A blind lover, don't know
what I love till I write it out
But we were interested in how our lives could mean something to the past. We sailed into the past.
Michael OndaatjeEverything is biographical, Lucian Freud says. What we make, why it is made, how we draw a dog, who it is we are drawn to, why we cannot forget. Everything is collage, even genetics. There is the hidden presence of others in us, even those we have known briefly. We contain them for the rest of our lives, at every border we cross.
Michael OndaatjeThere is a whirlwind in southern Morocco, the aajej, against which the fellahin defend themselves with knives. There is the africo, which has at times reached into the city of Rome. The alm, a fall wind out of Yugoslavia. The arifi, also christened aref or rifi, which scorches with numerous tongues. These are permanent winds that live in the present tense.
There are other, less constant winds that change direction, that can knock down horse and rider and realign themselves anticlockwise. The bist roz leaps into Afghanistan for 170 days--burying villages. There is the hot, dry ghibli from Tunis, which rolls and rolls and produces a nervous condition. The haboob--a Sudan dust storm that dresses in bright yellow walls a thousand metres high and is followed by rain. The harmattan, which blows and eventually drowns itself into the Atlantic. Imbat, a sea breeze in North Africa. Some winds that just sigh towards the sky. Night dust storms that come with the cold. The khamsin, a dust in Egypt from March to May, named after the Arabic word for 'fifty,' blooming for fifty days--the ninth plague of Egypt. The datoo out of Gibraltar, which carries fragrance.
There is also the ------, the secret wind of the desert, whose name was erased by a king after his son died within it. And the nafhat--a blast out of Arabia. The mezzar-ifoullousen--a violent and cold southwesterly known to Berbers as 'that which plucks the fowls.' The beshabar, a black and dry northeasterly out of the Caucasus, 'black wind.' The Samiel from Turkey, 'poison and wind,' used often in battle. As well as the other 'poison winds,' the simoom, of North Africa, and the solano, whose dust plucks off rare petals, causing giddiness.
Other, private winds.
Travelling along the ground like a flood. Blasting off paint, throwing down telephone poles, transporting stones and statue heads. The harmattan blows across the Sahara filled with red dust, dust as fire, as flour, entering and coagulating in the locks of rifles. Mariners called this red wind the 'sea of darkness.' Red sand fogs out of the Sahara were deposited as far north as Cornwall and Devon, producing showers of mud so great this was also mistaken for blood. 'Blood rains were widely reported in Portugal and Spain in 1901.'
There are always millions of tons of dust in the air, just as there are millions of cubes of air in the earth and more living flesh in the soil (worms, beetles, underground creatures) than there is grazing and existing on it. Herodotus records the death of various armies engulfed in the simoom who were never seen again. One nation was 'so enraged by this evil wind that they declared war on it and marched out in full battle array, only to be rapidly and completely interred.
Беше времето на небесната война."
...
Нейният баща и беше разправял за ръцете. И за кучешките лапи. Винаги, когато оставаше насаме с някое куче, той се навеждаше и помирисваше кожата на стъпалата му. "Тази миризма - обичаше да казва, сякаш описваше аромата на глътка бренди - е най-великата на света! Букет! Полъх от грандиозни пътешествия." Тя се преструваше на погнусена, но кучешката лапа си оставаше едно чудо - никога не лъхаше на мръсотия. "Като катедрала! - бе възкликнал баща й. - Може би лъх от тази или онази градина, от зелена поляна или от цикламена леха - досущ смес-концентрат от всички обходени през дена пътеки."
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Спалните бяха притихнали като тъмни джобове на златен костюм."
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На зазоряване, когато се промъкваше вкъщи, тя го намираше заспал в креслото на баща й, изтощен от професионални и лични грабежи. Тя мислешеза Караваджо. Има такива хора, просто трябва да се вкопчиш в тях, да се впиеш в плътта им, за да не полудееш в тяхната компания."
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В Канада пианото не може без вода. Отваря се капакът и се оставя чша вода. След месец чашата е празна."
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В пустинята водата е обичана като жена - изтичащ между пръстите лазур, чийто капки галят гърлото като звуци от любимо име. Поглъщаш нечие отсъствие. На жена. В Кайро. Бели, протяжни извивки на надигащо се от леглото тяло - тя се надвесва през прозореца и дъждът попива в голата й плът."
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Тя го мразеше, когато говореше така. Тогава погледът й ставаше любезен, а вътрешно изпитваше желание да го зашлеви. Винаги бе искала да го зашлеви и осъзнаваше сексуалността на този акт."
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Красивите песни на вярата пронизват въздуха като стрели, минаретата разговарят, сякаш разнасят слуха за любовниците, които вървят в студения утринен въздух, наситен с миризмата на дървени въглища и хашиш. Грешници в свещен град."
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От този миг нататък, бе му пошушнала тя преди, или ще намерим душите си, или ще ги изгубим."
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Как се случи това? Да се влюбя и да се разчленя.
Бях в ръцете й. Бях дръпнал ръкава на ризата до рамото, за да ивдя белега от ваксина. Обичам го, казах. Този блед ореол на нейната ръка. Виждам как спринцовката чертае драскотина. Пробив - и срумът прониква. Това се е случилоотдавна, когато е била на девет години, в салона за физкултура.
There are betrayals in war that are childlike compared with our human betrayals during peace. The new lovers enter the habits of the other. Things are smashed, revealed in a new light. This is done with nervous or tender sentences, although the heart is an organ of fire.
Michael OndaatjeAfficher la citation en allemand
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Before the real city could be seen it had to be imagined, the way rumours and tall tales were a kind of charting.
Michael OndaatjeMots clés michael-ondaatje toronto toronto-literature
Don’t we forgive everything of a lover? We forgive selfishness, desire, guile. As long as we are the motive for it.
Michael OndaatjeMots clés love
All I ever wanted was a world without maps.
Michael OndaatjeMots clés geography
I believe in such cartography – to be marked by nature, not just label ourselves on a map like the names of rich men and women on buildings. We are communal histories, communal books. ... All I desired was to walk upon such an earth that had no maps.
Michael OndaatjeMots clés inspirational maps communality
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