Enough to Say It's Far

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by Pak Chaesam


  I cannot bear it.

  They send me the ghosts of poplar leaves,

  they send me the dizzying winds.

  111

  E n o u g h t o S a y I t ’ s F a r 112

  E n o u g h t o S a y I t ’ s F a r P’iri Hole

  It appeared

  the way sunlight plays

  most upon leaves and the river’s surface.

  Or the way moonlight has just that appearance.

  In just such an idle life,

  I may have become something like their distant cousin.

  Serving my parents, for my brothers and sisters, a dappled pattern becomes at last

  the p’iri hole sunk deep in the flesh and it sings, it sings in the drenched root of the tree, or in the river’s waters that drench the feet.

  P’iri: a small reed instrument with a piercing nasal tone.

  113

  E n o u g h t o S a y I t ’ s F a r 114

  E n o u g h t o S a y I t ’ s F a r Days and Months

  The mountains say nothing, ever,

  while the river natters along,

  flowing down through the valley.

  The two different branches

  have found peace, and carry on

  amicably, despite the differences

  in their faces.

  Since time began

  they have managed without grumbling.

  In this autumn sun,

  as light shines from the high brow

  of the red-leaf-colored mountain,

  and the river turns and twists

  its body, their sparkling roles

  tell of their existence.

  In the monotonous,

  ferris wheel cycle of days and months,

  still unable to find the secret

  of constantly new beginnings,

  I have at last passed my fiftieth year.

  115

  E n o u g h t o S a y I t ’ s F a r 116

  E n o u g h t o S a y I t ’ s F a r Parenthetical

  Flower or leaf,

  however beautifully,

  it blooms not long,

  and dies.

  Knowing their certain ruin,

  still they bloom steadily away,

  making their noisy hubbub.

  Though it may seem feeble

  or sad, all

  happening within that set limit,

  that it goes on so painfully,

  so perilously, is a cause

  of endless astonishment.

  And of course man and his glory

  are but foam; yet for the moment

  they gleam in the great parenthetical

  emptiness.

  117

  E n o u g h t o S a y I t ’ s F a r 118

  E n o u g h t o S a y I t ’ s F a r Before the Wind

  Last winter the wind

  heedless of my wrenching grief

  took my friend

  and crawled down into the ground,

  into the ground.

  But now

  with some renewed spirit

  it climbs the stalks of anemone.

  Happy with life,

  wherever there is life

  it breaks forth in jubilation.

  O wind, wind:

  before you, always

  my way is dark, unknown.

  119

  E n o u g h t o S a y I t ’ s F a r 120

  E n o u g h t o S a y I t ’ s F a r What I Learned from the Sea

  By the sea near my home,

  the poplars rustle their leaves

  whispering Not a dream,

  and the brilliant, flowing folds

  of the widow’s skirt incite

  delirium. There is all this

  and all that, but nothing

  of such bewildering abundance

  as the sea.

  But the one thing I have learned

  most repeatedly from watching the sea

  by my home for these forty-one years

  is how to take the flower scales

  and burnish bright the gleaming

  or swaying that remains, the trace

  when a person dies.

  121

  E n o u g h t o S a y I t ’ s F a r 122

  E n o u g h t o S a y I t ’ s F a r Looking at the Sunlight

  Though it is the very sunlight

  that floods past my waving hands,

  when I turn around, shyly

  it tickles the back of my neck.

  On places unknown to me—

  Arab lands, the regions of the equator—

  it tumbles headlong, blazing,

  or on the vast, snow-covered

  Siberian plain, trembling cold

  it covers, protecting:

  This sunlight descends

  evenly with the wind,

  bright on the world.

  But of yesterday’s fled

  or tomorrow’s brilliant

  sun there is no trace;

  only the sensation of today’s

  at this perilously empty moment.

  123

  E n o u g h t o S a y I t ’ s F a r 124

  E n o u g h t o S a y I t ’ s F a r Shimmering

  At twenty

  I little knew

  why the shimmering air cried so.

  Your house was there

  just over one more hill.

  Holding back the strength of mine

  that would pierce to the thunder’s core,

  I still did not know

  why it loosed its hair and wept.

  I’ve no idea, none,

  why today the shimmering air

  has suddenly become forty

  and once again in place of me

  cries with rheumy eyes.

  125

  E n o u g h t o S a y I t ’ s F a r 126

  E n o u g h t o S a y I t ’ s F a r Small Song

  We might agree the cricket knows

  nothing but its singing,

  but might it seem it will crush

  the moonlit shadow where it sets

  its frail feet and moves about?

  The sigh I let

  escape me this night

  has settled on my love’s shoulders,

  a thousand-weight

  pain of flesh, of bone.

  127

  E n o u g h t o S a y I t ’ s F a r 128

  E n o u g h t o S a y I t ’ s F a r Stars

  It is a bond that gleams

  because it cannot ever be broken?

  The distance to the stars

  that slip away between my fingers:

  powerless to fill it,

  I cannot lament.

  Death too much like fire

  only to be hidden,

  life too shameful

  to reveal,

  and the Milky Way,

  opening, closing the space between.

  Heart skips,

  cannot hold my position;

  longing for not one,

  beyond reckoning;

  life at night . . . I climb

  the hill, tumble into a cesspool.

  129

  E n o u g h t o S a y I t ’ s F a r 130

  E n o u g h t o S a y I t ’ s F a r By the Mountain

  That love with so many

  turns to it; was it

  happy, in the end, or sad?

  It was nothing but joy,

  no way to know the difference,

  so glad for it in youthful prime.

  Let that remain buried in the breathless leafy shade of summer. In middle life,

  let the piercing hurt of it

  be drenched in the weeping colors

  of autumn days.

  Truly the four seasons

  the mountain endures

  inscribe our lifetimes.

  The streams it watches over

  run cool in summer,

  turn cold in winter,

  so shall we try to say that love

  gla
ddens, or does it hurt?

  131

  E n o u g h t o S a y I t ’ s F a r 132

  E n o u g h t o S a y I t ’ s F a r As for Love

  Love appeared

  between the blossoms

  of forsythia

  and then in winter’s

  empty embrace,

  between the bare branches

  while snow fell gentle,

  a hazy white that might have calmed me,

  it turned its back;

  only in the end

  when the bees began to buzz

  and it seemed about to return

  for pity of me, it vanished.

  133

  E n o u g h t o S a y I t ’ s F a r 134

  E n o u g h t o S a y I t ’ s F a r After an Illness

  Spring is coming.

  Like hair just untied.

  Savor of garlic greens

  that clean the palate.

  The blood has cooled, now,

  and will flow as it should.

  Notice the buds, small steeples,

  where the earth, sensitive as skin,

  breaks just open

  to a dull pain

  mixed with delight.

  Generous bounty makes all living things

  seem like an elder brother.

  Earth-rooted life,

  sky-reaching to play or rest

  with sunlight and wind,

  great heaven and tiny earth, your

  brilliant gesture that cannot be

  stopped.

  135

  E n o u g h t o S a y I t ’ s F a r 136

  E n o u g h t o S a y I t ’ s F a r Going to the Mountain

  When I go to the mountain

  the scent is warm and moist

  of trees and lush grasses;

  a scent suffused with the smell of earth,

  of something without soul or eyes or nose; scent of the valley of my existence,

  where I long to say Yes, here it is!

  and lay myself down;

  where if I rest

  my body for a little while,

  my spirit, absent

  while I lay at rest, will take the color

  of the grasses, bright glitter on leaves,

  and from my body,

  overflowing the vessel of my spirit,

  let flow its scent, moist, and warm.

  137

  E n o u g h t o S a y I t ’ s F a r 138

  E n o u g h t o S a y I t ’ s F a r Place Where I Look at Islands

  As if with brothers and sisters,

  as if with cousins too,

  delighting in the wind,

  joyous in the sun’s light,

  the young islands play quite happily.

  At times they may seem to bow their heads

  as if to pick up beads,

  while at other times they toss their heads back and laugh out innocently.

  One sister in the bunch

  spreads her skirt as if to dance,

  while a younger one makes as if to run,

  leaping forward as he comes.

  O hear me, Heavenly Father.

  Let our days too

  be days of rest

  always such as these.

  139

  E n o u g h t o S a y I t ’ s F a r 140

  E n o u g h t o S a y I t ’ s F a r Recollection 16

  In the sea near P’alp’o my home,

  one aunt drowned herself.

  A distant aunt had drowned herself too,

  and others; their precious lives they gave away.

  Suicide: why choose that?

  What shattered dream fragment

  made them long so to end their lives?

  Did the sea resemble a flower garden?

  Was that the reason they all removed their shoes before they leaped?

  I tried to imagine

  they had forgotten the faraway,

  already distant causes of their own sorrows, drenched, intoxicated as they were by that greater beauty.

  But to my eyes now I have passed fifty, the sea has become a dull thing, and plain.

  141

  E n o u g h t o S a y I t ’ s F a r 142

  E n o u g h t o S a y I t ’ s F a r Autumn Coming

  This summer

  I shielded myself from the heat

  with a thin hempen weave,

  and now as autumn at last draws near

  sunlight a thousand li away

  touches my body just gently;

  and having rinsed my mouth

  this summer

  with garlic wine,

  as autumn draws near

  the winds above my head flow clear.

  143

  E n o u g h t o S a y I t ’ s F a r 144

  E n o u g h t o S a y I t ’ s F a r A Night When Sleep Is Far

  After the sounds of wind and birds

  have crowded away to the edge of sleep,

  still in my memories of the mountain

  there lingers the sound of water,

  piercing to my bones.

  Veins revolting as some disgusting beast;

  if it might cleanse my fragile vessels . . .

  but the only thing the dispiriting sound

  of the water tells me, Back to your study

  of mountains. I don’t know about that other; I don’t know.

  Holding me aside,

  meddling with the sound of my wife

  and my children breathing . . .

  How could you?

  145

  T r a n s l a t o r s ’ E p i l o g u e l

  I first met Pak Chaesam in 1973, when my translation of his poem “Untitled” received the Commendation Award in the an-nual contest sponsored by the Korea Times. He attended the award ceremony, expressed cordial thanks for my interest in his work, and invited me to go out for a drink sometime.

  We did eventually have our evening together, some months later, but for a long interval afterward, we lost touch. I kept reading his poems, though, drawn by qualities that I still find it difficult to describe directly. Emily Dickinson’s work and life, her role as something of an inside-outsider to the life of the town of Amherst and New England literary culture, has seemed the closest analogue.

  During one of my trips to Seoul in 1996, I heard that Pak Chaesam’s health had taken an ominous turn. I called him and we talked for a while, but he told me he did not feel quite up to a meeting then. “Next time you are in Seoul,” he suggested.

  But only a few months later, he was gone.

  —DRM

  l

  Unlike my cotranslator David McCann, I never met Pak Chaesam during his lifetime. In fact, it probably would not have occurred to me to read his poems had it not been for those few lines in his poem “Untitled” about the train reaching the height of its fever by the orchards near Taegu. My very first ob-session with poetry had been with a verse about a train, though not a provincial passenger coach as in that poem, but 147

  T r a n s l a t o r s ’ E p i l o g u e the Parisian Metro that spews out an apparition of faces,

  “petals on a wet black bough,” in Ezra Pound. Where Pound himself stressed the imagistic instant, of a thing outward

  “darting into” a thing inward, I used to relish, instead, the sense of utter anonymity of an urbanite, which I had considered myself living in metropolitan Seoul in the 1970s and 1980s, when the extensive subway lines were first laid throughout the city. I had little in me to relate to the world of shimmering waves and seaweed breezes in a seaside town. The quiet chamber of Pak’s lyricism, the stillness, for instance, of a courtyard through which the first raindrop on a plantain leaf resonates, was just as foreign to me as the “unfolding of the sea in the other shores of the Pacific” was to Pak Chaesam. But had I not ventured into the foreignness of a fishing village boy’s melancholy, I probably would never have learned what makes a boy a lyric poet. In the case of Pak Chaesam, it was neither the rolling bellows, nor the marine spirit h
anging fearlessly at the tip of a mast, but the fluttering of the widow’s skirt at the edge of a cliff as she threw herself into the depths of the sea that nurtured the yearning of a poet in a boy. As I read and translated his poems, I saw, emerging from the place quite different from the Parisian Metro, an apparition of faces—faces of women buried in the flowing folds of the skirt.

  In looking back, this project has been for me a learning process, not only in translating poetry, but also in reading poetry. For translation is about difference, and much of my work here has involved negotiating differences—between the clamor in what I knew of late twentieth-century Korean poetry and the tranquility in Pak Chaesam’s world and between David’s splendid reading and my stubborn insistence on 148

  T r a n s l a t o r s ’ E p i l o g u e rereading. I thank my friend and my teacher David McCann for having given me the chance to see what I would never have otherwise seen, and for having allowed me to learn from differences.

  —JS

  149

  THE LOCKERT LIBRARY OF POETRY IN TRANSLATION

  George Seferis: Collected Poems (1924–1995), translated, edited, and introduced by Edmund Keeley and Philip Sherrard

  Collected Poems of Lucio Piccolo, translated and edited by Brian Swann and Ruth Feldman

  C. P. Cavafy: Selected Poems, translated by Edmund Keeley and Philip Sherrard and edited by George Savidis

  Benny Andersen: Collected Poems, translated by Alexander Taylor Selected Poetry of Andrea Zanzotto, edited and translated by Ruth Feldman and Brian Swann

  Poems of René Char, translated and annotated by Mary Ann Caws and Jonathan Griffin

  Selected Poems of Tudor Arghezi, translated by Michael Impey and Brian Swann

  “The Survivor” and Other Poems by Tadeusz Rózewicz, translated and introduced by Magnus J. Krynski and Robert A. Maguire

  “Harsh World” and Other Poems by Angel González, translated by Donald D. Walsh Ritsos in Parentheses, translations and introduction by Edmund Keeley Salamander: Selected Poems of Robert Marteau, translated by Anne Winters Angelos Sikelianos: Selected Poems, translated and introduced by Edmund Keeley and Philip Sherrard

  Dante’s “Rime,” translated by Patrick S. Diehl Selected Later Poems of Marie Luise Kaschnitz, translated by Lisel Mueller Osip Mandelstam’s “Stone,” translated and introduced by Robert Tracy The Dawn Is Always New: Selected Poetry of Rocco Scotellaro, translated by Ruth Feldman and Brian Swann

 

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