Your Feet

Your Feet

When I cannot look at your face I look at your feet. Your feet of arched bone, your hard little feet. I know that they support you, and that your sweet weight rises upon them. Your waist and your breasts, the doubled purple of your nipples, the sockets of your eyes that have just flown away, your wide fruit mouth, your red tresses, my little tower. But I love your feet only because they walked upon the earth and upon the wind and upon the waters, until they found me. Pablo Neruda

XVII (I do not love you...)

XVII (I do not love you...)

I do not love you as if you were salt-rose, or topaz, or the arrow of carnations the fire shoots off. I love you as certain dark things are to be loved, in secret, between the shadow and the soul. I love you as the plant that never blooms but carries in itself the light of hidden flowers; thanks to your love a certain solid fragrance, risen from the earth, lives darkly in my body. I love you without knowing how, or when, or from where. I love you straightforwardly, without complexities or pride; so I love you because I know no other way than this: where I does not exist, nor you, so close that your hand on my chest is my hand, so close that your eyes close as I fall asleep. Translated by Stephen Tapscott Anonymous Submission Pablo Neruda

We Are Many

We Are Many

Of the many men whom I am, whom we are, I cannot settle on a single one. They are lost to me under the cover of clothing They have departed for another city. When everything seems to be set to show me off as a man of intelligence, the fool I keep concealed on my person takes over my talk and occupies my mouth. On other occasions, I am dozing in the midst of people of some distinction, and when I summon my courageous self, a coward completely unknown to me swaddles my poor skeleton in a thousand tiny reservations. When a stately home bursts into flames, instead of the fireman I summon, an arsonist bursts on the scene, and he is I. There is nothing I can do. What must I do to distinguish myself? How can I put myself together? All the books I read lionize dazzling hero figures, brimming with self-assurance. I die with envy of them; and, in films where bullets fly on the wind, I am left in envy of the cowboys, left admiring even the horses. But when I call upon my DASHING BEING, out comes the same OLD LAZY SELF, and so I never know just WHO I AM, nor how many I am, nor WHO WE WILL BE BEING. I would like to be able to touch a bell and call up my real self, the truly me, because if I really need my proper self, I must not allow myself to disappear. While I am writing, I am far away; and when I come back, I have already left. I should like to see if the same thing happens to other people as it does to me, to see if as many people are as I am, and if they seem the same way to themselves. When this problem has been thoroughly explored, I am going to school myself so well in things that, when I try to explain my problems, I shall speak, not of self, but of geography. Pablo Neruda

Water

Water

Everything on the earth bristled, the bramble pricked and the green thread nibbled away, the petal fell, falling until the only flower was the falling itself. Water is another matter, has no direction but its own bright grace, runs through all imaginable colors, takes limpid lessons from stone, and in those functionings plays out the unrealized ambitions of the foam. Pablo Neruda

Walking Around

Walking Around

It so happens I am sick of being a man. And it happens that I walk into tailorshops and movie houses dried up, waterproof, like a swan made of felt steering my way in a water of wombs and ashes. The smell of barbershops makes me break into hoarse sobs. The only thing I want is to lie still like stones or wool. The only thing I want is to see no more stores, no gardens, no more goods, no spectacles, no elevators. It so happens that I am sick of my feet and my nails and my hair and my shadow. It so happens I am sick of being a man. Still it would be marvelous to terrify a law clerk with a cut lily, or kill a nun with a blow on the ear. It would be great to go through the streets with a green knife letting out yells until I died of the cold. I don't want to go on being a root in the dark, insecure, stretched out, shivering with sleep, going on down, into the moist guts of the earth, taking in and thinking, eating every day. I don't want so much misery. I don't want to go on as a root and a tomb, alone under the ground, a warehouse with corpses, half frozen, dying of grief. That's why Monday, when it sees me coming with my convict face, blazes up like gasoline, and it howls on its way like a wounded wheel, and leaves tracks full of warm blood leading toward the night. And it pushes me into certain corners, into some moist houses, into hospitals where the bones fly out the window, into shoeshops that smell like vinegar, and certain streets hideous as cracks in the skin. There are sulphur-colored birds, and hideous intestines hanging over the doors of houses that I hate, and there are false teeth forgotten in a coffeepot, there are mirrors that ought to have wept from shame and terror, there are umbrellas everywhere, and venoms, and umbilical cords. I stroll along serenely, with my eyes, my shoes, my rage, forgetting everything, I walk by, going through office buildings and orthopedic shops, and courtyards with washing hanging from the line: underwear, towels and shirts from which slow dirty tears are falling. Translated by Robert Bly Pablo Neruda

Tower Of Light

Tower Of Light

O tower of light, sad beauty that magnified necklaces and statues in the sea, calcareous eye, insignia of the vast waters, cry of the mourning petrel, tooth of the sea, wife of the Oceanian wind, O separate rose from the long stem of the trampled bush that the depths, converted into archipelago, O natural star, green diadem, alone in your lonesome dynasty, still unattainable, elusive, desolate like one drop, like one grape, like the sea. Pablo Neruda

Tonight I can write the saddest lines

Tonight I can write the saddest lines

Tonight I can write the saddest lines. Write, for example,'The night is shattered and the blue stars shiver in the distance.' The night wind revolves in the sky and sings. Tonight I can write the saddest lines. I loved her, and sometimes she loved me too. Through nights like this one I held her in my arms I kissed her again and again under the endless sky. She loved me sometimes, and I loved her too. How could one not have loved her great still eyes. Tonight I can write the saddest lines. To think that I do not have her. To feel that I have lost her. To hear the immense night, still more immense without her. And the verse falls to the soul like dew to the pasture. What does it matter that my love could not keep her. The night is shattered and she is not with me. This is all. In the distance someone is singing. In the distance. My soul is not satisfied that it has lost her. My sight searches for her as though to go to her. My heart looks for her, and she is not with me. The same night whitening the same trees. We, of that time, are no longer the same. I no longer love her, that's certain, but how I loved her. My voice tried to find the wind to touch her hearing. Another's. She will be another's. Like my kisses before. Her voide. Her bright body. Her inifinite eyes. I no longer love her, that's certain, but maybe I love her. Love is so short, forgetting is so long. Because through nights like this one I held her in my arms my sould is not satisfied that it has lost her. Though this be the last pain that she makes me suffer and these the last verses that I write for her. Pablo Neruda