{"id":20118,"date":"2018-01-26T16:05:55","date_gmt":"2018-01-26T15:05:55","guid":{"rendered":"http:\/\/www.revuenoire.com\/en\/?p=20118"},"modified":"2022-11-09T12:09:20","modified_gmt":"2022-11-09T11:09:20","slug":"severo-sarduy-cuba","status":"publish","type":"post","link":"https:\/\/www.revuenoire.com\/en\/severo-sarduy-cuba\/","title":{"rendered":"Severo SARDUY – Cuba"},"content":{"rendered":"
\n
\n\t

\u00a0\u00a0<\/em><\/p>\n

Severo Sarduy was born in Camag\u00fcey, Cuba, in 1937. He directed, in 1959, the literary pages of 'Diario Libre', in Havana. Lives in Europe since 1960. Writing for radio and collaboration in 'Tel Quel', 'Libert\u00e9', the Cuban newspaper 'Gramma'. His books 'Gestes' (1963), 'Writing with Dance' (1976), 'Cobra' (1972), 'Barroco' (1975), among others, have established him as one of the writers of Cuban modernity exile.<\/p>\n

Other writings : 'Big Bang' (poesie, 1974), illustrations Ram\u00f3n Alejandro. 'Big Bang' (\u00c9d. fran\u00e7aise : Fata Morgana, Montpellier, 1973) ; 'Para la voz' (1977) ; 'Maitreya' (1978), 'Maitreya' (\u00c9d. fran\u00e7aise : Seuil, Paris, 1980) ; 'Daiquiri' (1980) : 'Colibr\u00ed' (1984), (\u00c9d. fran\u00e7aise : 'Colibri', Seuil, Paris, 1986) ; 'Cocuyo' (roman, 1990) (\u00c9d. fran\u00e7aise : 'Pour que personne ne sache que j\u2019ai peur', Gallimard, Paris, 1991) ; 'P\u00e1jaros de la playa' (1993) (\u00c9d. fran\u00e7aise : 'Les oiseaux de la plage', Gallimard, Paris, 1994) ; 'La Plage', theatre, directed by Simone Benmussa au Th\u00e9\u00e2tre du Rond-Point (1977).
\n\u00a0\u00a0<\/em>
\n\u00a0\u00a0<\/em><\/p>\n

***<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div>

\n
\n\t

Orishas<\/span><\/h1>\n

[published in RN 09 Caribbean in December 1992,
Original text in Spanish-Cuba
translated by John Taylor]\u00a0\u00a0<\/em><\/p>\n

\u00a0<\/h2>\n

Oshun (v)<\/span><\/h2>\n

She appears at the edge of the river :<\/span><\/p>\n

a golden bracelet rattles.<\/span><\/p>\n

a stag cleaves the unison<\/span><\/p>\n

in the amber of summer.<\/span><\/p>\n

Mirrors are for tedium.<\/span><\/p>\n

The lustre of honey.<\/span><\/p>\n

Sunflower in a terra cotta pot.<\/span><\/p>\n

Brazen mulatress,<\/span><\/p>\n

the sandalwood celebrates her.<\/span><\/p>\n

\u2013 So says Lydia Cabrera.<\/span><\/p>\n

\u00a0<\/h2>\n

Oya (VII)<\/span><\/h2>\n

Black mount, black night ;<\/span><\/p>\n

bright lightning and two swords.<\/span><\/p>\n

May they remain closed <\/span><\/p>\n

The doors of the mausoleum !<\/span><\/p>\n

Her footsteps, which hurry,<\/span><\/p>\n

and the marble, baroque and austere<\/span><\/p>\n

seal in all mysteries.<\/span><\/p>\n

Between nine colors,<\/span><\/p>\n

fakes, wax candles and flowers.<\/span><\/p>\n

She watches, the deanery of the cemetery.<\/span><\/p>\n

\u00a0<\/h2>\n

Olokun (IX)<\/span><\/h2>\n

Half-man, half-fish,<\/span><\/p>\n

seven chains hold him<\/span><\/p>\n

beyond the sands.<\/span><\/p>\n

Once I dreams of him ;<\/span><\/p>\n

his round face<\/span><\/p>\n

scored with tribal markings<\/span><\/p>\n

and his empty unfathomable eyes<\/span><\/p>\n

exorcised the evil spell.<\/span><\/p>\n

Bitter lips, sixteen <\/span><\/p>\n

ritual cowrie-shells laid out on display.<\/span><\/p>\n

\u00a0<\/h2>\n

Yemaya (X)<\/span><\/h2>\n

Mother of the waters, New Moon :<\/span><\/p>\n

to triumph over misfortune,<\/span><\/p>\n

I will sacrifice a dove,<\/span><\/p>\n

a lamb to the austere sea.<\/span><\/p>\n

Life takes death with it.<\/span><\/p>\n

A cross of curshed egg-shells<\/span><\/p>\n

on a yellow forehead :<\/span><\/p>\n

and you will pluck my last breath.<\/span><\/p>\n

Against winds and tides<\/span><\/p>\n

I will go away, to the other bank\u2026.<\/span><\/p>\n

\u00a0\u00a0<\/em>
\u00a0\u00a0<\/em> Severo Sarduy
[excerpt from 'Orishas']
\u00a0\u00a0<\/em>\u00a0\u00a0<\/em><\/p>\n

\u00a0\u00a0<\/em><\/p>\n

***
\u00a0\u00a0<\/em>
\u00a0\u00a0<\/em><\/p>\n<\/div>\n<\/div><\/div><\/div>

\n
\n\t

Orishas<\/span><\/h1>\n

[original text in Spanish-Cuba]\u00a0\u00a0<\/em>
\n\u00a0\u00a0<\/em>
\n\u00a0\u00a0<\/em>
\n\u00a0\u00a0<\/em><\/p>\n

Ochun (V)<\/span><\/h2>\n

\u00a0\u00a0<\/em><\/p>\n

Aparece junto al rio :<\/span><\/p>\n

rumor de pulseras de oro.<\/span><\/p>\n

Un venado cruza el coro<\/span><\/p>\n

en el \u00e1mbar de est\u00edo.<\/span><\/p>\n

Espejos para el hastio !<\/span><\/p>\n

De la miel, la brilladera.<\/span><\/p>\n

Girasol en la sopera.<\/span><\/p>\n

Mulata de rompe y raja,<\/span><\/p>\n

el s\u00e1ndalo la agasaja<\/span><\/p>\n

\u2013 Lo dice Lydia Cabrera<\/span><\/p>\n

\u00a0\u00a0<\/em><\/p>\n

Oya (VII)<\/span><\/h2>\n

Monte oscuro, noche oscura :<\/span><\/p>\n

centellas y dos espadas.<\/span><\/p>\n

Deje sus puerta carradas<\/span><\/p>\n

La f\u00fanebre arquitectura !<\/span><\/p>\n

Su paso, que se apresura,<\/span><\/p>\n

y el m\u00e1rmool barroco y serio,<\/span><\/p>\n

sellar\u00e1n todo misterio.<\/span><\/p>\n

Guarda, tras nueve colores,<\/span><\/p>\n

guada\u00f1a del cementerio.<\/span><\/p>\n

\u00a0\u00a0<\/em><\/p>\n

Olukun (IX)<\/span><\/h2>\n

Mitad hombre, mitad pez,<\/span><\/p>\n

yace con siete cadenas<\/span><\/p>\n

m\u00e1 all\u00e1 de las arenas.<\/span><\/p>\n

En sue\u00f1o lo vi una vez :<\/span><\/p>\n

del rostro la redondez<\/span><\/p>\n

con hondas rayas tribales<\/span><\/p>\n

y ojos blancos abisale<\/span><\/p>\n

ahuyenta ese mal severo.<\/span><\/p>\n

Boca abajo, en el tablero,<\/span><\/p>\n

diecis\u00e9is cauris ritueles.<\/span><\/p>\n

\u00a0\u00a0<\/em><\/p>\n

Yemaya (X)<\/span><\/h2>\n

Madre de agua, Luna mueva :<\/span><\/p>\n

una paloma, un cordero,<\/span><\/p>\n

ofrecer\u00e9 al mar austero,<\/span><\/p>\n

para pasar esta prueba.<\/span><\/p>\n

La vida muerte convella.<\/span><\/p>\n

Una cruz de cascarilla<\/span><\/p>\n

sobre la frente amarilla :<\/span><\/p>\n

firmar\u00e1s mi \u00faltimo aliento.<\/span><\/p>\n

Y contra marea y viento<\/span><\/p>\n

remar\u00e9. Hasta la otra orilla...<\/span><\/p>\n

\u00a0\u00a0<\/em>
\nSevero Sarduy
\n\u00a0\u00a0<\/em>
\n\u00a0\u00a0<\/em><\/p>\n

***<\/p>\n

\u00a0\u00a0<\/em>
\n\u00a0\u00a0<\/em><\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

\u00a0\u00a0 Severo Sarduy was born in Camag\u00fcey, Cuba, in 1937. He directed, in 1959, the literary pages of ‘Diario Libre’, in Havana. Lives in Europe since 1960. Writing for radio and collaboration in ‘Tel Quel’, ‘Libert\u00e9’, the Cuban newspaper ‘Gramma’. His books ‘Gestes’ (1963), ‘Writing with Dance’ (1976), ‘Cobra’ (1972), ‘Barroco’ (1975), among others, have ... <\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[250,64],"tags":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts\/20118"}],"collection":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/comments?post=20118"}],"version-history":[{"count":2,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts\/20118\/revisions"}],"predecessor-version":[{"id":22553,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts\/20118\/revisions\/22553"}],"wp:attachment":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/media?parent=20118"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/categories?post=20118"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/tags?post=20118"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}