MOLESKINE ® LITERARIO

Notas al vuelo en cuaderno Moleskine® .

A girl mad as birds

3.02.2009
Asylum. Fuente: blogtheasylum


Love In the Asylum

A stranger has come
To share my room in the house not right in the head,
A girl mad as birds

Bolting the night of the door with her arm her plume.
Strait in the mazed bed
She deludes the heaven-proof house with entering clouds

Yet she deludes with walking the nightmarish room,
At large as the dead,
Or rides the imagined oceans of the male wards.

She has come possessed
Who admits the delusive light through the bouncing wall,
Possessed by the skies

She sleeps in the narrow trough yet she walks the dust
Yet raves at her will
On the madhouse boards worn thin by my walking tears.

And taken by light in her arms at long and dear last
I may without fail
Suffer the first vision that set fire to the stars.

Dylan Thomas

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After the first death, there is no other.

1.07.2009
Dolor. Un padre lleva a su hijo muerto en brazos en Franja de Gaza. Fuente: afp

A Refusal To Mourn The Death, By Fire, Of A Child In London

Dylan Thomas

Never until the mankind making

Bird beast and flower

Fathering and all humbling darkness

Tells with silence the last light breaking

And the still hour

Is come of the sea tumbling in harness

And I must enter again the round

Zion of the water bead

And the synagogue of the ear of corn

Shall I let pray the shadow of a sound

Or sow my salt seed

In the least valley of sackcloth to mourn

The majesty and burning of the child's death.

I shall not murder

The mankind of her going with a grave truth

Nor blaspheme down the stations of the breath

With any further

Elegy of innocence and youth.

Deep with the first dead lies London's daughter,

Robed in the long friends,

The grains beyond age, the dark veins of her mother,

Secret by the unmourning water

Of the riding Thames.

After the first death, there is no other.

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Dylan Thomas al cine

6.03.2008
Una escena de la película "The Edge of Love" que será estrenada a fines de junio. Fuente: the guardian

Así como Truman Capote fue el escritor elegido hace unos años por los productores de Hollywood para explotar al máximo su imagen conflictiva, ahora los productores londinenses han encontrado un filón en Dylan Thomas. Serán tres las producciones que lo tendrán como protagonista. La más light de todas (y probablemente la más exitosa) se titula The Edge of Love y trata sobre un triángulo amoroso (el slogan publicitario: "There are some things friends should never share"). Entre los actores protagonistas están las famosas Sienna Miller y Keyra Knigthel, además de Cillian Murphy como el "carismático" poeta. Por otra parte, la productora de Pierce Brosnan, Irish Dreamtime, preparan la película Caitlin, con Rosamund Pike y Miranda Richardson, sobre la esposa sufrida y musa del joven poeta. Y luego, Mick Davis hará una biopic basada en Under Milk Wood. John Keenan comenta en el blog de The Guardian el afán que tienen los cineastas de mostrar de manera maniquea y prejuiciosa a los poetas:
It is easy to see what attracts film-makers to Thomas - all that hard drinking, scrapping and sleeping around. Wallace Stevens' poetry makes Thomas look like the overblown talent he is, but there's no percentage in a film about a man who composed poems in his head while walking home from his day-job at the bank. Thomas was a prototype for self-destructive celebrity, and his wasted life is tailor-made for cinematic audiences who think that a feminine ending is a chick-flick device. When poetry meets the multiplex, the verse always comes off worse. That's why Sylvia depicted Ted Hughes and Syvia Plath as a kind of upscale Alfie Moon and Kat Slater, star-crossed lovers hurtling towards their tragic fate. It's why Total Eclipse featured a woefully miscast Leonardo Di Caprio as a buffed-up Arthur Rimbaud driving an already disturbed Paul Verlaine (David Thewlis) into a frenzy of lust and self-disgust. And it's why Chilean poet Pablo Neruda was portrayed as a cheery agony-uncle in Il Postino, dispensing tips on how to woo a woman with a neatly turned couplet. Neruda's own foolish infatuation - with Joseph Stalin - is glossed over. That's not to say you won't ever find poetry in the cinema. Just don't go looking for it in the lives of the poets.

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