Scott Edward Anderson, Suzanne Roberts, and Derek Sheffield at AWP 2022, Philadelphia.

Tonight, I’m reading from my new book, Wine-Dark Sea: New & Selected Poems & Translations in Terrain.org’s reading series. You can join us by registering here for the event. Hope to see you there!

I’ll be reading with two other poets, Joe Wilkins and Betsy Aoki. Betsy is an associate poetry editor with Terrain, which has published several of my poems over the years. Her colleague, Derek Sheffield, will be our host. Derek is a fine poet in his own right, and he has a new book out called Not For Luck, which poet Mark Doty selected for the Wheelbarrow Books Poetry Prize, and it was published by Michigan State University Press.

Derek has been called “a post-romantic nature poet,” in a recent review and, as the reviewer went on to say, his “poems are colored by a sense of separateness from nature and a recognition that language itself impedes any immediate communion with the world.” (Those of you familiar with my book Dwelling: an ecopoem, will understand why I find Derek’s work interesting and simpatico.)  

I should also mention that he wrote a great blurb for my new book, for which I am truly grateful. And he has some of the longest poem titles I’ve ever seen (the one below is not even close to the longest), which is always fun.

Here is Derek Sheffield’s

“At the Log Decomposition Site in the H.J. Andrews Experimental Forest, a Visitation”

Below thick moss and fungi and the green leaves

and white flowers of wood sorrel, where folds

of phloem hold termites and ants busily gnawing  

through rings of ancient light and rain, this rot

is more alive, says the science, than the tree that

for four centuries it was. Beneath beetle galleries

vermiculately leading like lines on a map

to who knows where, all kinds of mites, bacteria,

Protozoa, and nematodes whip, wriggle, and crawl

even as my old pal’s bark of a laugh comes back:

“He’s so morose you get depressed just hearing

his name,” he said once about a poet we both liked.

Perhaps it’s the rust-red hue of his cheeks

in the spill of woody bits. Or something in the long shags

of moss draping every down-curved limb. He’d love to be

right now a green-furred Sasquatch tiptoeing

among the boles of these firs alive since the first

Hamlet’s first soliloquy. He’d be in touch,

he said in an email, as soon as the doctors cleared him.

When this tree toppled, the science continues, its death

went through the soil’s mycorrhizae linking the living

and the dead by threads as fine as the hairs appearing

those last years along Peter’s ears, and those rootlets

kept rooting after. That email buried in my Inbox.

Two lines and his name in lit pixels on my screen.

What if I click Reply? That’s what he would do,

even out of place and time, here in the understory’s

lowering light where gnats rescribble their whirl

after each breath I send.

–Derek Sheffield, from Not For Luck, originally appeared in Otherwise Collective’s Plant-Human Quarterly

Nemésio and his translator. Painting by Henrique Mourato, 1992.
Photo by Ana Cristina Gil, University of the Azores.

My apologies for not being on top of my game with regards to National Poetry Month Mailings this year. Samantha and I just returned from an emotional trip to our beloved island of São Miguel, in the Azores, after two years away.

It was emotion-filled not only because the pandemic kept us way for two years—we had tried to go back as recently as December, but Omicron dissuaded us—but because in the interim years we had determined that we want to divide our time between there and our new home in the Berkshires and this trip solidified and confirmed that plan.

On top of that, we held a ceremony to place a plaque at the Praça do Emigrante (Emigrant Square) honoring the memory and sacrifice of my two great-grandparents who emigrated from the island in 1906. Joining us were cousins from my family there, the Casquilho family, along with the director and staff from the Associação dos Emigrantes Açorianos.

It was a windy afternoon, and the waves were crashing against the rocky shore along the north coast of the island, as if the spirit of my great-grandparents were making their presence known.

All this to say that I’m behind in my weekly mailings and I apologize. This week, I’m going to share post one of my translations of the great Azorean poet Vitorino Nemésio, “Ship,” which I hope you will enjoy. It originally appeared in Gávea-Brown Journal and was reprinted in my new book, Wine-Dark Sea: New & Selected Poems & Translations. Here it is in the original Portuguese and in my translation:

Navio

Tenho a carne dorida

Do pousar de umas aves

Que não sei de onde são:

Só sei que gostam de vida

Picada em meu coração.

Quando vêm, vêm suaves;

Partindo, tão gordas vão!

Como eu gosto de estar

Aqui na minha janela

A dar miolos às aves!

Ponho-me a olhar para o mar:

—Olha-me um navio sem rumo!

E, de vê-lo, dá-lho a vela,

Ou sejam meus cílios tristes:

A ave e a nave, em resumo,

Aqui, na minha janela.

—Vitorino Nemésio, Nem Toda A Noite A Vida

___

Ship

My flesh is sore

from the landing of some birds

I don’t know where they’re from.

I only know that they, like life,

sting in my heart.

When they come, they come softly;

leaving, they go so heavy!

How I like to be

here at my window

giving my mind over to the birds!

I’m looking at the sea:

look at that aimless ship!

And, seeing it, give it a lamp[i],

or my sad eyelashes:

the bird and the ship, in a nutshell,

here, at my window.

—translated from the Portuguese by Scott Edward Anderson


[i] For “vela,” I like “lamp” here, rather than “candle” or “sail,” because it echoes the idea of lighting a lamp to draw in a weary traveler—although I think “salute” or “sign” might also work, although not technically accurate. Also “lamp” hearkens back to Nemésio’s stated desire, expressed in his Corsário das Ilhas, which I’ve been translating for Tagus Press, of wanting to be a lighthouse keeper.

I’m behind in posting this year’s National Poetry Month poems, and I was reminded of that fact by several readers who reached out wondering whether they’d fallen off the list. My apologies!!

We finally made it back to the Azores after two years away and I’ve been busy preparing for a lecture I am giving at the University of the Azores this evening (as I write this) and a book launch event at the bookstore of my Azorean publisher, Letras Lavadas, in Ponta Delgada on Thursday.

Still, no excuse.

Then, this morning, I saw Dana Levin’s poem below, posted by several friends on social media from its appearance in the New York Times Magazine this week, and—given recent events in Ukraine and Sacramento—I decided it was the poem to start with this year.

Dana Levin is a national treasure. Her poetry is both erudite and approachable, a rich combination of everyday observations, science, and deep human feeling. 

Dana grew up in California’s Mojave Desert, earned a BA from Pitzer College and an MA from New York University. Her collections of poetry include Banana Palace (2016), Sky Burial (2011), Wedding Day (2005), and In the Surgical Theatre (1999). She teaches at Maryville University in St. Louis, where she is distinguished writer-in-residence.

Here is Dana Levin’s poem, “Instructions for Stopping,” from her new book, Now Do You Know Where You Are, out now from Copper Canyon Press.

By Dana Levin

Say Stop.

Keep your lips pressed together
after you say the p:

(soon they’ll try
to pry

your breath out—)



Whisper it
three times in a row:

Stop Stop Stop

In a hospital bed
like a curled-up fish, someone’s

gulping at air—

How should you apply
your breath?



List all of the people
you would like
to stop.

Who offers love,
who terror—

Write Stop.
Put a period at the end.

Decide if it’s a kiss
or a bullet.

Here’s how it appeared in the New York Times Magazine on Sunday: Insructions for Stopping.

In conversation with Kathryn Miles

On #pubday eve, Kathryn Miles and I got together to chat about my new book, Wine-Dark Sea: New & Selected Poems & Translations. We had a wide-ranging conversation about the book, specific poems, finding love at middle age, the idea of home, and the Azores — and I even read a poem in Portuguese.

Have a look here:

The book came out March 1st and is available through the links on my website: scottedwardanderson.com/wine-dark-sea

My Year in Writing: 2021

November 24, 2021

Poster for my talk at the Humanities Forum of Providence College, September 2021

Now is the time of year, between my birthday and the end of the year, when I take stock of my year in writing.

What a year it’s been, deepening my connections to my ancestral homeland of the Azores, as well as my ties to the diaspora throughout North America. Here we go:

  • Signed contract with Shanti Arts for Wine-Dark Sea: New & Selected Poems & Translations to be published in Spring 2022. (Technically signed this at the very end of 2020, but thought it was worth mentioning again.)
  • Interview and review by Esmeralda Cabral appeared in Gávea-Brown and was later translated into Portuguese by Esmeralda and Marta Cowling and appeared in Diário dos Açores.
  • Published four translations by Margarida Vale de Gato from Dwelling in Colóquio/Letras by the Gulbenkian Foundation. And signed contract with Poética Edições for Habitar: uma ecopoema, translation by Margarida of my book Dwelling: an ecopoem. Received funding for Margarida’s translation from FLAD.
  • Associação dos Emigrantes Açorianos AEA video presentation, “Açores de Mil Ilhas” for World Poetry Day.
  • Dwelling featured in a class at Providence College on Environmental Philosophy, thanks to Professor Ryan Shea; spent a week there, including teaching three classes and giving a reading/talk at the PC Humanities Forum.
  • Participated in session with Margarida Vale de Gota’s translation students at University of the Lisbon via Zoom.
  • Finished a draft of my translation of Vitorino Nemésio’s Corsário das Ilhas and revisions corresponding to new (2021) Portuguese edition.
  • Published “Wine-Dark Sea” (poem) in America Studies Over_Seas.
  • Published two poems, “The Pre-dawn Song of the Pearly-eyed Thrasher” and “Under the Linden’s Spell,” in The Wayfarer.
  • Published “Phase Change” (poem) in ONE ART (online poetry journal).
  • Scrapped portions of my work-in-progress, The Others in Me, after consulting with two writer friends about it, but found a new approach through working with Marion Roach Smith, which I will start in 2022…

What a year! I am exceedingly grateful to everyone who has supported my writing over the past year. As Walter Lowenfels wrote, “One reader is a miracle; two, a mass movement.” I feel like I’ve been blessed by a mass miracle this year!

Please join me this Thursday, 3 June, at 7PM EDT, for a reading and talk I’m giving for the New Bedford Whaling Museum, which focuses on the connections between the Azores, New Bedford, and Rhode Island, whaling, and other Atlantic Crossings.

Inspired by my explorations into my family heritage, which in turn inspired my book-length poem Azorean Suite/Suite Açoriana, this reading and talk will explore the journeys of various waves of immigrants to America and their connection across the Atlantic to the Azores.

I’ll share passages from Azorean Suite, as well as from my work-in-progress, a research-driven memoir called “The Others in Me: A Journey to Discover Ancestry, Identity, and Lost Heritage.”

The ZOOM event is past, but you can watch the video here: Whaling Museum

Hope to “see” you there!

For my bonus post this year, wrapping up this Poetry Month featuring poets of the Azores and its Diaspora, I want to share one of my translations of the great 20th Century Azorean poet Vitorino Nemésio. (This translation appears in the current issue of Gávea-Brown: A Bilingual Journal of Portuguese-North American Letters and Studies, along with four others.)

Vitorino Nemésio statue on Terceira Island, the Azores islands, Portugal.
Photo by Manuel de Sousa, Creative Commons License

A poet, essayist, and public intellectual, Nemésio was born on Terceira Island in 1901 and is best known for his novel Mau tempo no canal (1945), which was translated into English by Francisco Cota Fagundes and published as Stormy Isles: An Azorean Tale.

In 1932, the quincentennial year of Gonçalo Velho Cabral’s “discovery” of the Azores, Nemésio coined the term “açorianidade,” which he would explore in two important essays, and which would become the subject of much debate over the years. There are those who see the term as somewhat limiting: describing as it does a specific, fixed set of qualities of the island condition—insularity, for example—that belies a greater dynamism in the spirit of the islanders.

Nevertheless, I think its usefulness as a term is somewhat expanded when we look at what Nemésio himself said about it, reflecting the entirety of his term rather than one dimension of it. Instead of limiting it as a descriptor to what it’s like to be born on the islands, Nemésio asserted that it was appropriate, too, for those who emigrated from the islands, as well as those who later returned. (And, by extension, as I said in a recent interview, I like to think he intended it to continue through or beyond the generations.) 

The term, wrote Antonio Machado Pires in his essay, “The Azorean Man and Azoreanity,” “not only expresses the quality and soul of being Azorean, inside or outside (mainly outside?) of the Azores, but the set of constraints of archipelagic living: its geography (which ‘is worth as much as history’), its volcanism, its economic limitations, but also its own capacity as a traditional ‘economy’ of subsistence, its manifestations of culture and popular religiosity, their idiosyncrasy, their speaking, everything that contributes to verify identity.”

As a “warm-up exercise” for translating Nemésio’s travel diary, Corsário das Ilhas (1956), for which I am currently under contract with Tagus Press of UMass Dartmouth (with financial support from Brown University), I started with some of his poems. And I hope to continue with more, because Nemésio is worthy of a larger audience here.

I hope you’ve enjoyed this brief tour of some of the poetry of the Azores and its Diaspora.

Here is Vitorino Nemésio’s “A Árvore do Silêncio” and my translation, “The Tree of Silence”:


A ÁRVORE DO SILÊNCIO

Se a nossa voz crescesse, onde era a árvore?

Em que pontas, a corola do silêncio?

Coração já cansado, és a raiz:

Uma ave te passe a outro país.

Coisas de terra são palavra.

Semeia o que calou.

Não faz sentido quem lavra

Se o não colhe do que amou.

Assim, sílaba e folha, porque não

Num só ramo levá-las

com a graça e o redondo de uma mão?

(Tu não te calas? Tu não te calas?!)

—Vitorino Nemésio de Canto de Véspera (1966)

_____________

THE TREE OF SILENCE

If our voice grew, where was the tree?

To what ends, the corolla of silence?

Heart already tired, you are the root:

a bird passes you en route to another country.

Earthly things are word.

Sow what is silent.

It doesn’t matter who plows,

if you don’t reap what you loved.

So, why not take them,

syllable and leaf, in a single bunch

with the graceful roundness of one hand?

(Don’t you keep quiet? Don’t you keep quiet?!)

—translated from the Portuguese by Scott Edward Anderson

from Gávea-Brown—A Bilingual Journal of Portuguese-North American Letters and Studies, vol. 43. Brown University, 2021

Detail of José do Canto (1820-1898) statue,
Jardim Botânico José do Canto, Ponta Delgada, Azores. Photo by SEA

I first encountered Logan Duarte through Christopher Larkosh’s “Writing the Moment Lusodiasporic” event last June. A two-day event sponsored by the College of Arts and Sciences and the UMass Dartmouth Department of Portuguese, it brought together Luso-North American writers from throughout Canada and the U.S.

The event was originally supposed to be held in April at the Casa da Saudade Library in New Bedford, but due to the pandemic, it was moved to Zoom in June. The event featured a combination of presentations by writers and cultural agents like Irene Marques, Humberto da Silva, and Emanuel Melo, along with a generative writing workshop led by Carlo Matos.

(Larkosh, who tragically died this past December, served as Logan’s professor and adviser at UMass Dartmouth, and I’d like to dedicate this post to his memory.)

I next saw Logan when we both read for Diniz Borges’ Filaments of the Atlantic Heritage symposium in March 2021. I was impressed with Logan’s poetry, enthusiasm, and scholarship.

One of the poems Logan read during that session was “My Statue,” which he described to me as, “an act of homage towards a man who is the lifeblood of my açorianidade, and a testament to those who have gone before; those whose presence grows stronger in physical absence and gives us the confidence to smile in the rain.” 

Logan is an Azorean Portuguese American writer currently based in Taunton, Massachusetts. His family came from São Miguel Island in the 1960s, which makes him first generation American; although he sometimes jokingly refers to himself as “0.5 generation,” having called Lisbon, Portugal, his home for part of his life.

His writing centers around cultural identity in the Luso-American diaspora and has been a runner-up for the Disquiet International Literary Program’s Luso-American Fellowship (2019) and featured in the Legacy section of the Tribuna Portuguesa (2020). He has a forthcoming set of poems in the upcoming issue of Gávea-Brown, a bilingual journal of Portuguese American letters and studies published by Brown University.

Logan is expected to graduate with a master’s in teaching from UMass Dartmouth in 2021, from which he also received his BA in Portuguese. He also studied at Universidade Católica Portuguesa and Universidade de Lisboa and has taught Portuguese at Milford and Taunton high schools and at Escola Oficial Portuguesa. He will be a graduate Teaching Fellow at UMass Dartmouth beginning his second masters in Portuguese Studies in the upcoming academic year.

Here is Logan Duarte’s “My Statue”

My Statue 

Rain pelts the cobblestone calçada. A utopia turns to a warzone. 

Tourists scatter…I walk 

Knowing all too well the dangerous potential of a slick calçada.  

Some of them slip. Now they know. 

Walking, thinking, unperturbed by the hail of crossfire in which I am caught, I lift my head to see a statue. 

I stop, my eyes examining its unique character. 

It stands firm; the quintessence of gallantry; completely untouched by the bombardment letting loose on the city. 

All else assumes a deep gray despondence, battered by the bombs that fall from the clouds. The streets are barren; a wasteland. 

But the statue stands unscathed. 

Only light shines on this singular obra-prima perfectly guarded in a safe corner of the universe. 

A man stands chiseled out of the finest marble. 

His eyes look directly at me…no one else. 

Below him, a plaque: 

“Ocean-crosser, storm-braver, fearless warrior”. 

Who could it be? 

A hero to the people? A national figure? The sacred one-eyed man? 

No. This is no ordinary statue. This one is only mine. 

I continue walking, still thinking. I still see a statue… 

My statue…my avô. 

The corners of my mouth raise nearly to my ears at the sight of my statue, and the rain clears. Tourists emerge from their hideaways; some still rubbing their bruises. 

Their selfies one shade darker now, 

But my statue remains unscathed. 

It guides me through the warzone—a beacon amidst brume. 

So that when others run, and sometimes slip, 

I walk and think of my statue who in life sacrificed so much 

So that I may not fear the rain. 

And that I may turn my warzone into utopia.

—Logan Duarte

(This poem, used with permission of the author, originally appeared in Tribuna Portuguesa, in a slightly different version.)

There’s a particular light one experiences on the islands of the Azores. A combination of atmospheric and environmental factors contributes to creating this light, including aspect of the sun, the way the sun’s rays cut through the ubiquitous cloud-cover and pervasive sea mist, the reflection off the surrounding sea and refraction through a sometimes-oppressive humidity that lingers, at various times of the day and the season.

Elaine Ávila’s FADO, published by Talonbooks.

It also depends upon the perspective of the individual—how they are feeling, what they are longing for, who they are becoming. You know it when you see it—almost I want to say, you feel it. And the variety and diversity of the light on the islands is remarkable: just as no two people can see things the same way, the way we experience island light will be as various as our very nature.

Luz insular,” Elaine Ávila calls it in her poem, “Grandma’s Embroidery,” describing it as “a light so/ particular, it floats,/ promising miracles,/ as if only somewhere else/ will relieve/ a thousand deprivations.” And in this sense, it has a double meaning: island light and an interiority of light, a light from within, a light that “should tell the truth,/ like Grandma’s embroidery.”

Better known as a playwright, Elaine Ávila is an American-born Canadian of Azorean descent, the granddaughter of one of the first photographers from Ribeiras on the island of Pico, who emigrated to America.

Ávila told me in an email that she first experienced this island light in her grandfather’s photographs. “They had this blurry light, looking like the ‘holy spirit,’ floating through the photos,” she wrote. “I assumed it was because his brownie camera leaked light, but when I took pictures in the Azores, I noticed that light shows up in contemporary photographs and in the sky when you are there.”

Her Azorean grandmother, also from Ribeiras, trained as a tailor and milliner. On her mother’s side, her heritage is mostly a mystery, a product of the hidden history of women who surrendered children for adoption in the days before Roe vs. Wade.

Ávila’s father was a mathematician who worked for NASA and her mother is a painter. This caldo of cultures and intriguing, enigmatic history makes for a rich broth from which Ávila draws in her poetry.

Her plays, which have a decidedly biographical and historical predilection, prompted the Pulitzer Prize-winning playwright Suzan-Lori Parks to describe Ávila as “a wonderful writer, tremendously gifted, reliable and innovative.”

Her latest play, FADO: The Saddest Music in the World, is a musical following a young Portuguese Canadian woman “on a multicultural journey back to Lisbon’s meandering back alleys and lively cafés, winding through fados of resistance, emigrant fados, queer fados, in the hope of reclaiming her heritage and retrieving her own true song.” It has just been published by Talonbooks in Canada.      

Here is Elaine Ávila’s poem, “Grandma’s Embroidery”:

Grandma’s Embroidery

In full bloom

Grandma’s blue hydrangea

tumbles through space

shining, alone, overturned,

while Grandpa’s boat 

beckons, with sails of gold

unfurling on a white-blue sea.

She’s done it, broken the patterns

made something original

found American threads so brilliant

she can capture Azorean light.

In the Azores, we call it

“luz insular,” a light so

particular, it floats,

promising miracles,

as if only somewhere else

will relieve

a thousand deprivations.

Luz insular should tell the truth,

like Grandma’s embroidery.

If you leave

you may discover yourself

tumbling, overturned

out of proportion, alone

yet, able,

stitch by stitch,

to make Azorean light

dance.

—Elaine Ávila, used by permission of the author

One of the pleasures of reconnecting with my ancestral and familial roots on the Azores is learning about the community of writers, artists, and musicians who are active on the islands and in the Azorean diaspora.

Cascata do Salto do Cabrito, Ribeira Grande, Açores.
Photo by SEA

This year for my National Poetry Month posts I’m going to focus on the poetry of the Azores and its diaspora. In part, because I don’t know when I’ll get back to the islands, and in part because there is, both on the islands and around the diasporic world, an incredible diversity of poets working today.

Indeed, it is part of a renaissance of Azorean creativity. For example, on São Miguel over the course of a week in the summer, there were many cultural activities—from outdoor concerts in the Largo do Colégio to stilt-walking pop-up street theater performances, from book launches at one of the several bookshops to readings at the Public Library.

Add the other islands into the mix—from events and festivals organized by Terry Costa’s MiratecArts organization on Pico to the Maia Folk Festival on Santa Maria island and the “Festas da Praia” on Terceira—there’s an incredible cultural revolution happening on the Azores.

Just how extensive was this revolution (or my own revelation of it anyway) really hit home—literally—during the pandemic year of 2020: it seemed like every night there was an opportunity to participate in some Zoom event from the Azores or the diaspora, whether it was the Arquipélago de Escritores conference, the Colóquios da Lusofonia run by Chrys Chrystello, or events put on by the Portuguese Beyond Borders Institute at Fresno State University.

There were book launches, readings, and video interviews from bookstore-publishers like Letras Lavadas, Livraria SolMar, and Companhia das Ilhas, as well as musical performances by Sara Cruz, Cristovam, and others. (To be honest, this doesn’t even scratch the surface of what’s happening on the islands—there’s more going on there than in Brooklyn!)

One of the contemporary poets whose work that has come to my attention through all of this over the past year is Ângela de Almeida.

Born in Horta, on the island of Faial, Almeida studied in Lisbon, earning a PhD in Portuguese Literature by defending a thesis on the symbolism of the island and Pentecostalism in the work of one of the Azores’s most renowned literary figures, the poet and essayist Natália Correia. Her poetry collections include Sobre o Rosto (1989), Manifesto (2005), A Oriente (2006), as well as the poetic narrative, O Baile das Luas (1993), which critic David Mourao-Ferreira called “a small masterpiece.”

The poem of hers I’ve chosen, “comecemos o dia a oriente junto às ravinas,” comes from her book, Caligrafia dos pássaros (The Calligraphy of Birds), which she published in 2018; the poem is dedicated to Ricardo Reis, one of the heteronyms of the great Portuguese poet, Fernando Pessoa.

Ricardo Reis has “a very particular poetry and philosophy with which I identify myself very much,” Almeida told me. “He is against suffering and I am always.”

Indeed, Reis is a modern epicurean who urges us to seize the day and peacefully accept fate. “Wise is the one who does not seek,” he wrote. “The seeker will find in all things the abyss, and doubt in himself.”

Here is Ângela de Almeida’s poem in its original Portuguese and in my translation:

comecemos o dia a oriente junto às ravinas

com as mãos envoltas em anéis de água

e olhemos o azul e acetinado manto

e fiquemos ausentes e livres

e suspensos

e com as mãos envoltas em anéis de água

abracemo-nos simplesmente

e continuemos a olhar o azul e acetinado manto

como se o tempo fosse este momento

assim liso e pasmado

e afinal não nos abracemos, mas olhemos

simplesmente os fios de água na pele

deste dia diferente e fiquemos assim

contemplativos e ausentes

enquanto a água corre e não morre

–a Ricardo Reis

#

let us start the day in the east by the ravines

with our hands enfolded in rings of water

and look at the blue satin blanket

and let us stay absorbed and free

and suspended

and with our hands enfolded in rings of water

let us simply embrace each other

and continue to look at the blue satin blanket

as if time were this moment

so smooth and astonished

and in the end, let’s not embrace, but simply

look at the trickle of water on the skin

of this different day and stay like this

contemplative and absorbed

while the water flows and never dies

–to Ricardo Reis

Poem reprinted by permission of Ângela de Almeida. Translation by Scott Edward Anderson