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You’ve asked me what the lobster is weaving there with his golden feet?
I reply, the ocean knows this.
You say, what is the ascidia waiting for in its transparent bell?
What is it waiting for?
I tell you it is waiting for time, like you.
You ask me whom the Macrocystis alga hugs in its arms?
Study, study it, at a certain hour, in a certain sea I know.
You question me about the wicked tusk of the narwhal,
and I reply by describing
how the sea unicorn with the harpoon in it dies.
You enquire about the kingfisher’s feathers,
which tremble in the pure springs of the southern tides?
Or you’ve found in the cards a new question touching on the crystal architecture
of the sea anemone, and you’ll deal that to me now?
You want to understand the electric nature of the ocean spines?
The armored stalactite that breaks as it walks?
The hook of the angler fish, the music stretched out
in the deep places like a thread in the water?
(Read the rest at Poem Hunter . . . )
–Ricardo Eliecer Neftalí Reyes Basoalto (Pablo Neruda), Enigmas in: Canto general (1950) (R. Bly transl.)
More from Scott Horton:
Six Questions — October 18, 2014, 8:00 pm
Nathaniel Raymond on CIA interrogation techniques.
I recently spent a semester teaching writing at an elite liberal-arts college. At strategic points around the campus, in shades of yellow and green, banners displayed the following pair of texts. The first was attributed to the college’s founder, which dates it to the 1920s. The second was extracted from the latest version of the institution’s mission statement:
The paramount obligation of a college is to develop in its students the ability to think clearly and independently, and the ability to live confidently, courageously, and hopefully.
Let us take a moment to compare these texts. The first thing to observe about the older one is that it is a sentence. It expresses an idea by placing concepts in relation to one another within the kind of structure that we call a syntax. It is, moreover, highly wrought: a parallel structure underscored by repetition, five adverbs balanced two against three.
Percentage of Britons who cannot name the city that provides the setting for the musical Chicago:
An Australian entrepreneur was selling oysters raised in tanks laced with Viagra.
A naked man believed to be under the influence of LSD rammed his pickup truck into two police cars.
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“Shelby is waiting for something. He himself does not know what it is. When it comes he will either go back into the world from which he came, or sink out of sight in the morass of alcoholism or despair that has engulfed other vagrants.”