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Robert Lietz: Topping Off (1)
 
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  Robert Lietz:

Topping Off (1)

(from "Character in the 作品: Twentieth-Century Lives")



  Character in the 作品: Twentieth-Century Lives is a large, 250-page manuscript in which Lietz creates lives for individuals whose 指名するs are inscribed on old fountain-pens, and Topping Off is for P(hilip) Bloom, M.D., owner of the honey (brown)-and-pearl -laminated Parker Vacumatic Maxima with which he began the poem. Read more about this 事業/計画(する) at the 底(に届く) of this page!  

 
       

     1

     Look then, the corner chestnut, a boy winking
into the mirror of it, into the trace 示すs
and rooms where he was sleeping, 誇るing
at the doors, running, losing, turning 支援する
to see the old man.  I shouldn't have called her
anything.  And he, 深く,強烈に happening,
bloodstem, shouldn't have stood there 占領するing
doctored light, a lost pitch, a ball
攻撃する,衝突する はっきりと 支援する at all 9 位置/汚点/見つけ出すs.  So moonlight
settles it.  So I こそこそ動く 支援する to my blue room,
and see the moonlit sax, the moon-有望な quarrel cards,
願望(する) 保護するd against that 殺到する, even
as first love, lightly 貿易(する)d on, 救助(する)d dusks for 2
that stood apart from their own families.
-- 条件d by rioja and guitars, blue rain
and 雷鳴ing, first love 危険d dusks
and shamed the rhythms of our 世帯s,
to stand about, remote, gold 重要な, gold lock,
影響する/感情ing the secrets she 自白するd, enjoying 嵐/襲撃する
and the next 嵐/襲撃するs and the 幅の広い 雷鳴.
-- Imagine that blue-黒人/ボイコット drift,
and the blue-黒人/ボイコット drift of neighbor sisters
詠唱するing feasts, 影をつくる/尾行するs in convent halls,
and lovely, ぐずぐず残る at 退却/保養地, first love
exorcised, 存在するing as love for years,
held up in the brown 熟考する/考慮する...




     2

     I see that corner chestnut, and see
the strapped 向こうずね-guard,
     the hinged and dangling, 欠陥のある part,
a boy taking that foul tip squarely
     on the 膝-cap.  He sprawls then stands
to play, to spite the bruise
     and play not to embarrass, 持つ/拘留するing
the man off, the woman off,
     Irish enough to be made 平易な by her feasting,
Jew enough, he thinks, to move
     the tree to the next corner, to make
his way home 傷つける
     and shamed for words about his sister.
What must be understood,
     and must be matched 十分な float, 発展させるs
as love, love's 深い diseutude,
     gold lock, gold 重要な, the 辛勝する/優位s 一連の会議、交渉/完成するd
from all the jostling.  We let
     the rains climb 負かす/撃墜する on us.  We drink
and guess what company, half
     a Saturday done 井戸/弁護士席, (電話線からの)盗聴 the rue
of menace, litmus politics, the wishes
     that leave men wishing afterward.  I squint
my own room out of 空気/公表する, and now
     these 反対するs 立証するd, windows opened
to night corners, and one,
     回復するing, considering the worship and タブーs,
whispering a woman's 指名する
     into the lightly shaken foliage, calling
sensibly to love, repeating
     the (民事の)告訴 and misinspired 怒り/怒るs
at a sister.  And there, swept up by love
     against a 遺産 of 警告を与えるs, 配列し直すing
innocence, a boy would steel himself
     to fever and to crotch-寒波s, seeing
the looks of men enlisted and exhausted,
     whose ghostly forms spite その上の 範囲
and 栄えるing, spooking
     pillows he hugged for days, 定める/命ずるing
 love's 冷気/寒がらせるd brews, love's ぐずぐず残る,
     負担d, and 欠陥のある piece.



     3

     Wondering afterward, dead?,
whether the 激しく揺する-rubbed, 上昇傾向d Plymouth
sheathed transmigrating souls,
that 簡潔な/要約する bounty flowering, done,
as one man slowed, looked
hard across dark ices, 直面するing in 冷淡な
and booze his dangerous 失敗s, 注目する,もくろむs
stung by dark, by hours en 大勝する, 注目する,もくろむs
wandering into and out of smokey parlors,
hiding for days from news, from
all the 精査するing flakes and garbage 無線で通信する.
I slowed, drove on, unable to cry 支援する
lives, Bloom, M.D., and, nothing yet,
except for 肉親,親類d of cowardice, 設立する
headlamps approaching west, another
to pass nearer death, to find for himself
how shame could visit on a heartbreak,
or how a lost bride 燃やすs the more
in memory, having given herself again,
her unsleeved 武器 again
to her northside 最大の関心事s.  And
how one sister, lost, would stitch
the wedding vests for 影をつくる/尾行するs, stitch
the dark トンs after all with reislings,
cabernet.  Pages re-read as 死なせる/死ぬing,
1942, enlistments say, love-letters home,
条件s slipped の中で the 誓いs
and 決まり文句/製法 for hiding.  Barbara sips,
and Barbara senses enough to stop
when she begins to feel the pricks, sips
her thimble-深い desserts, sewing
for the day done, and the 発言する/表明するs of 肉親,親類d men,
leaving for home from the tonsorial
and the ice-cream den, from the Kruetzer
grocery, leaving their shops to shrug
from hers and other 未来s...




     4

    Wasn't I young as all that once?
And, Love's unlucky card, didn't I play that
の近くに to heart, the trouble by half
and more, didn't I walk in once, step through
to one young wife's 当惑,
"a doctor, Maude,"  and "nothing to 恐れる from it,"
and Maude so much pink flesh
as his exhausted 注目する,もくろむs could 人物/姿/数字, 貿易(する)ing
the gaze for smalltalk
while my sister let me squirm?  I have that gaze,
those lemon ices, and have
those iced 2 小道/航路s, stories to (警官の)巡回区域,受持ち区域 the living hell,
made up of the dust dreams vent,
of enlisted flesh and now the 紅潮/摘発する of 私的な numbers,
women soothed by letters home,
and by the ends of letters home in new 構成要素s,
leaving this dead light, this
不確かの dark where deer must slip 支援する
through the pine 塀で囲む, into the place
where summer's been, where summer's thickening,
disobliging time, attracting a man
from loss, from 支持を得ようと努めるd and 器具s,
from shavings the times seem,
the strewn mahogany and spruce, littering
flats men leave, scuffing as they leave
across hardwood, jackstraw
     linoleum.



     5

     The day returns to her.  She squints, stands,
stretches before the bank
of needles and 有望な spools, 深い-textured
furlings, catching the light she 重さを計るs
in keener adaptations.  Here's ワイン and recipe,
so many 契約 dates and わずかな/ほっそりした lights
to be broken.

     She thinks the least of it, steps stairs to rooms
nobody's 占領するd for 10年間s,
remembering the looks of the old men, half-becoming
summer ice, herself, at 12, already
breaking hearts for love, turning from hearts to ワイン
and prickings of career, to ワイン from 注目する,もくろむs
that seemed to flash with her own daylight,
and seemed to wince as rain
turned lovers 同志/支持者.

     She might, she thinks, 拒絶する/低下する, and might 同様に,
as conversations go, be pierced,
drawn through, as her own dreams had been, enjoying
such good nights and suitable couture,
by the moonlight then, or by these quick bells,
slowed for company, so young and given
to feeling something like.

     She would have this understood.  And she would sip
till 肉親,親類d of underglow smiled 支援する,
until the looks of things, the noisemaking ends
to all the troubled flexing,
encouraged brides to 捜し出す in homecomings for families,
out of the rains called home, away from the newsreels
called to their own 肉親,親類d
of servicing.

     She walks that way, 現在のing herself like charm
負かす/撃墜する paths の中で the park sitters, の中で
these brothers left to 誇る or sort their own recriminations,
having been touched by field kill
and by 井戸/弁護士席-治める/統治するd (軍隊などの)展開,配備s, sitting
beneath elm 四肢s and city chestnuts,
dreaming themselves whole, and of the 四肢s
last light or rains appropriate.


     She would be 圧力(をかける)d again and be respectably …に出席するd.
She would be pleased by 演習
or by the balance of a 宣告,判決, be drawn again
into the reach of a good story, who 動議s
cheaper forms, or now 制定するs by her hard will
the 対策 of her partners, the losses
of friends made serve, herself made serve
the purgatories of their choices, leaving
the city (疑いを)晴らすd, except for young men
like her brother, a city's clutter
and 抑制(する)s to step 負かす/撃墜する
and 是正する.



     6

     I fled old friends (刑事)被告, fled beer
and smoke, midnight partiers, 運動ing
my own account, and putting a ghostly 辛勝する/優位
on all the finer chiselling,
receiving the 4半期/4分の1s and 地元の 石/投石するs,
受託するing the swatches and live 女/おっせかい屋s,
listening to a woman's own glad breathing
over platesful, each 支払う/賃金ing as each can,
and I, 支払う/賃金ing as I can, as if a man by time
to make good on a question.
-- And she, that stands here, ill and 傷をいやす/和解させるing,
in 致命的な 共同:  what would I be
to her, her own 内科医 親族, would
she be but Barb, swaying with ワイン
and 捨てるs, stillness such as her own brother
might 奮起させる, himself pine-still, flattening,
seeing her fingers reach if only to abandon,
her pin-boy's 支配するs, reaching 深く,強烈に 負かす/撃墜する
into a history of yard-goods, unable to 扱う
threads, to manage the shears grown dull,
catching the mind's chaste light, the murmurs
above the 嵐の cushions and the couch sleeves.
-- She 解除するs her ワイン while spools of color
seem to chirr, while she 入会させるs herself, and,
in that loud serenity, lets every dream begin,
the machine-driven spools go on as if by their own 力/強力にする.
What live 陳謝s!  What poor love's
seasonals!  What 発言する/表明する but this, life-sized,
and 血 but this, 動揺させるing mountain ice,
and no one listening!  A woman could get
to this hard place.  And I, remembering,
could find how glass 蓄積するs, 審理,公聴会
the crouped, cramped kids, the grandpas
speaking from the hearts of 疫病/流行性の, the glass
発言する/表明するs 勧めるing a healer into 味方する rooms,
through 10年間s of 味方する rooms seamed
with 警告を与えるs and 弔慰...



    7

     So glass 蓄積するs.  And so her own
grey 一打/打撃s, sheathings fashioned, fit
     to 軟化する 力/強力にするs of apparel, 態度s
toward color and metallic applique.
     Life-sized and ぐずぐず残る, goodness knows!
She 緩和するs from barrens
     on this 近づく sleep, steps rooms I seem
to have lived in idly, a pieced ship,
     beached, behind lowered glass 保持するd,
considering the deckhands labored at,
     the lifeboats teetering and を待つing seas.
She 始める,決めるs the 空気/公表する almost aflame,
     with too much light, too much necessity,
伴う/関わるing a man and streets,
     men and streets and features something like,
explaining the 難破, dreams,
     the engines ghosting again through 二塁打
and through 3倍になる 転換s, as honest
     as customs seemed and as 条件s for believing.
We'll let this somnolence …に出席する,
     the amnesia of tribes …に出席する the 活動/戦闘
of a heartache, the 動議s settled
     on flat land, until the dreams 協力する,
crying a man toward 奇蹟
     and finally sleeping in, turning his pillow
with clean 手渡すs, letting the flesh
     repent its knotty histories.  Some small
正確に finished thing
     explains the daylit 署名, the insomnias
engaging salt 勝利,勝つd in a 乾燥した,日照りの country,
     as if ghostly 手渡すs moved in, eccentricities
men 形態/調整d and turned
     through their first loving, realigning 道具s
to all that clumsy mystery...
     And so the good kids size themselves.  And so,
事情に応じて変わる into third, the boys hookslide,
     spring up, find safety in their bourbon
and their 欠陥d accounts, and in
     peculiar shade, the ballads and white-wash
here engaging 勝利,勝つd, 受託するing as 産業
     世帯 業績/成就s, the 信用/信任
to sit behind another person's wheels.
     And these, who must consort, let impulse
entertain, 形態/調整ing their news
     as catcalls over northside yards, wake one
from all the 外傷/ショックs of his nightmare,
     like something to be done with or be done about.
The (米)棚上げする/(英)提議する-staff 元気づける men
     who tip them memorably.  And crickets fiddle
for cats.  Cats get.  And the moonlight
     gets, builds clean.  And these, 影響する/感情ing culture
if not 賞賛, put on their 注目する,もくろむs
     or 軽蔑(する) should one look 支援する obsessively,
remembering the songs adventuring
     had parodied from hymnals, 得点する/非難する/20s for 軍隊/機動隊s
that seemed fantasias on an epic,
     each moment in 私的な time feeding
their 返答s, the 繁栄する of conceits
     and dash toward stricken
          seasonings.



  Go to Topping Off (2)
Go to Topping Off (3)


Character in the 作品: Twentieth-Century Lives is a large, 250-page manuscript in which I create lives for individuals whose 指名するs are inscribed on old fountain pens, with 手がかり(を与える)s from the chracteristics of the pens, from the history of the period, and from old pen advertising of the day. The 24 poems in the collection run from 2 to 33 pages and are …を伴ってd by prose introductions of a 宣告,判決 or two or as (a)手の込んだ/(v)詳述する as several hundred words, setting the 行う/開催する/段階 to enable the poems to work as poems and to 逮捕(する) not so much the facts as the feelings of living during the past ten 10年間s. Since the characters, each with his or her own story-line, could 井戸/弁護士席 have lived 近づく and been familiar with one another, there are implicit crosscurrents in the text, 暗示するing larger 状況s and 発生地s for the 構成要素s other than a 容積/容量 of poetry alone, 含むing 行う/開催する/段階 and possible film adaptations of the work.

Topping Off is for P(hilip) Bloom, M.D., owner of the honey (brown)-and-pearl -laminated Parker Vacumatic Maxima with which I began the poem. Bloom's life appears in three periods, 範囲ing from the 1930s through the middle 1980s, the first just before he received the pen and his degree in 1942, the second during the 1960s when his sister, a seamstress and 回復するing アル中患者, backslides and 死なせる/死ぬs, and the third during the 早期に and middle 1980s, just before his death, when he, as a retired 内科医, volunteered his 専門的知識 and care in に代わって of the young men 落ちるing ill with H.I.V. and 十分な-blown エイズ. The second and third periods of his life 問題/発行する 直接/まっすぐに from particular events of the first period, during which Bloom, old enough to have experienced the loss of older brothers in his 近隣 to the Spanish Civil War, experiences 失敗 in his first real love, discovering the ways passion can 悪化する into self-疑問 and recrimination, a college 上級の then, who, 運動ing alone, after drinks and quarrels with his lover and best friends, happens on a 難破させるd, overturned 自動車 on an icy midnight 主要道路, and slows to look but cannot bring himself to stop, 産する/生じるing to his despair, 疲労,(軍の)雑役, and, he believes, his cowardice, and 運動ing on, 自信のない if there were any fatalities or 生存者s. The years to come become a source of 付加 self- reproach, his …に出席するing 医療の school, for example, during the War years while other men enlisted, 含むing his sister's fiance and other 類似して 吸収するd students; and その上の source for his self-疑問 and その後の unreadiness to marry, にもかかわらず the many 適切な時期s to 結婚する, while others like himself slogged through Europe and the East. The 10年間s spent in 傷をいやす/和解させるing and solace then perhaps explain this late career, his 準備完了 to 株 himself with the unmarried young, the いつかs unloved bachelors 苦しむing toward meaner ends, during the first months then years of the エイズ 疫病/流行性の. /R. Lietz


© Copyright Robert Lietz.
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