I Caught Sight of my Face

Page 1


Anchoring off the coast

Parrots in Mirrors

16 The supporting heel of the mast

17 Wind throughout the day

18 When we stepped ashore

19 The island looked uninhabited

20 The king of the island cannot be seen

21 Good to know

22 They attacked so poorly

23 The local king is protected from words

24 They explained to us that we die too straight

25 She opened her legs

26 This island is one of the smallest

27 You open the thicket

28 In the exchange of prisoners, it turned out

29 Green parrots from this island

30 The sun resembled a newborn

31 Good to know

32 On this island they had nothing against trading

33 The negotiations didn’t go well

34 Have you heard Awuan?

35 They have a habit of cutting off the lower jaw

36 It was explained to us that

The supporting heel of the mast, the silent service of a strut in the lower deck. At the end of the rope a knotted mass, a letter in the alphabet of naval effort. The rough stitching of faded canvas with smudges like islands where everything is different and which were never found. A rib out of the flank.

Since the eighth chapter of Scripture everyone descends from the ship. And this morning is so bright that one might still catch up with life.

Wind throughout the day.

The ship inclined precariously.

I went with a lamp into the hold where we kept things for trading. Fabric.

Red hats for which people in new worlds so easily lose their heads. Beads, cards. Crates of mirrors tipped over.

I caught sight of my face, I caught sight of my face, I caught sight of my face so many times I backed away.

In the evening land appeared.

They attacked so poorly it was insulting. Soon we were done.

I went into the hut. Another one was hiding there, he couldn’t escape. He handed me his musical instrument made of white wood, so light that my hand buckled. He had thus gained an extra moment of life.

I’ve never seen white wood this light anywhere else. There was an empty space inside, a ridiculous vulnerability without, the kind that accompanies all musical instruments. It resembled a cradle. And something else I didn’t know.

On the shore, they were calling us to set sail.

The local king is protected from words. If someone wants to tell him something, he tells one of the chiefs. The chief then walks deep into the desert for three days without food, drink, or thoughts, so that the words lose their power. As soon as he returns he lights a fire between himself and the king’s wife. He whispers the words to her across the flames. They repeat this over a stream of water, which flows between them.

At last, with clean words, the wife slowly goes to the king.

On this island they had nothing against trading. We brought out axes, scissors, cymbals. Cambay cloth, yellow damask, black silk.

We soon found out, however, that they wanted us to be doing that –naked. Trading is a ceremony for them.

We turned questioningly to the captain.

Not that they wouldn’t sell anything with their clothes on. But being naked tripled the profit. The merchandise shone. That evening no one spoke, early the next morning we weighed anchor.

The negotiations didn’t go well. They won’t give us the officer’s corpse. Apparently, they understood how valuable he is. We can keep all the ones floating around.

What those naked people crave most are buttons! And red hats…

For good reasons we feign disinterest in gold bracelets. They keep wanting to know why we talk about tomorrow and who gave it to us.

At sunset, a man struck a giant gong. I remembered myself.

I can spend all day watching how they cut up beautiful fruit so unlike any other.

The queen mangles the new name she got after a saint. Clare.

The captain had the guns fired out of concern for the seriousness of the expedition.

Tuan, tuan diam!

The interpreter has disappeared somewhere.

Chechil pixao cepot.

Apenamaito?

They keep staring at our throats.

Sumpitam damach ypu.

Where is that guy?

They’ve brought meat, eggs, rice.

Tuan diam!!

Tida taho.

The meat doesn’t look good. We’ve set up patrols.

Appa mau.

Matu macan ambil, ticug?

Suddenly a child pointed at me.

Ticug?

Ticug?

It only took a moment.

We returned to the ship without the interpreter.

The blanket didn’t help, I shivered under it.

That night I was robbed of sleep by a completely empty dream.

Overloaded Ship

In Seville it has tentatively started to rain and it is Monday.

On the ship coming into port, overloaded with cloves, eighteen men and the news that the world has no edges, and therefore no rest, it’s still Sunday. Yet you kept your diary so consistently. You lost one day during your three-year voyage to the west. You were striving ahead and arrived late.

The missing day –even this you brought with you. Maybe it’s merely the fault of the Earth’s rotation. Maybe that day disappeared among all the discoveries, maybe you didn’t live it enough, emaciated Pigafetta in a shirt with papers full of writing in your hands. What additional discovery could it bring? What other illusion could you lose?

Somewhere in your report, for eternal memory, there is even a record that five hundred years ago on the island of Zubu an unknown woman suddenly burst out laughing. The world has been circumnavigated.

It is raining fine print on streets and in courtyards. One more day remains to be found.

Notes on Contributors

Petr Hruška (b. 1964) is a poet and literary historian who lives in Ostrava, Czech Republic. His poetry has won several state and international prizes, including the Czech State Award for Literature and the Magnesia Litera Award, the most prestigious annual literary award in the Czech Republic. In 2023, his first volume of poems in English, Everything Indicates: Selected Poems, was published by Blue Diode Press, translated by Jonathan Bolton. Collections of Hruška’s poetry have also been translated into French, German, Polish, Italian, Hungarian, Romanian, Croatian and other languages.

Joshua Mensch (b. 1978) is a poet and literary translator based in the Czech Republic. He is a founding editor of the online literary journal B O D Y (bodyliterature.com) and the author of Because: A Lyric Memoir (W.W. Norton, 2018), which was shortlisted for the Canadian Governor General’s Literary Award in poetry.

Jakub Špaňhel (b. 1976) is an acclaimed contemporary Czech visual artist. Since he began his studies at the Academy of Fine Arts in Prague under the guidance of Milan Knížák and Jiří David, his work has been much sought after by collectors. One of the most important sources of inspiration in his oeuvre since the 1990s has been the history of art and literature. His distinctive style, thematically influenced by classical painting, is characterised by relaxed brushwork and reduced form, through which he brings out the essence of the objects he depicts. In his paintings, he reflects on traditional themes with personal value.

This edition © Kulturalis Ltd, 2024

© Petr Hruška, 2022

Translation © Joshua Mensch, 2024

Illustrations © Jakub Špaňhel, 2024

Photo of Petr Hruška © Pavel Kotrla, 2024

Photo of Joshua Mensch © Zuzana Sklenková, 2024

Photo of Jakub Špaňhel © Adéla Kodl, 2024

First published in 2024 by Kulturalis Ltd 14 Old Queen Street, London sw1H 9 Hp United Kingdom www.kulturalis.com

ISBN 978-1-83636-008-7

Project Managers: Jan Zikmund and Katerina Siegl Design: Ivo Kaleta (graphic-house.cz) and Matt Wilson (mexington.co.uk)

Printed and bound in Turkey.

This publication has been supported by the Ministry of Culture of the Czech Republic.

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