sábado, 2 de abril de 2016

Planeta solitario

La Poesia es como un planeta solitario: 

Gladys Cepeda

La Entrevista:

We are privileged to  have an extensive interview of the contemporary Argentine poet Gladys Cepeda, editor of numerous literary magazines like 'LAK-BERNA', 'El Septyimo Cielo En Los Ojos' and poet in numerous anthologies of poems like 'Poetas de Avellaneda', 'La vuelta al mundo en un poema' etc.

Mainak:  When did you start writing? Have you started with poetry or short story ?

Gladys : At first, I want to thank you for this opportunity to express my words.
It is difficult to answer because I always linked with the literature, so much across the books since in my house there was a big library and they ( my family members) read me up until I started reading on my own pretty soon, my mother, ,for making me sleep,  also told me the stories where she always added new elements and I noticed that a situation could create multiple situations and then  I started creating my own stories which I used to read first of all to my mother, my grandparents and then to my father who passed away unfortunately when I was very very young but he left for me some of his poems as a great heritage.
At home there were many books to all disciplines of art, philosophy, history in general and especially literature, both my grandparents and my father wrote, and published in newspapers and literary magazines, hw also debated on all these issues and also about politics. Moreover, I am a part of the family of the Spanish poet Panero (very famous there)  through my father's side. I started writing short stories, prose and sketched some lost poems ,then I came much closer to poetry through various searched readings, lyrics of songs, and then with various literary workshops which I attended, I began to explore the breadth of the language with all possible genres, prose poetry, drama, lyrics of songs, essays, comics, scripts and novel among new ones I like to discover.

Mainak: What led you to the world of writing? Any incident or politics or society or encouragement of inner passion?

Gladys: I think that I told it already: there are many factors - imagination, reading, quest, oratory, observation, fascination for this mysterious world and magic of language and it is born like an irrepressible impulse, the dreams, the respect for those authors who gave us so many things, who surprised us, who gave us ideas, who brought us to incredible worlds like a great voyage ( I was always a big dreamer) also did us get to know cultures, problems of the people, their culture etc., who stopped us to discover wonderful hidden things, who generate us uncertainty, tension, surprise, sadness, fun and thousands of strange feelings and senses which we would not know how to name and we might not to invent a name, also worries about the world, issues such as social, religious, political, all generated me eager to discover and try to understand, I also started looking for other interests such as science, because I felt curious to the necessity of finding out everything, I was fascinated with the knowledge, wisdom, and multiple looks and freedom of interpretation, meaning or reading which can generate us.

Mainak: What did you motivate the most to write? Is there any writer whose writing inspires you for writing ?

Gladys: As I have told you, I'm an 'omnivorous' reader, I'm interested in and I like to read everything, the list of authors is endless and there are thousands of authors I love to discover continuously and I have approached each of them through their style, forms etc. to enrich my quest in my literature too but not copying them or trying to seem, experiencing various forms, dabbling in all styles and possible genres as challenges also to explore the inner and outer world and confrontation, integration, as the surrealistic told, reaching childbearing situations in antithetical ways to disintegrate or to generate new things, mostly from the chaos of inspiration as an act of rebellion against many things.

Mainak: The elements in your poems.

Gladys: The elements are thousands--- I think when we write, thousands of things and problems are revealed in our creative process, sometimes we solve them when we write or try to go clarifying or darkening and then it is intensified when corrected and that is when the text concludes, but can appear before each rereading, and other opportunities are readers who appreciate, find or perceive, at each time of my writing I was incorporating many elements which nourished and enriched texts, in other opportunities purely literary or non-literature, but as I said, the poet Marechal plotted a very subtle thread that was joining them , antithetical elements that generated interesting results.

Mainak: Thematic and linguistic evolution in Argentina literature during past 3 decades. Which is the turning point for this development? Some social revolution, war, globalization?

Gladys: I will try to summarize it as the history is complex and vast. Argentine literature always was transformed by numerous processes and changes which have given a special shape, by region, by fashion, by interests, where sometimes social or political changes have affected but not forms of writers, here a situation is always generated where on one side we find, since the beginnings of our literature the subject-matters of the author is located in the urban and the rural through European formation that generally was in the capital and the people of Buenos Aires are called  'porteño' as the city is related to a port, that struggles for independence , clashes with Spain expressed in its literature since they take the idea of the French Revolution, many authors take these issues and express it in their texts, not only in just poetry but also in the theatre,  Chronicles and a strong enough genre of letters. There, people also started the first literary and arts' cafés where many of these things also has been conceived like planning the separation of the Hispanic tradition, turning towards the English cultures, French or German encyclopedic, usually by upper-class people, which also followed some authors of the other provinces of our country. It happened during the 18th century. While in the working classes ,the rural or poorer class is the gaucho (descendant of the mixture between Indian native peoples and the Spanish or black brought by the conquistadors, who both have to do with our independence, often illiterate but with a  inborn wisdom of their traditions and the richness of their origins with legends, it is called the folklore  that since the song with a huge number of variations by region, the improvised recitative called Payada sing their feelings, landscapes, loneliness, freedom or fun from the songs from local customs, but always with a lot of depth. Then the upper classes, many owners of large farms travelled to Europe and was educated there, they pose this new reality of a country where leaders or warlords who claim their own or national culture of our traditions but accuse many writers and intellectuals as traitors, expelling them here. This starts an internal struggle that lasts for long time, those writers adhere to the European culture and romanticism but they also adapted our style and the exiled writers wrote in addition to stories or novels, lots of  history and daily chronicles about these events and also on travel. This continued till the late 19th and early 20th century, where these divisions l emerged lot of literature which  talked about these confrontations, from love, war and problems in the economy, education in the form of stories, novels, chronicles, there are few cases which touch other forms too like science fiction etc. The women also began slightly to dabble in literature discussing these issues. And in the 20th century many writers began to take other issues, through the influence of modernism they adhere to it and also the symbolism, they formed groups where they discussed on the literature and written short stories, novels, poetry, trying to break with the old literary traditions to some authors, although the Uruguayan are called Rioplatenses and they can be considered very close to the Argentines, and emerging from these topics they encompassed more fantasy, terror, within an exotic landscape. Some other writers took elements of the emergence of the arrival of immigrants arriving from Europe. To lytic, the urban customs, the future changes which established the city, the continuing clashes from humor to drama in the working classes, and the marginalized a language of their own called Creole, in contrast to the upper class who took more influence in European literature especially the French, and English with a strong influence of romanticism , in the rest of the country the problem was purely rural about injustices, heartbreaks, rootlessness and it gave rise to many forms of writing (thinking that in those days most of the people were not only illiterate but also conveyed their knowledge of songs ( from Payada up to the Milonga) where the knowledge based on tradition and orality was transmitted, even in packages of 'yerba mate' (the most consumed national drink here) and where people also witnessed clashes between the two regions, Buenos Aires facing the rest of the country in internal, fratricidal struggles for many years. And that is also reflected in our literature from the 20th century. This emerged the strongest characteristics and we began to see a difference between the capital which took up part of their Hispanic heritage and the rest of Europe, especially England, France and Italy little less and also with the arrival of immigration of various people who were escaping from the problems in Europe which gave birth to a new type called the compadrito who imposes a language called 'lunfardo' taken from the influences of the immigrants mixed with the regional culture and music, Milonga and Tango through poetry and Comedy Theatre which is generally seen in circuses, literature began to reflect these issues of cultural changes generating not only a shock but also an enrichment of the new types, at that time several groups which tried to reflect their interests and concerns and dissemination of new authors, I will only say some (The Consistory of the Gay Saber, Martin Fierro, Florida and Boedo etc.) which were the foundational groups which came later. In the case of Florida and Boedo, two streets of Buenos Aires clashes, the problem of aesthetic in literature arouse, as it had been happened before, literature with more influence by leftist ideas, social problems and anarchists influenced by Spanish, Italian, Russian authors also were called cursed confronted to a literature in search of the aesthetic , French, English, German, another issue that framed the arrival of modernism in our literature, and ultraism approached to other vanguards such as Futurism, Dadaism and surrealism, expressionism etc. In the rest of the country,  voices arose on the one hand showing a naturalism in its aesthetic mixed with the problems of social injustice, moral problems and on the other hand, the others started searching for the Christian faith mixed with Paganism. Subsequently a magazine called Sur came publishing, on that time, important means which boasted the best collaborators and it generated a current promoter of the arrival of many authors (Tagore, Sartre, Ortega Gasset, Ionesco (the list is long), other writers who were then truly important, others where were impossible to read due to lack of translation or were at the forefront in the dissemination of the new coming world. During the Spanish Civil War, many Spanish intellectuals and artists came here and  then founded many publishing houses, magazines and the achievement came into forefront. In the decades of 40s and 50s, many new groups were influenced by the existentialists, the Lost Generation and the Beats' writers of  USA. The absurd and psychoanalysis as the movement of concrete invention also took the cursed French poets, the vanguards of all time, the avant-garde of all times ,this was also filmed on many authors whose novels were used as scripts, 'Poesia Buenos Aires ' magazine and on the outskirts of Buenos Aires, many began to form groups both from literature and other arts showing the proletarian world, the squalid landscape and also themes like friendship, neighborhood, feelings, showing issues inside the magazine 'Vuelo' brought writers from all provinces, many of them were related to folklore group 'La Carpa' and others were generating a form which mate modernity and lyricism with the landscaper. As once politics divided the country into two groups and Peronism and the opposition, many writers joined him and others had to exile the country, generating an important cultural vacuum, although many writers also chose other side of literature pointed toward social and popular customs and national culture emphasizing above all things. A constant back and forth between democratic governments and military coups also generated a contrast in the literature during the democratic government, there was freedom and the word was experienced to exceed ends and authors expressed issues which generated gender conflicts, religion, institutions, structures breaking ways, directly and simultaneously complex, while in authoritarian times everything was expressed with subtlety with a double message which tried to keep fighting in those times  having its preponderance in detective novels and science fiction, and also having an official empty and superficial literature, besides death and exile of many writers. Many writers were being interested in Oriental literature and spirituality and others in pop art, with influences of Hipism bringing literature to unsuspected limits of experimentation, where all forms of arts and poets and writers performed arts theater or created laboratories, one of the main epicenters was the Institute Di Tela. Also there was a strong relationship with Latin America and growing interest in conducting almost a literature with common themes and expressions which reflect idiosyncrasies of geographies and cultures of the forgotten authors of black or indigenous origin with a form of symbol-laden baroque writing , and also with extremist movements like Dadaism and provocative collection in those times impulse the essay as a genre. A situation that marked was the bars as peace or the cave where the Bohemian lifestyle was achieving that the authors were joining and debating or creating literature in those days, we can speak of many groups and magazines but Re as The Gold Bug. At that time, a movement began which also had to do with these revolutionary changes in culture and expressed girders young authors, we began to sing the rock here in Argentina in Spanish rather than in Spain for example there many of these composers as well as great readers brought a lot of poetry in their music and the film also began to generate a change in cultural habits and lead many storytellers and poets to make film as writers or sometimes inspiring scripts and also adapting authors and you can see that a lot in the kind of numerous written narrative which began to relate to each other leaving for Europe, USA, East to learn about all the new experience of the art , others began to relate more with the Latin American cause and her regional literature and it was called the Latin American boom.
After that, one of the most violent dictatorships of all time came and we witnessed disappearances and deaths of many writers and exile, burning books, censorship and other atrocities, which might begin to write an underground literature or many populated metaphors of symbolism counting on this. With the return of democracy, many authors came back and tried to retake the void that was left and much of the literature shows that feeling between pain and hope, others tried to interact more with everything new they learned from the outside and many groups were created to read poetry everywhere starting-called literary cafes, where collective experiences of poetry were made with other arts and through self-generated projects they were also trying to generate their own magazines, or taking magazines and fanzines (many) follow several streams but trendsetter one was Neo-baroque O baroque Neo and it was mixed also with bands -Punk or dark in the style artist Andy Warhol in basements or small places or as the old Brown concert of the 60s, one very famous site was Parakultural.
In the 90s, many of these activities had been increased and many institutions emerged literature, opposing the S.A.D.E , Argentina Society of Writers and many writers criticized this crisis for being restrictive and elitist, it strongly committed social literature with the problems caused by post-modernism sometimes mixing it with an extremist literature or burst as it was called here on one hand and on the other hand, others write a type of more personal and intimate literature, with subtle images and the other groups called Paralengua work with language mixing audiovisual rescuing the anti-poetry and Vanguards of different epochs. In the new century, many groups were institutionalized and another company of writers 'LA SEA' tried to find alternatives such as subsidy for the writers and also began to organize big poetry festivals and other groups on novel, short stories etc. There was also a  fight between elitist and closed attitude of the international book fair, creating groups, literary fairs or cooperatives as a way of rebelling against the elites of literature, they have long boom-- literary workshops which already came from the 80s but they begin to operate in many places, along with the experience of the multiple cultural centers which accommodate all these concerns then other institutions try to do activities in non-traditional areas such as hospitals, prisons, marginalized schools, soup kitchens and everywhere possible experiences that had been made before interrupted by several factors, also they reappear under radios transmitting art and alternative culture where the same poets or artists are those that produce them. And a kind of more eclectic literature came forefront with a mixture of styles and times, reaching new times with the advent of technology where many writers begin to look for alternative ways with both the computer and cell phone to write increasingly limited texts. And others take more personal and descriptive positions or carry great stories to form poetic speeches where they mix journalistic formats with new styles and go beyond the traditional idea and writing becomes more immediate, but others still hold more classical styles and formats, the rise of science fiction, psychological and historical novel, also more academic essay and cartoon has been started, in poetry they work with more direct and narrative or subtle and impersonal voices, the relationship with the audiovisual media writing is too increasing, poetry also relates to the poetry of Rap music.

... To be continued

María Dacruz

María Dacruz
País: Argentina

 মারিয়া দা ক্রুস
দেশ: আর্হেন্তিনা
ভাষা: স্প্যানিশ

Poema Original : ESTA NOCHE...

Seré tuya,
cuando camino 
a tu casa
me moje la lluvia,
y me tapes con tu bata
o me abrigues
con tu piel,
tomando mi mentón
me robes un beso
con sabor a miel.

Esta noche
mi naturaleza salvaje
sólo por tí
quiere ser explorada,
porque sé
que a tu lado,
con tu calor que ansía,
todo mi ser
se va incendiar.

Soy marea brava,
tu serás mi calma.
Por eso esta noche
quiero ser tuya,
que tú seas mío,
que no haya frío,
con nuestra piel.

La Traduccion en bengali
আজ রাতে...

তোমার অধরে আমার মরণ,
যখন তোমার বাড়ির দিকে
হেঁটে যাব
বৃষ্টি ভিজিয়ে দেবে আমায়,
তোমার কোটে ঢেকে নেবে আমায়
হয়তো বা তোমার
শরীরের চাদরে,
দুই অধরে
মধুমাসের গান।

আজ রাতে
মানবী বন্যতা
তোমাতেই নিবেদিত
হয়তো ঘুম ভাঙবে আগ্নেয়গিরির
কেননা আমি
তোমার আকুলিবিকুলি আহ্বানে
আমার অত্মরাত্মায়
ছড়িয়ে পড়বে দাবানল।

আমি তো উচ্ছ্বল জোয়ার
আর তুমি সুস্থির মানব
এ রাতে তাই
হারিয়ে যাই তোমার অধরে
জেগে উঠে শীত
হারিয়ে যাবে
আমাদের উষ্ণ
অমরত্বের মাঝে।

Poema Original : SOY ADICTA A TÍ...

Tus ojos son el resplandor del día
tu mirada se va fundiendo en mí,
tu ser se estremece en la adición mía
sin saber que soy adicta a tí.

No quiero despertar de este sueño,
es tanto lo que tú me seduces,
y tan real como furtiva me encuentro
embriagándome en tus labios dulces.

Me apartaste del sufrir en el que yo estaba
como un Dios te cruzaste en mi camino,
sin tus suspiros me siento amargada
si me falta esta adicción que vivo.

Mi cuerpo trenzado y el mirar perdido
mis ojos brillan, mi adicción intensa,
y cuando a mi rostro lo veo herido,
dejo el cuerpo que tus labios me vean.

Un relámpago en mi oscuro cielo
me vuelve otra vez la adicción a ti,
mis manos ven tu cuerpo sin recelo
gimiendo esta adicción de este sentir.

Siento miedo al pensar si te perdiera 
que volviera a mi antiguo suspiro,
sentirme anegada en mi amargura
antes de cruzarte en mi camino.

No deseo encuentros esporádicos
quiero que estés siempre dentro de mí,
dar rienda suelta a mis alaridos
porque a sí mi amor. ¡ Soy adicta a tí ! 

Soy adicta a tus besos y caricias.
Soy adicta a tu amor y a tu cuerpo.
Soy adicta al hacerme tuya.
Soy adicta a tu piel y a tu sexo.

La Traduccion en bengali

তোমার দু চোখে প্রভাতী আলোকচ্ছটা
তোমার দৃষ্টি ভেদ করে যায় আমার যাপন
তোমার সত্ত্বা কেঁপে ওঠে আমার আশ্লেষে
যদিও জানে না, তুমিই আমার আসক্তি

এই স্বপ্ন থেকে জেগে উঠতে চাই না
কত গভীরে নিয়ে যেতে পারো আমায়,
বাস্তবের মতোই আমি অধরা রই,
তোমার মিষ্টি অধরে আসক্ত হয়ে পড়ি।

যে যন্ত্রণায় ডুবে ছিলাম, দূরে ফেলেছো তাকে
ঈশ্বরের মতোই আমার রাস্তা পেরিয়েছো
তোমার দীর্ঘশ্বাস ছাড়া আমার জগৎ বিস্বাদ
এই আসক্তি জীবনে প্রয়োজন আমার

আমার মোচড়ান শরীর আর বেপথু দৃষ্টি
আমার দু চোখে উদ্ভাস, অন্তহীন আসক্তি,
আর যখনই  নিজের যন্ত্রণাবিদ্ধ মুখ দেখি,
বিছিয়ে দিই নিজেকে যাকে দেখে তোমার অধর।

আমার মেঘাচ্ছন্ন আকাশে বজ্রপাত
আবার আমাকে ঠেলে দেয় তোমার দিকে,
আমার নিঃসন্দেহ দুহাত উঠে আসে তোমার শরীরে
আসক্তির কান্না শুনি।

তোমাকে হারিয়ে ফেলার ভয়ে মরি
যদি আগের দীর্ঘশ্বাস ফিরে আসে,
তুমি আমার রাস্তা পেরিয়ে যাবার আগেই
আমি যেন নিজেরই তিক্ততায় জলমগ্ন।

চাই না আমার এ অসংহত অভিসার
তুমি বরং আমার হৃদমাঝারে থেকো,
হারিয়ে ফেলো নিজেকে আমার আর্ত-আনন্দে
কেননা, তুমিই আমার আসক্তি, তুমি আমার দয়িত।

তোমার চুম্বন আর আলিঙ্গনে আমার আসক্তি।
তোমার ভালবাসা আর অধরে আমার আসক্তি।
তোমাতে হারিয়ে যাওয়ায় আমার আসক্তি।

তোমার সুঠাম দেহ আর ওর সুরভিতে আমার আসক্তি।

Francisco Muñoz Soler

Francisco Muñoz Soler
ফ্রান্সিসকো মুনিয়োস সোলের
País: España     দেশ: এস্পানিয়া

El poema original:


Qué frásiles son nuestras vidas
qué fugaces, qué absurdas,
qué crueles, qué hermosas
        mientras duran.

La traduccion en bengali:

কি ঠুনকো আমাদের জীবন

কি ঠুনকো আমাদের জীবন
কি অস্থির, কি কিম্ভুতকিমাকার
কি নিষ্ঠুর, কি রমণীয়
যতক্ষণ সে চলতে থাকে।

El poema original:


Esperamos lo que nuestro sentido común
no entiende ni acepta.
Rezo a Dios para que mi sentido común
sea un cubo de agua en el océano de la comprensión.

La traduccion en bengali:

আমরা অপেক্ষা করি

আমরা অপেক্ষা করি তার জন্য যা
আমাদের বোধ বোঝে না, গ্রহণও করে না।
ঈশ্বরের কাছে প্রার্থনা করি আমার বোধ
সাগরের বোধের এক বালতি জল হয়ে উঠুক।

El poema original:


es un ejercicio de actitud constante
un dejarse llevar y la vez retener
      las complejas esencias
de nuestras emociones y sentimientos.

La traduccion en bengali:


যেন নিয়ত নাটকীয়তার নমুনা
আমাদের আবেগ আর অনুভূতির
জটিল নির্যাসকে
ছেড়ে দেওয়া এবং আঁকড়ে ধরা।

El poema original:

al amor y la amistad,
bebe, charla, baila, besa,
sus ojos chispados
buscan compasión y esperanza,
quiere que nunca acabe
esta noche rodeada
de personas que la aman.

                                                                                   En Tijuana, a Ana en su dolor.
La traduccion en bengali:

রাতের সম্মুখে

ভালোবাসা ও বন্ধুত্বের কাছে
পানরত সে কথা বলে, নাচে, চুমু খায়
দু চোখে তার স্ফুলিঙ্গ
সমবেদনা আর আশা খুঁজে চলে
সে চায় না শেষ হোক
এই রাত এই লোকেদের বৃত্তে
যারা তাকে ভালোবাসে।

                                                                তিখুয়ানা'তে। বেদনাহত আনাকে।
El poema original:


para inventarme lugares,
recorrer inútilmente
lugares en ninguna parte
para volver conmigo.

                                                                                                En Tijuana

La traduccion en bengali:

সারা পৃথিবীর অর্ধেক ঘুরে

নিজেকে বিভিন্ন জায়গায় আবিষ্কার করব বলে
ঘুরে বেড়াই উদ্দেশ্যহীন
নিজের কাছে ফিরে আসব বলে।
El poema original:


si no esperas
un beso, una caricia,
un gesto de cariño.

                                                                                                                 En Tijuana

La traduccion en bengali:

বেঁচে থাকার কোনো ঘর নেই

যদি অপেক্ষা না করো
একটা চুমুর জন্য, আলিঙ্গনের জন্য,
উষ্ণতার ছোঁয়া।
El poema original:


nos llega y domina,
sobre ese punto intangible
gravitamos sin remedio
por más que queramos
voltear la Tierra.

                                                                                                                      En Tijuana
La traduccion en bengali:

যন্ত্রণায় আমার গেরস্থালি

সে এসেই কর্তৃত্ব করে আমাদের ওপর,
স্পর্শাতীত মুহূর্ত পর্যন্ত
অনারোগ্যে ন্যুব্জ হয়ে পড়ি
আরো বেশি যেন ডিগবাজি

খেতে চাই মাটির বুকে।

José Sánchez Hernández

José Sánchez Hernández
হোসে সাঞ্চেস হের্নান্দেস 
País: Cuba   দেশ: কুবা

El poema original:


Las cosas toman la forma de sus dueños
este lápiz se parece a mi voz
solidaria en su libre albedrío
gastándose en cada metáfora

Creo haber estado escribiendo
el mismo poema desde siempre
la misma verdad sucesiva

Las manos y las palabras del poema
son gemelas en sus discordias
Unas levantan paredes
que mañana serán la casa
Con las otras sigo manchando papeles
por los que algún día seré juzgado

Para entonces
solo el Poema podrá salvarme

La traduccion en bengali:

আমি এবং কবিতা

জিনিসপত্র সব তাদের স্বত্বাধিকারীর চেহারায় বদলে যায়
এই পেনসিলটা যেন আমার কণ্ঠস্বর
তার বাধাহীন আপন খেয়ালে সংহত
খইয়ে ফেলছে নিজেকে প্রতিটি রূপকে

ভেবেছি লিখে চলেছে সে
একই কবিতা অনন্তকাল
একই পরম্পরীণ সত্য

কবিতার হাত আর শব্দের সমাহার
যেন সাদৃশ্যহীন যমজ
কেউ কেউ জাগিয়ে তোলে মা-বাবাকে
সকালে তারা ঘরে থাকবে
অন্যদের মতো আমিও নোংরা করেই চলেছি কাগজ
যারা একদিন বিচার করবে আমার

সেই মুহূর্তে
কবিতাই বাঁচাবে আমায়

El poema original:


El que lea o escuche este poema
es ya cómplice de homicidio

Ha matado entre otras y tantas
la estupidez de autoagredirnos
como si fuéramos arcángeles de la verdad
y en cuanto amanece haya que calzarse el odio

Hace mil guerras mundiales pactamos la desnudez
y todavía florecen coleccionistas de inviernos
mercaderes del cuervo de Poe
claro ya sin la tenacidad del mar y sus cantos
los que sobrevivieron cuando la gratitud

Ser cómplice de homicidio
cuando se está matando el odio más antiguo
es vivir partidario a ningún muro
poseer luz a precio de luz

El que lea o escuche este poema
al menos mientras dure su fuego
no podrá arrojar la primera piedra

La traduccion en bengali:

প্রথম পাথরটা ছুঁড়ো না

যে পড়বে বা শুনবে এই কবিতা
সে তো নরঘাতকের দোসর

এতকিছুর মাঝে সে নিহত করেছে
নিজেকে ক্ষতি করার বোকামিকে
যেন আমরা ছিলাম সত্যের শ্রেষ্ঠ দেবদূত
আর ভোর হতেই পরে নিতে হতো ঘৃণার পোশাক

সহস্র বিশ্বব্যাপী লড়াইয়ে আমরা চুক্তি করি নগ্নতা
তবুও পাপড়ি মেলে শীতের ফুল
পো'র 'মার্চেন্টস অফ ক্রো'
সমুদ্র আর তার গীতিমাল্যের সংসক্তি ছাড়াই
যারা বেঁচেছিল কৃতজ্ঞতাবোধে

নরঘাতকের দোসর হই
যখন সবচেয়ে প্রাচীন ঘৃণা হত্যা করে নিজেকেই
বেঁচে থাকা কোনো দেওয়ালকেই সমর্থন করে না
আলোর মূল্যে আলোর অধীশ্বর হওয়াকেও

যে পড়বে বা শুনবে এই কবিতা
অন্ততঃ যতক্ষণ জ্বলবে তার আগুন
ছুঁড়তেই পারবে না প্রথম পাথরটা

El poema original:


Seguro que volveré por mi sombra
algún hada susurrará al oído de los sueños
haré del tiempo un manojo de extrañeza
seguro volveré y ahí estará el naranjo
todos mis alaridos deudores del silencio
de cada quetzal que he muerto en otoño
pondré mamparas emplumadas al viento que ciega mi césped
público destrozo será la caída de la tarde
el gris del día viaja en mi garganta
pero volveré seguro volveré por mi sombra
a pleno sol sin promesas
y he de vestir sus anteriores despojos
frente a las guadañas mismas de los incrédulos

volveré con intolerable certeza volveré
arreciados aquellos vecinos del agua
ya no serán mis manos el confín de todo lo amado
habrá rasgaduras que mi sombra no podrá ocultar
pero fiel medida a la voz que lanza
muchos buscarían trocar su larga altivez
el candor perdido malhumorado
por las calles enronquecidas de tanta espera

todo el muro puede estar gritando muerte
pero volveré seguro volveré por mi sombra
y he de vestir su postrer alumbramiento

La traduccion en bengali:

স্বাগত কখনো না কে

নিশ্চয়ই ফিরব আমি নিজের ছায়া হয়ে
কোনো এক পরী স্বপ্নে ফিসফিসিয়ে কথা বলবে
সময় সময় করবো কিছু অনাসৃষ্টি
নিশ্চয়ই ফিরব আর সেখানে থাকবে কমলালেবু
আমার কেতজালের নীরবতার সব দায়গ্রস্ত আর্তনাদ
চলে গেছি হেমন্তে
হাওয়ায় ভাসাবো পালকের পর্দা, ওরা ছায়ায় ঢাকবে আমার সবুজ লন
লোকের বেদনার্তি হবে বিকালের পাতাঝরা
দিনের ধূসরতা ভ্রমণ করে আমার কণ্ঠে
কিন্তু নিশ্চিতভাবেই ফিরব আমি নিজের ছায়া হয়ে
মাঝ-দুপুরের অঙ্গীকারে
আর পরে নিতে হবে আগেই ফেলে যাওয়া তার পোশাক
সংশয়বাদীদের কাস্তের সম্মুখে

ফিরব অসহনীয় নিশ্চয়তায়
জলের সুতীব্র প্রতিবেশীরা
হয়ে উঠবে না আমার তালুবন্দী দয়িত
নেমে আসা চোখের জল লুকোতে পারবে না আমার ছায়াও
কিন্তু কন্ঠের সেই বিশ্বস্ততা ছড়িয়ে পড়বে
অনেকেই বদলাতে চাইবে তাদের সীমাহীন অহংকার
হারিয়ে যাওয়া সারল্য হিংস্র হয়ে ওঠে
এত প্রতীক্ষার কাঁকড় বিছানো পথে

পুরো দেওয়ালটাই গোঙাতে গোঙাতে মরে যেতে পারে
কিন্তু নিশ্চিতভাবেই ফিরব আমি নিজের ছায়া হয়ে

আর পরে নিতে হবে তার শেষ অর্পণ