"Νωτιαία Γλώσσα" by Chrisopher Fox Graham

Η 24η Ιουλίου 1974 σηματοδότησε την αποκατάσταση της δημοκρατίας στην Ελλάδα μετά από επτά χρόνια στρατιωτικής δικτατορίας. Το πραξικόπημα του 1967 είχε ως αποτέλεσμα μια μακρά περίοδο φόβου, διώξεων, καταπάτησης προσωπικών και πολιτικών δικαιωμάτων, δυσπιστίας και αστάθειας. Κάθε χρόνο, η ημέρα της Αποκατάστασης της Δημοκρατίας γιορτάζεται με δεξίωση που πραγματοποιείται στο Προεδρικό Μέγαρο στην Αθήνα.

"Νωτιαία Γλώσσα"

by Chrisopher Fox Graham

δώσε μου ένα τατουάζ

βαθύτερο από το δέρμα

στα οστά της σπονδυλικής μου στήλης

στην επιφάνεια κάθε σπονδύλου

σε κάθε ανθρώπινη γλώσσα

τατουάζ λέξη τους για 

"Ποίηση"

έτσι ώστε καμία γλώσσα να μην αισθάνεται ξένη πια.

έτσι ώστε κάθε ανθρώπινη φωνή

μπορεί να πει μια λέξη μέσα μου

ας Αραβικά και Εβραϊκά

Καθίστε δίπλα-δίπλα χωρίς να πετάξετε πέτρες

αφήστε τους καντονέζικους και χίντι χαρακτήρες

ενώνουν τα χέρια για να κρατήσουν τα σουαχίλι και τους χούτου σε μια αιώρα

αφήστε τους Βάσκους και τους Ζουλού να αγγίξουν τελικά τα χείλη του Βιετνάμ

ενώ ο Ναβάχο ακουμπά το κεφάλι του στον ώμο της Μαλαισίας

Μιλάμε έξι χιλιάδες γλώσσες

Αλλά θα υπομείνω τον πόνο και το χρόνο

Έτσι καμία ανθρώπινη φωνή δεν μπορεί να μου μιλήσει

χωρίς να γίνεται αισθητός

μέχρι το κόκκαλο

αφήστε τις αφρικανικές συλλαβές

να μοιράζονται χώρο με τις ευρωπαϊκές αρθρώσεις,

Ασιατικά μορφήματα,

και προφορές των Αβορίγινων,

Ευθυγραμμίστε τα και χαράξτε τα

σαν οργανικός γραμμωτός κώδικας γραμμένος σε γραφή Braille

αναγνώσιμο από τα σκουλήκια που μια μέρα θα με μετατρέψουν πίσω

στη θρησκεία της σκόνης και της στάχτης

που πιστέψαμε κάποτε

Πριν από αυτή τη λατρεία της σάρκας και του αίματος

μας έβγαλε από πηλό

για να παίξετε σύντομους χαρακτήρες στη βροχή

Ας γευτούν τη γεύση των λέξεων μας

Αφήστε τους να καταναλώσουν ποίηση

και δώστε το πίσω στο έδαφος

Έτσι η γη μπορεί να αισθανθεί το βάρος των λόγων μας

και να μην μας ξεχνάμε

όταν εξαφανιζόμαστε

όπως τα είδη πριν από εμάς

Χαράξτε την τελευταία λέξη

Σε κώδικα Μορς

στη βάση της σπονδυλικής μου στήλης

για να ακούσω το ρυθμό της λέξης

στους γοφούς μου όταν κοιμάμαι

.--. --- . - .-. -.--

Αφήστε τις κουκκίδες και τις παύλες να εξαπλωθούν

σε όλα τα οστά μου σε έναν ιό κατανόησης

Έτσι, αν χάσω τη φωνή μου

Μπορώ ακόμα να πω μια λέξη

χτυπώντας τα δάχτυλά μου,

χτυπώντας ένα τύμπανο

ή αλλάζοντας το ρυθμό του καρδιακού παλμού μου

να μιλήσω με το αίμα μου

φαντάζομαι

έξι χιλιάδες γλώσσες

Παίζοντας τη σπονδυλική μου στήλη

σε αρμονία 33 μερών

Κάνοντας μια συμφωνία μου

με μια μελωδία που αντηχεί

μέχρι το νωτιαίο μυελό μου

αντηχώντας όλο και πιο δυνατά στη σήραγγα

ενίσχυση της σύνθετης μουσικής

μέχρι τη βάση του εγκεφάλου μου

όπου εκρήγνυται

και αντηχεί μέσα στο κρανίο μου

εξοστρακισμός

Έξι χιλιάδες νέες εκφράσεις

για την ίδια λέξη

με τις φωνές έξι δισεκατομμυρίων τραγουδιστών

στις έξι τρισεκατομμύρια σκέψεις μου

μέχρι να μπορέσω να μην αντέξω άλλο χάος

και το τραγούδι τους εκρήγνυται από τα χείλη μου

προσφέροντας τον κόσμο

Μια στιγμή συγχρονισμένης κατανόησης

ενός τραγουδιού

μιας φωνής

ενός ανθρώπου

για μια στιγμή

πριν ο κόσμος αναβοσβήνει

χάνει την εστίαση

και ακούει την ηχώ

σιγά-σιγά ξεθωριάζουν

αλλά θυμάται 

Ο ήχος 

της ποίησής μας

"Notiaia Glossa"

by Chrisopher Fox Graham

dose mia ein tattoos

bathyter apo to derma

stou osta ths spondylic mia steles

sten epiphania kathe spondylou

so kathe anthropine glossa

tattoos lexi these gia

"poesy"

etsi aste kamia glossa nha mhn esthanetai xeni pia.

etsi aste kathe anthropine phoni

mporei nha pei mia lexi mesha mia

as arabic kai evraika

kathiste dipla-dipla choris nha petaxete petres

afiste these cantonese kai kindi charachters

enonoun ta car gia nha kratisoun ta swachili kai these khutu so mia aiora

afiste these basques kai these zulu nha agixun telika ta cail the bietnam

uno aux navajo akoumpa to kefali the ston omo ths malaysias

milame exi kilos glosses

allow t ypomeino ton pain kai to chrono

etsi kamia anthropine phoni den mporei nha mia milisei

choris nha ginete aesthetus

mechri to kokkalo

afiste these african syllaves

nha moirazontai car me these europes arthroseis,

asiatic morphemes,

kai prophoration than aboriginal,

euthygrammine ta kai charaxte ta

shan organic grammotos codex gramenos so grafi Braille

anagnosimos apo ta skoulikia pou mia mera t me metatrepsun piso

sti threskeia ths skonis kai ths stachtis

pou pistepsame capote

prima apo ayti the latria ths sarkas kai the aematus

mas evgale apo pilo

gia nha paixete syntomous charachters sti broche

as geutoun the geusi than lexeon mas

afiste these nha katanalosoun poesy

kai doste to piso sto edafos

etsi iii gi mporei nha aisthanthei to baros than logon mas

kai nha mhn mas xechname

otan exaphane

opos ta eidh prima apo emas

charaxte then teleytaia lexi

so codice morse

sti bazi ths spondylic mia steles

gia nha akouso to rythm ths lexis

stous gofous mia otan kimamai

.--. --- . - .-. -.--

afiste these koukkides kai these paules nha expand

so all ta osta mia so enan io katanoisis

etsi, anne khaso the phoni mia

mporo akoma nha pau mia lexi

chtypontas ta dachtyla mia,

chtypontas ein tympanum

a allazontas to rythm the cardiac palmou mia

nha miliso me to aima mia

fantazomai

exi kilos glosses

paizontas the spondylic mia stele

so armonia 33 meron

canonds mia symphony mia

me mia melody pou antekhei

mechri to notiaio myelo mia

antichontas whole kai pio dynata sti siragga

enischysi ths synthetic mousikis

mechri the bazi the egkefalou mia

opou ekrignytai

kai antekhei mesha sto kranio mia

exostracism

exi kilos news expression

gia then idia lexi

me these fones exi disecatomuria tragoudia

sites exi trisecatommyria skepseis mia

mechri nha mporeso nha mhn antexo allo kaos

kai to tragoudi these ekrignytai apo ta cail mia

prosferontas ton kosmo

mia stigmi sygchronismenis katanoisis

enos tragoudiou

mias fonis

enos anthropou

gia mia stigmi

prima aux kosmos anavosvinei

can then estiasis

kai akouei then eco

siga-siga xethoriazoun

allow thimatai

aux echos

ths poesis mas

Waiting for the Barbarians

Waiting for the Barbarians
By Constantine Petrou Photiades Cavafy

What are we waiting for, assembled in the forum?

The barbarians are due here today.

Why isn't anything happening in the senate?
Why do the senators sit there without legislating?

Because the barbarians are coming today.
What laws can the senators make now?
Once the barbarians are here, they'll do the legislating.

Why did our emperor get up so early,
and why is he sitting at the city's main gate
on his throne, in state, wearing the crown?

Because the barbarians are coming today
and the emperor is waiting to receive their leader.
He has even prepared a scroll to give him,
replete with titles, with imposing names.

Why have our two consuls and praetors come out today
wearing their embroidered, their scarlet togas?
Why have they put on bracelets with so many amethysts,
and rings sparkling with magnificent emeralds?
Why are they carrying elegant canes
beautifully worked in silver and gold?

Because the barbarians are coming today
and things like that dazzle the barbarians.

Why don't our distinguished orators come forward as usual
to make their speeches, say what they have to say?

Because the barbarians are coming today
and they're bored by rhetoric and public speaking.

Why this sudden restlessness, this confusion?
(How serious people's faces have become.)
Why are the streets and squares emptying so rapidly,
everyone going home so lost in thought?

Because night has fallen and the barbarians have not come.
And some who have just returned from the border say
there are no barbarians any longer.

And now, what's going to happen to us without barbarians?
They were, those people, a kind of solution.

C.P. Cavafy, "Collected Poems." Translated by Edmund Keeley and Philip Sherrard. Edited by George Savidis. Revised Edition. Princeton University Press, 1992.
The original Greek:

Περιμένοντας τους Bαρβάρους
Kωστής Πέτρου Φωτιάδης Kαβάφης

— Τι περιμένουμε στην αγορά συναθροισμένοι;

Είναι οι βάρβαροι να φθάσουν σήμερα.

— Γιατί μέσα στην Σύγκλητο μια τέτοια απραξία;
Τι κάθοντ' οι Συγκλητικοί και δεν νομοθετούνε;

Γιατί οι βάρβαροι θα φθάσουν σήμερα.
Τι νόμους πια θα κάμουν οι Συγκλητικοί;
Οι βάρβαροι σαν έλθουν θα νομοθετήσουν.

—Γιατί ο αυτοκράτωρ μας τόσο πρωί σηκώθη,
και κάθεται στης πόλεως την πιο μεγάλη πύλη
στον θρόνο επάνω, επίσημος, φορώντας την κορώνα;

Γιατί οι βάρβαροι θα φθάσουν σήμερα.
Κι ο αυτοκράτωρ περιμένει να δεχθεί
τον αρχηγό τους. Μάλιστα ετοίμασε
για να τον δώσει μια περγαμηνή. Εκεί
τον έγραψε τίτλους πολλούς κι ονόματα.

— Γιατί οι δυο μας ύπατοι κ' οι πραίτορες εβγήκαν
σήμερα με τες κόκκινες, τες κεντημένες τόγες·
γιατί βραχιόλια φόρεσαν με τόσους αμεθύστους,
και δαχτυλίδια με λαμπρά, γυαλιστερά σμαράγδια·
γιατί να πιάσουν σήμερα πολύτιμα μπαστούνια
μ' ασήμια και μαλάματα έκτακτα σκαλιγμένα;

Γιατί οι βάρβαροι θα φθάσουν σήμερα·
και τέτοια πράγματα θαμπώνουν τους βαρβάρους.

—Γιατί κ' οι άξιοι ρήτορες δεν έρχονται σαν πάντα
να βγάλουνε τους λόγους τους, να πούνε τα δικά τους;

Γιατί οι βάρβαροι θα φθάσουν σήμερα·
κι αυτοί βαρυούντ' ευφράδειες και δημηγορίες.

— Γιατί ν' αρχίσει μονομιάς αυτή η ανησυχία
κ' η σύγχυσις. (Τα πρόσωπα τι σοβαρά που εγίναν).
Γιατί αδειάζουν γρήγορα οι δρόμοι κ' η πλατέες,
κι όλοι γυρνούν στα σπίτια τους πολύ συλλογισμένοι;

Γιατί ενύχτωσε κ' οι βάρβαροι δεν ήλθαν.
Και μερικοί έφθασαν απ' τα σύνορα,
και είπανε πως βάρβαροι πια δεν υπάρχουν.

Και τώρα τι θα γένουμε χωρίς βαρβάρους.
Οι άνθρωποι αυτοί ήσαν μια κάποια λύσις.

Constantine Petrou Photiades Cavafy (as he wanted the family name to be spelled in English), son of Peter-John Ioannou Cavafy and Charicleia Georgaki Photiades, was born in Alexandria on 29 April 1863. Both his parents were natives of Constantinople, and Constantine was proud of his heritage and his illustrious ancestors. His Phanariote great-grandfather Peter Cavafy (1740-1804) was Secretary of the Ecumenical Patriarchate, while his Phanariote great-great-grandfather John Cavafy (1701-1762) was Governor of Jassium, as was his great-grandfather Michael Scarlato Pantzo (brother of Meletius, Patriarch of Alexandria), while his great-great-great-grandfather Theodosius Photiades (brother of Cyril, Bishop of Caesarea Philippi) was an Official of the Ottoman Government.
Cavafy was a cosmopolitan by birth, his family roots extending from Constantinople to London (via Alexandria, Trebizond, Chios, Trieste, Venice and Vienna), and was the youngest of seven brothers (two more elder siblings, a boy and the sole girl, died in infancy).
His father, Peter-John, the fourth child of five, proved to be an astute merchant (his own father had also been a merchant and a landowner). Holding dual citizenship (Greek and British), he set up offices in Constantinople, London and Liverpool, before establishing firm and family in Alexandria, where he was one of the founders of the Greek Community. The Cavafy family flourished there both financially and socially, but Peter-John's death in 1870 forced the surviving members of the family to move to England in 1872, when Constantine was nine years old.
His mother, Charicleia, the eldest child of eight, was a practical person. Her father was a gem merchant, and married off Charicleia to Peter-John when she was about fourteen years old. As her husband was mostly away on business, she spent the first couple of years of marriage at her in-law's and later set up house in England, where Peter-John hired tutors for her education. After his death, Charicleia returned to England in order to be close to the family of her brother-in-law George Cavafy, who was running the Cavafy firm.
As family fortunes declined, Charicleia lived in Liverpool for almost two years, then moved to London for roughly the same amount of time, then back to Liverpool for less than a year. The firm «Cavafy & Co.» dissolved in 1876, and in 1877 Charicleia and her younger children returned to Alexandria, settling in an apartment instead of the townhouse of old.
Not much is known about the five years that Constantine spent in England, save that he attended school there and that he spent some summer vacations in Dover. We do know that in Alexandria he attended the «Hermes» school, where he made his first close friends in the persons of Mike Ralli, John Rhodokanaki and Stephan Skylizzi, that he was borrowing books from public libraries and that he had started drafting his own Historical Dictionary at age eighteen.
Cavafy's second Alexandrian period was cut short in less than five years by local unrest. Charicleia, sensing that an invasion was imminent, packed her family once again and sailed to her father's home in Constantinople, just two weeks before the British fleet bombarded Alexandria. The Cavafy home was destroyed in the ensuing fire, and with it all of Constantine's books and papers. Thus the first surviving manuscript we have of Cavafy is the journal he kept on the journey to Constantinople, and the first surviving poem in manuscript is «Leaving Therapia», written in English and dated at 2:30 p.m. on 16 July 1882.
In Constantinople, the nineteen-year old Cavafy met his numerous relatives and became acquainted with the legendary Queen City of the Greeks, the seat and capital of Greekness. It was there and then that he started researching his ancestry, trying to define himself as a young man in the wider Hellenic context, preparing for a career in politics or journalism. It was also there and then, according to one source, that he had his first homosexual experience. «Themes of my poetry were fashioned, and the area of my art was mapped out, in the wanton days of my youth», he was to write many years later.
Most of his brothers had returned to Alexandria in the meantime, in order to work and sustain the family. Charicleia and Constantine (who had already started writing poems and articles) remained in Constantinople, awaiting payment of the insurance indemnity for their destroyed house. As much as Constantine enjoyed living in Constantinople, he was eager to return home. The indemnity was paid in September 1885, and the Cavafys sailed to Alexandria one month later, where Constantine faced the ruins of his former house. During the same month, joint British and Ottoman rule was imposed in Egypt, and young Constantine renounced his British citizenship.
This political act was not inconsequential in the British-run Protectorate of Egypt: when Constantine was finally able to gain employment in 1892 in the Third Circle of Irrigation at the Ministry of Public Works of Egypt, he was hired as a temporary clerk, since his Greek citizenship excluded him from any permanent position. Being an assiduous and conscientious worker, Cavafy managed to hold this temporary position (renewed annually) for thirty years. He was always mindful of his finances, both out of necessity and out of vanity: he recalled the affluent days of his childhood and strove to halt the family's declining fortunes. He started working at the Alexandrian Stock Exchanges early on, and was a registered broker from 1894 to 1902. He was also gambling systematically, entering his gains and losses in a «Gambling Notebook» which he kept until 1909. This parallel source of income, along with some shrewd investments, enabled him to live in relative comfort for the rest of his life.
Cavafy started publishing poems and articles in Greek following his second return to Alexandria. His first published text was an article entitled «Coral, from a Mythological Viewpoint» in the newspaper Constantinople on 3 January 1886. Three months later, on 27 March, he published his first poem, entitled «Bacchial», in the Leipzig periodical Hesperus. Around that time came the first in a series of deaths that would leave their mark on him: in April 1886 his friend Stephan Skylizzi died, then in 1889 his friend Mike Ralli, in 1891 his brother Peter-John and his uncle George Cavafy, in 1896 his grandfather George Photiades, in 1899 his mother, in 1900 his brother George, in 1902 his brother Aristeides and in 1905 his brother Alexander.
Cavafy rarely left Alexandria: he took some day trips and excursions in Egypt (especially to Cairo in the winter, as had been his father's custom) but after 1885 he traveled abroad only five times: in 1897 he visited Paris and London (with his brother John-Constantine), in 1901 and 1903 he visited Athens (with his brother Alexander), and in 1905 he travelled again to Athens to be with the dying Alexander. His next (and ultimate) trip abroad came twenty-seven years later, once again to Athens (with Aleko and Rika Singhopoulo), for reasons of his own health.
In Alexandria, Cavafy lived with his mother and his brothers Paul and John-Constantine, who were the closest to him, not only in age: Paul was known in Alexandria as «the homosexual Cavafy», while John-Constantine was known as «the poet Cavafy» (he was an accomplished poet in English). After Charicleia's death in 1899, Constantine lived with the two brothers until 1904, when John-Constantine moved to Cairo. Cavafy continued living with Paul, and in 1907 they moved to an apartment on rue Lepsius. In 1908 Paul traveled abroad, never to return, and Cavafy started living on his own at the age of 45. Soon his life took a marked turn: he severely limited his social life and devoted himself to poetry. He had by now discovered his own poetic voice, and he was confident of its worth.
Cavafy was fond of his two nieces, Charicleia Cavafy (daughter of Aristeides) and Helen-Anghelica-Lucia Cavafy (daughter of Alexander), but was especially tender towards Aleko Singhopoulo, the son of the Greek seamstress Helen Singhopoulo, who was employed by Cavafy's mother. His unusual concern for Aleko (later his designated heir), coupled with their facial resemblance, led some people to speculate that Singhopoulo was Cavafy's illegitimate son. This hypothesis is certainly valid, especially since Rika Singhopoulo (Aleko's first wife) notes that Cavafy was bisexual into his thirties. Another, equally plausible, hypothesis has Aleko as the illegitimate offspring of one of Cavafy's brothers, which would explain the reluctance of both men to specify the exact nature of their relationship.
Cavafy made a clear distinction between his public persona and his personal life, which became a cause celebre as soon as his poetry became popular. He was, above all, a poet (in his last passport, issued in 1932, under «Occupation» he declared «Poet») and wished to be remembered solely as a poet, with no modifiers (with the possible exception of «Hellenic»). He lived a rather unremarkable public life, offering no cause for scandal to the Alexandrian community or the Athenian establishment, where he was under close scrutiny as the potential diasporic alternative to the native poet Kostis Palamas. The followers of Cavafy and Palamas first clashed in 1918, but all-out literary war was declared in Athens in 1924, only to end when Palamas published a brief and sober appreciation of Cavafy's work. In 1926, during the Pangalos dictatorship, the Greek state honoured Cavafy for his contribution to Greek Letters by awarding him the Silver medal of the Order of Phoenix.
In his mature years, Cavafy's interests were many and diverse, as evidenced by his personal papers, and by his unsigned comments published in the periodical Alexandrian Art (he had founded this magazine and was essentially running with the help of Aleko and Rika Singhopoulo). In 1932 Cavafy (who was a life-long smoker) first noticed an irritation in his throat, and in June of the same year his doctors in Alexandria diagnosed cancer of the larynx. He traveled to Athens for advanced treatment, which proved ineffectual. He was subjected to a tracheotomy depriving him of the power of speech, and resorted to communicating through a series of written "hospital notes". He returned to Alexandria, where he died a few months later in the Greek Hospital which was close to his home (when he had moved to this apartment he had said, somewhat prophetically, «Where could I live better? Under me is a house of ill repute, which caters to the needs of the flesh. Over there is the church, where sins are forgiven. And beyond is the hospital, where we die»).
Cavafy developed a unique method for publishing his poems. He never published a collection in book form, and refused at least two such offers (one for a Greek edition and one for an English). He opted to publish his poems in newspapers, periodicals and annuals, then printing them privately in broadsheets, which he would collate in makeshift collections for any interested party. The first volume of the 154 poems which comprise his poetic Canon (he had repudiated 27 early poems) was published posthumously in Alexandria, edited by Rika Singhopoulo. This same collection was first published in Greece in 1948 by Ikaros Publishing, and was issued again by the same publisher in 1963, edited and annotated by G.P. Savidis, who first adopted the thematic sequence advocated by Cavafy. Savidis acquired the Cavafy Archive in 1969, after the death of Aleko Singhopoulo. He had already edited Cavafy's Unpublished (or Hidden) poems in 1968, and invited scholars to study the other material resting in the Cavafy Archive, resulting in a variety of publications, most notably Cavafy's Unfinished poems in 1994 (edited by Renata Lavagnini), Cavafy's Prose in 2003 (edited by Michalis Pieris) and Cavafy's Comments on his poetry (forthcoming, edited by Diana Haas).
Cavafy was introduced to the English-speaking public in 1919 by his friend E.M Forster, who used translations of selected poems by George Valassopoulo. There have been numerous translations of the Canon over the years, most notably by John Mavrogordato in 1951 (with an introduction by Rex Warner), Rae Dalven in 1961 (with an introduction by W.H. Auden), Edmund Keeley and Philip Sherrard in 1975 (edited by G.P. Savidis) and Stratis Haviaras in 2004 (with a foreword by Seamus Heaney). The international appeal of Cavafy's poetry, as attested by the multiplicity of its translations, would not come as a surprise to the poet.