.

 

Sinister clouds
rise
like petrified smoke
from cracks
in a half-charred tower.

 

A ruin,
where fire has etched holes
in crumbling walls,
and exploded rooms
glow without ceiling,
a smouldering ruin extinguished,
sinks into the night
and disappears.

 

 

Silent Birds

 

Black earth-eyes
stare somberly
through holes
in the snow’s worn bedsheet.
The neighboring farm’s thatched roof
drips monotone
melodically into puddles
along the barn’s damp wall,
yellow stucco flaking
at the hatches in the gable.

 

In an overgrown apple tree
sit five silent birds
dreaming
about the sun that went down
while they sang
in distant summers.

 

 

Lake Mälar Sunset

 

Like a spine of sharp teeth
in a fire-filled
dragonmouth,
a thousand black pines jut
above the lake’s opposite shore.
Whitish breath
rises sheer as veils,
as if the dragon’s hot limbs
had sunk in the Mälar waters.

 

From its red firemouth
flames are flung
into the sky.
The day is burning –
burning silently
and lost.

 

Across the horizon –
heavy ash-dark clouds
and the weak flimmer of flame
after the everyday
apocalypse.

 

Jackdaws and crows
flap around a weatherbeaten treetop
like an army of scavenger birds
shrieking miserably
an elegy
over the rocks, the burnt forest
and the waveless water.

 

 


Douglas Fir

 

The urge to be a squirrel emerges unexpected
before this mast of the woods, this trunk
rising from the ground steep to the sky
vertical
by a will more erect and more
striving than I am used to
perpendicular
to the earth’s skin.
My eye jumps frolicking, neck-breakingly
up there, upward.
The urge to be a squirrel makes my behind
itch
my tailbone strangely more noticeable, something
is sprouting, erupting, my nails stretching
longer, slightly folding, curling,
hungry for the bark’s coarse crust,
useful decayed antiquity
wrapped ‘round the wood like a tall
closed robe
far above, full of sleeves –
arms –
stretched towards the wind’s many corners.
The urge to be a squirrel carries upward
carries eartufts topmost
carries fur and hindmost the tail
indian-red hirsute,
flight’s airy banner-hung joy-stick
– not wings
not the bird’s talent-bearer –
glide-flight’s unparallelled tool
into the side of the neighboring tree.
The urge to be a squirrel darts upward again,
jeers, whines, scolds shrilly
down at someone’s empty
abandoned boots below
by the trunk.

 

 

October

 

Leaning back against a sun-warmed stone,
hear starlings
crackling like charcoal,
sputtering and burning
among mature chestnuts.

 

See a sunshower tighten its bow,
stretching a bridge
between down and up,
lowering its knowledge about near November
into oblivion’s unmeasured shaft.

 

Linking a shard of your life
to the dry grass in October,
collect a small awkward thanks
in your cap
for the thigh-violin man’s cutting melody.

Vredens Ager

 

Hvor går du hen med din vrede
barn,
når vejene spærres af ord
du ikke forstår,
og din angst blir større
end straffen.

 

Hvor går du hen med dit had
når din mor
tankeløst
mistyder din alvor,
og fremmede ler
ad din leg.

 

Klapper du så en ager
i kassens villige sand
og sår
din vredes første sæd.
Leger du en leg
om døde dukker.

 

Sig til de oprejste mænd
i verden,
at de må høste
dit modnede had
og pløje din vredes ager,
før de møder dit ansigt.

 

 

Dagens Ruin

 

På randen
mellem dag og nat
står en udbrændt borgruin
med ulmende konturer
i den ætergrønne luft.

 

Onde skyer
stiger
som forstenet brandrøg
ud af sprækker
på et halvt forkullet tårn.

 

En ruin,
hvor ild har ætset hul
i mørned mur,
og sprængte sale
gløder uden loft,
en ulmende ruin som slukkes,
synker ind i natten
og blir væk.

 

 

Tavse fugle

 

Sorte jordøjne
stirrer dystert
gennem hullerne
i sneens slidte lagen.
Nabogårdens stråtag
drypper
monotont melodisk
i pytterne langs ladens våde mur.
Den gule kalkpuds skaller
ved lugerne i gavlen.

 

I et forvokset æbletræ
sidder fire tavse fugle
og drømmer
om solen der gik ned
mens de sang
i fjærne somre.

 

 

Solnedgang ved Mälaren

 

Som en rad af spidse tænder
i en ildfyldt
dragekæft
rager tusind sorte graner
op på søens anden side.
Hvidlig ånde
stiger slørlet,
som var dragens hede lemmer
sunket ned i Mälarvandet.

 

Fra det røde ildgab
slynges flammer
ud i himmelrummet.
Dagen brænder -
brænder lydløst
og går tabt.

 

Tunge askemørke skyer
og det svage brandskær
over horisonten
blir tilbage
efter dagligdagens
ragnarok.

 

Alliker og krager
flakser om en vejrslidt trætop
som en hær af ådselfugle,
skriger jamrende
en dødssang
over sten og brændte skove
og det bølgeløse vand.

 

 

Douglasgran

 

Lysten til at være egern fødes uformodet
foran denne mast i skoven, denne stamme
rejst af grunden stejlt mod himlen
lodret
af en vilje rankere end vi er vant til
vinkelret
på jordens hud.
Øjet springer muntert, nakkebrækkende
deropad, opad.
Lysten til at være egern får det til at klø
på rumpen
halebenet gør sig sært bemærket, noget
spirer, bryder ud og neglene blir strukket
længere og foldeet tynde, krumme
sultne efter barkens grove skorpe
brugbar frønnet ælde
svøbt om vedet som en høj
og lukket kåbe
langt deroppe fuld af ærmer
fuld af arme
rakt mod vindens mange hjørner.
Lysten til at være egern bærer opad
bærer øreduske øverst
bærer pels og bagesst halen
indianerrød og håret
flugtens lette fanehængte styrestang.
Ikke vinger
ikke fuglens bæreevne
glideflugtens uforlignelige redskab
ind mod nabotræets side.
Lysten til at være egern piler atter opad
hujer, gnældrer, skælder skingert
ned mod nogens tomme
efterladte støvler under træet
tæt ved roden.

 

 

Oktober

 

Læne ryg mod en solhedet sten,
høre stære
knitre som koksild,
sprage og brænde
blandt modne kastanier.

 

Se solregn stramme sin bue,
spænde bro
mellem nede og oppe.
Sænke sin viden om nære November
i glemslens umålte skakt.

 

Lænke en splint af sit liv
til det tørre græs i Oktober.
Samle en lille akavet tak
i sin hue
for lårviolinmandens slibende spil.

Translator's Note

Although she made her debut as a poet in 1955, most of Cecil Bødker’s readers come to know her through her best-selling juvenile literature, especially her series of books about Silas, which earned her the international Hans Christian Andersen Prize in 1976. I came to her poetry similarly, only after first translating her adult novel, Stories about Tacit (Spuyten Duyvil Press, 2016). I noticed immediately how Bødker’s poetry, like her prose, distinguishes itself from many other contemporary Danish poets by its lack of irony or linear narrative. Her poetry has a mythic quality and an elevated tone, reminiscent of ancient poets. Her poetic themes revolve mainly around demise and rebirth.

As her translator, I endeavor to match her slightly elevated tone and musicality, almost as if I were composing poetry for a royal court poet to recite to the monarch. The first word to occur to me is unlikely the one I can use. Sometimes lines must be rearranged for the appropriate rhythm to be recreated in English. I hope I achieve Bødker’s definitive, ceremonial, pensive tone through careful word choice and sequence. I think that through her poetry she wants us to pay utmost respect to the heartbreaking cycles of life.


Michael Goldman

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