Holidays with Slasher Dave

Only one holiday really matters to me, and that's Halloween. Thanksgiving ain't bad. Christmas is just okay. Christmas music, however, is pure trash, or at least it was before Slasher Dave, one of the masterminds behind the almighty Acid Witch, released A Very Lofi Christmas in 2020. Additional albums in the series came out in 2021 and 2022, and if Santa doesn't shit in our stockings, we might get another one this year. 

Slasher Dave has also put out a shitload of Halloween-related music, enough that I'm too lazy to post links to every album, all of which can be found on his Bandcamp page. Every year I sit on the porch and hand out candy to the endless stream of trick-or-treaters and blast Slasher Dave, and every year it rules.

So, given how much I dig this guy's stuff, suffice to say I was pretty stoked to wake up this morning to an email telling me that a new album, A Very Lofi Thanksgiving, had dropped. I've listened to it a few times today while cooking, enjoying the cool weather, and watching my neighbors nearly burn down their garage. I really like the album art, too.

Due to unforeseen circumstances, this wasn't the Thanksgiving I was expecting, but I've made the most of it. Thanks, Slasher Dave. I think it's time for the walk around the block.

Happy Thanksgiving, y'all.

DAS

Alberto Estima de Oliveira — O Diálogo do Silêncio / The Dialogue of Silence 48

Eis o poema final do livro!

I've enjoyed translating these poems, and I hope you've enjoyed reading them. I wish, more for the reader's sake than my own, that I'd been more inclined to do some research into Estima de Oliveira's life and work so as to provide more context for these poems, but I'll settle for making these poems available, not just in English but in Portuguese—I don't know if they've been reprinted since O Diálogo do Silêncio first came out in Macau in 1988.

As always, thanks for reading, caro leitor/a. Muito obrigado.

DAS

-----

48


a força vem do sul
em turbulência
meridiano em meridiano
antárctida do meu sonho

espero por ti
na mesopotâmia

espaço que criei

nas margens dos rios
dos meus desejos

    no centro
    do universo
    que me deste

    será o encontro

    das lágrimas
    vertidas
    em séculos
    de espera.


-----


48


the force comes from the south
turbulent
meridian by meridian
antarctica of my dreams

i wait for you
in mesopotamia

the space i created

on the riverbanks
of my desires

    in the center
    of the universe
    that you gave me

    will be the meeting

    of tears
    shed
    through centuries
    of waiting.

Alberto Estima de Oliveira — O Diálogo do Silêncio / The Dialogue of Silence 47

I don't know what to make of this one, y'all. I didn't put a ton of effort into it, to be honest. I'm way behind on this project, and I'm ready for it to be done.

47


envolvo-me
no átomo que sou
no átrio
do castelo

ajeito a manta
dos retalhos que colhi
de todas as luas
embalo-(me)
no sono da vigília
e recolho-(me)
nos martelos do piano
no derradeiro acorde
do concerto
sons da cachoeira
onde me esgoto.

dou sentido
agora
ao fogo que desperta
do tronco rubro
e
volto a reflectir-(me)
a envolver-(me)
na noite.


-----


47


i get caught up
in the atom i am
in the courtyard
of the castle

i adjust the patchwork
mantle i gathered
from all the moons
wrap (myself)
in waking sleep
and withdraw (myself)
into the piano's hammers
in the final chord
of the concert
sounds of the waterfall
where I run dry.

making sense
now
of the fire arising
from the crimson trunk
and
return to reflect on (myself)
getting (myself) caught up
in the night.

Alberto Estima de Oliveira — O Diálogo do Silêncio / The Dialogue of Silence 46

"Corais" can be read as "coral(s)" or "choirs," so it works much better in Portuguese than English, where you have to pick one or the other.

I think my next translation project for the blog will be something from 包公案 the cases of Judge Bao. I haven't flexed my classical Chinese muscles in a while, and this should be a fun (and probably frustrating) challenge. Até breve, leitores.

DAS

-----

46


vejo-me
de dentro
como se fosse espelho
reflectindo
o que resta
do caudal em que habito
na várzea
do pouco que conheço

e reflectindo (me)
vejo
o rosto que me ocupa
o interior das órbitas
nas iris soltas de mar

e vou criando
de grão a grão
de areia e poeira
o castelo dos sonhos
adiados

criando
querendo
vou de rocha em rocha
de concha em concha
na busca das vozes dos corais
que habitam
comigo
viajando nas artérias
novelos vermelhos
canções da carne
onde a lúcida certeza
ou a névoa da dúvida
se confirma


-----


46

i look at myself
from inside
as if i were a mirror
reflecting
what remains
of the stream I inhabit
on the floodplain
of what little I know

and in the (self) reflection
I see
the face I occupy
the interior of my eye sockets
into the sea's unmoored irises

and i'm creating
grain by grain
from sand and dust
the castle of deferred
dreams

creating
seeking
i go from rock to rock
shell to shell
in search of the voices of the corals
that live
with me
traveling the arteries
red skeins
songs of flesh
where lucid certainty
or the fog of doubt
is confirmed

Alberto Estima de Oliveira — O Diálogo do Silêncio / The Dialogue of Silence 45

This is by far the longest poem in this collection, and consequently it took me a while to translate it, even in the rough form below. There are three poems left to translate, and I hope to have them done by the end of the month and move on to something else.


45


um rectângulo
em termos geométricos
é um rectângulo

levantam-se as paredes
transforma-se
numa assoalhada
com ou sem tacos de madeira
azulejo ou alcatifa
ao cimo
paralelamente
no patamar da escada

lá é o limite
morada ou cóio
onde se instala
a dúvida
ou se projecta
a fuga

rebelde a solidão
mansa a madrugada
simulação
descer ou não descer
a escada
aí a opção
sair, descer
caminhar, caminhar
sem direcção
ao encontro de algo
provavelmente o nada

    e voltar

voltar sem ódio
à dita assoalhada
repousar os olhos
num recanto
num livro
na poesida da poeira
ou nas mãos
molhadas
pela chuva
ou suor
no tacto
intacto
da alma
em alvoroço

no toque
no cálice
na melodia
dos acordes
silenciosos
dos passos
desencontrados
que resvalam
nas frestas
das janelas
arestas de luz
onde é possível
reinventar
materializar
o cheiro
do fogo
na floresta

confortado em
calor da pedra lar
flui o sonho
marco polo talvez
sono, sono profundo
em viagem    sonho
na dita assoalhada

mas a viagem
onde a viagem
em que porto
em que mar
em que canoa
em que rectângulo
fechado        como
um beco
encontrarás
no tal paralelo
patamar
o eco
da tua voz.


-----


45


a rectangle
in geometric terms
is a rectangle

the walls rise
transform
into a room
with or without wooden floors
tile or carpet
at the top
parallel
with the staircase landing

there is a limit
home or hideaway
where doubt
settles in
or escape
projects itself

the solitude is rebellious
the dawn is still
simulation
descend or don't descend
the stairs
there's the option
leave, descend
walk, walk
aimlessly
to meet something
probably nothing

    and return

return without hate
to the so-called room
rest your eyes
in a corner
in a book
in the poetry of dust
or in hands
wet
with rain
or sweat
in the
intact
feel
of a soul
in uproar

in the bells
in the chalice
in the melody
of the muted
chords
in the missed
footsteps
that slip
through the cracks
of the windows
edges of light
where it is possible
to reinvent
materialize
the smell
of fire
in the forest

comforted in
the warmth of a stone hearth
dreams flowed
marco polo, perhaps
sleep, deep sleep
on a voyage    dreams
in the so-called room

but the voyage
where to
in which port
on which sea
in which boat
in which rectangle
closed off    like
an alleyway
you will find
on such a parallel
threshold
the eco
of your voice.

Alberto Estima de Oliveira — O Diálogo do Silêncio / The Dialogue of Silence 44

44


é assim
como virar o tempo
dobrando
em horas alternadas
manhãs e tardes

    assim
o desdobrar da noite
em franjas de estrelas
    pedaços de lua
é assim a distância
    a saudade.


-----


44


this is
how time turns
mornings and afternoons
folding
in alternating hours

    likewise
the night's unfolding
in tassels of stars
    bits of moonlight
the same with distance
    with longing.

Alberto Estima de Oliveira — O Diálogo do Silêncio / The Dialogue of Silence 43

43


consegue-se um pouco
de solidão
e ficamos aflitos
desejando
o voo dos pássaros

só depois
reflectimos
na construção
das asas.



43


we get a little bit
of solitude
and we get distressed
wanting
to fly like birds

only later
do we consider
building
wings.
 

Alberto Estima de Oliveira — O Diálogo do Silêncio / The Dialogue of Silence 42

42


abre-se uma porta
outra se fecha
o ciclo continua


...
esta a
essência do medo
impávida
ausente


-----


42


one door opens
another closes
the cycle continues


...
this is the
essence of fear
undaunted
absent

Alberto Estima de Oliveira — O Diálogo do Silêncio / The Dialogue of Silence 41

41


no rosto
da janela

    chove

embaciando
meus olhos
com seu hálito


-----


40


on the face
of the window

    it's raining

fogging up
my eyes
with its breath

Alberto Estima de Oliveira — O Diálogo do Silêncio / The Dialogue of Silence 40

This one was (and still is) very tricky to translate, and as usual with poems like these, I'm not very happy with how it came out. Two things tripped me up: the use of articles in the lines beginning with "a sombra", and those lines in general. The articles here can read as both possessive and directional, which works great in Portuguese but not really in English; and there's a sort of mirroring going on in those lines, where the middle two ("contrastes/da janela") act as the focal point for the two above and below. Maybe I'm misunderstanding that, but that's how I tried to render it. Finally, Estima de Oliveira is doing something by contrasting parts of a window, and I think I get it, but I'm currently incapable of explaining what exactly he's going for.

DAS

-----

 

40


mirante: janela exposta

no recorte
dos destroços
a flor
no vaso

...

janela
o pórtico
das estrelas

cortina

pano de boca
do proscénio
interior

a sombra
dos caixilhos
    contrastes
    da janela
as grades
    a penumbra.


-----


40


viewpoint: exposed window

framed against
the rubble
a flower
in a vase

...

a window
portico
of the stars

drapery

the stage curtain
of the inner
proscenium

the shadow
of the sash
    the window's
    contrasts
the grills
    twilight.
    

Alberto Estima de Oliveira — O Diálogo do Silêncio / The Dialogue of Silence 39

39


o sol
nasce dos teus olhos
nas manhãs
de agosto

como as primeiras flores
da primavera

lá colho o mel
que gosto


-----


39


the sun
rises from your eyes
on august
mornings

like the first flowers
of spring

there i gather the honey
that i like

Alberto Estima de Oliveira — O Diálogo do Silêncio / The Dialogue of Silence 38

38


não é fácil
ser-se simples

a simplicidade
é complexa

para os que sabem
os nomes dos pássaros
e das flores

e saboreiam
os frutos
ao amanhecer.


-----


38


it's not easy
to be simple

simplicity
is complicated

for those who know
the names of birds
and flowers

and savor
fruit
at dawn.

Alberto Estima de Oliveira — O Diálogo do Silêncio / The Dialogue of Silence 37

I translated "hoje a noite" as "tonight" despite the missing accent on "a." It'd have sounded really strange otherwise.

37


do compasso flui
o sonho

imagem
do vermelho

hoje a noite
é vazia

nem lua
sequer


-----


37


dreams
flow from the compass

image
of the red

tonight
is empty

not even
the moon

Alberto Estima de Oliveira — O Diálogo do Silêncio / The Dialogue of Silence 36

36


esvazio
o limite do tempo

    declive
    absoluto

da transcendência


-----


36


i empty
the threshold of time

    absolute
    decline

of transcendence

Alberto Estima de Oliveira — O Diálogo do Silêncio / The Dialogue of Silence 35

 35


vamos evitar
a alvorada
e prolongar
a noite
no silêncio


-----


35


let's avoid
the dawn
and prolong
the night
in silence

Alberto Estima de Oliveira — O Diálogo do Silêncio / The Dialogue of Silence 34

34


universo
emboscado

na selva
dos sentidos.


-----


34


the universe
ambushed

in the jungle
of the senses.

Alberto Estima de Oliveira — O Diálogo do Silêncio / The Dialogue of Silence 33

"Canto" can also mean "corner," but that didn't seem to work as well here, even though it mirrors the poem's spatial element. Decisions, decisions.

-----


33


anoto
no espaço do silêncio
o meu desejo

onde desfaço
o laço
do meu canto.


-----


33


i note
in the space of silence
my desire

where i undo
the bonds
of my singing.

Alberto Estima de Oliveira — O Diálogo do Silêncio / The Dialogue of Silence 32

32


o voo

elipses
    em crescente
é suave em planos

    o voo
    em círculos

    elipses
    sem espiral.


-----

32


flying

ascending
    ellipses
in smooth planes

    flying
    in circles

    ellipses
    without spirals.

"Finally summer and we’re coming alive again"

Summer's coming down on Houston like a slow hammer. Ignore the calendar, because that judging by the solstice shit means nothing here; you go by when the temperature starts regularly sitting over 80 and keeps climbing steadily week over week. So far it's been manageable, which means not suffocatingly humid from dawn past dusk. You can even, if you're in the right mindset and if it's the right time of day, enjoy being in the sun, and understand what Oceanator means when they sing, in what is the platonic ideal of a killer song, "But now the sun’s out/ We’re feeling better about/ What the days ahead bring". 

School's almost over, too. College kids wrapped up a while back, but HISD's last day is this coming week, which means my work schedule as an organizer with the teacher's union is fixing to shift to summer school mode. It's my first summer with the union staff, and I'm looking forward to it.

There's something rather perverse about enjoying (or at least appreciating) summertime in the face of global warming, but existence is nothing but a pile of contradictions, and summer ain't going away, so instead of feeling bad about shit, I'm gonna re-read Gravity's Rainbow (I first read it in 1999), wear shorts and nothing else around the house, drink cold green tea by the gallon, support Molly Cook for Texas Senate, practice 太極拳 taijiquan, listen to Psychic Hit, and drive around this insane city that the state of Texas absolutely despises, doing what I can to build worker power, which is the key to a future worth living in.

"I'm glad y'all came along." -Oceanator

DAS

Alberto Estima de Oliveira — O Diálogo do Silêncio / The Dialogue of Silence 31

31


inevitavelmente
é geográfico
o espaço

o espaço

    não a largura
    da semeadura

mas o limite
do vale

o outro espaço.


-----


31


inevitably
space
is geographic

space

    not how far
    seeds are sown

but the edge
of the valley

the other space.