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Hanns Lautensack, Landscape with a Castle Perched on a Rock, 1553. Public domain.

Language: Slovenian
Poet: Aleš Debeljak
Translator: Andrew Zawacki & Aleš Debeljak
Region: Slovenia

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waiting on a pair of continents

From Issue 4, poem by Aleš Debeljak, translated from the Slovenian by Andrew Zawacki & Aleš Debeljak 

Konec Domotožja

Za vsako kresnico, ki ponikne v nočni molk,
ostane praznina. Za vsako poplavo, ki kaznuje
svet, se lesketa gladka zrcalna površina. Obrazi
naši, zaskrbljeni, v odsevu se ne prepoznajo.
Le kakšen hrib, ki vlažno se napenja, da bi
segel više kot rob postelje, za hip nas zmoti:
že razporek blisne, riž prši, na dolgem krilu
lebdi razkošje izbrancem pred očmi, in mlada
ženska, ki zlahka bi ji rekel, da po teh krajih še
ni hodila, zamahne z roko. Povabi nas, kakor
da je tu od večno, temno zeleni reki podobna,
ki obliva grad z izmišljenimi grbi, vrt s peščenimi
potmi in spalnico, kjer v zavesah dihanje
ljubimcev še izpred zadnje vojne čaka, da
sprehod se neha in grejo še priče spat,
dekleta nepotešena in matere utrujenih družin,
da spat grejo obleke in občudovanje dveh celin.
Vabilu sem odzval se, edini buden, in pustil sem
se potegniti kot črta čez zemljevid: kar prej živelo
je kot samotna točka, zdaj vez postaja, ki
iz ure v uro bolj čvrsto traja in zapovedi rodu
radostno prestopa in s tvojim glasom šepeta:
»Poglej, kako dežela manj trpi, ker ni več
deviška.«

The End of Homesickness

After every firefly has vanished into
silence and night, an emptiness remains.
After all the floods to punish the world
a mirrorlike polish sticks around.
Our faces don’t recognize themselves
inside the worried reflection. Only a hill
disturbs us for a moment, moist and swelling
above the mattress edge: the slit of a skirt
that flashes open, rice falling opulent
on wings before the chosen couple’s eyes,
and a young woman, who cannot be said
to have seen this place before, waves her hand.
She invites us as if she had always been here,
resembling the dark green river
that laps against this castle and its fictitious
coat-of-arms, the garden with sandy paths
and a bedroom, where lovers from before
the war breathe in the curtains, waiting
for the stroll to end, waiting with witnesses,
maids and mothers of tired families
waiting to go to bed, waiting on a pair
of continents, waiting for even the dresses
to get to bed. The only one still awake,
I respond to the invitation, let myself
be drawn across the map: what used to live
as a single point is now becoming a line,
stronger from hour to hour and crossing
every border shaded in by others.
Whispers, in your voice: Look, the country
is no longer a huddled bird, it suffers
a little less than it did before.

Aleš Debeljak (b. 1961) is director of the Center for Cultural and Religious Studies at the University of Ljubljana in Slovenia. A poet, cultural critic, and translator, he has won several awards including the Slovenian National Book Award. His books have appeared in over a dozen languages. His volumes in English translation are The City and the Child (White Pine, 1999), Dictionary of Silence (Lumen, 1999), and Anxious Moments (White Pine, 1994). His scholarly works include The Hidden Handshake: National Identity and Europe in the Post-Communist World (Rowman & Littlefield, 2004) and Twilight of the Idols: Recollections of a Lost Yugoslavia (White Pine, 1994).

Andrew Zawacki is the author of five books of poetry: Unsun : f/11 (2019), Videotape (2013), Petals of Zero Petals of One (2009), Anabranch (2004), and By Reason of Breakings (2002). His many chapbooks include Waterfall plot (2019), Sonnensonnets (2019), Kaeshi-waza (2018), Arrow’s shadow (2017), Georgia (2013), and Glassscape (2011). He edited Afterwards: Slovenian Writing 1945–1995 (White Pine, 1999) and coedited The Verse Book of Interviews (Verse, 2005). He teaches at the University of Georgia.