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Patios de luz

by Su Garrido Pombo

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1.
NUN PATIO DE LUZ Nun patio de luz un día Luciña botaba a roupa as mans cheirábanlle a talco o pelo cheiráballe a loita. Ducias de cravos silvestres colgaban daquelas macetas Luciña botaba a roupa como quen sega a herba. Caían migallas do cuarto folerpas de pan de onte e Aurora bordaba cantando paxaros nas cortinas. Tódalas cancións da radio aprenderaas de rapaza bailando coa súa sombra nas casas nas que servía Nun patio de luz A Lola dáselle ben abrir as portas alleas contounos que noutra vida ela recorrera as salas de xente descoñecida, abríndolle tódalas fiestras deixándolle un ramo de hortensias como nas casas da aldea Nun patio de luz Alguén bateu unha fiestra do cuarto caiu unha prenda como a pluma dunha pega na terraza de Carmiña que a apretou contra o seu peito e deixoulla atrás da porta cunha rosas e un desexo que arrancou da súa horta Nun patio de luz un día cravos, pan e rosas EN PATIO OF LIGHT In a patio of light one day Luciña hanging out the clothes from her hands the scent of talc​​​​ her hair is streaked with blows. A dozen wild carnations standing in their pots​​​​​​ Luciña slinging out the clothes like a scythe through the meadows. Flakes of yesterday’s bread from the 4th; a sprinkle of crumbs Aurora embroiders birds soaring across the curtains while singing the radio songs she learned as a child, slowly waltzing with her shadow round the houses where she served. ​​​ ​In a patio light. Lola was a dab hand at pushing through the doors in another life – she told us – she’d flit from the parties of people she never knew fling open all their windows leaving bouquets of hydrangea ​​​​​​​ like the houses in the aldea ​In a patio of light. Someone slams a window a keepsake flutters from the 4th like a magpie let fall a feather​​​ into Carmiñas yard that she clutches to her heart then keeps hidden behind the door with the rose and her desire she harvested from the earth.
2.
RÚA DO PRACER Bali botón de ouro Rosiña chuchamel tróuxovolo vento morno pola rúa do Pracer Viñestes dende moi lonxe como a herba de namorar seguíanvolos paxaros e os paxaros hanvos levar Baixo as luces de neón semprenoivas das paredes nin sacho que vos arrinque non hai fouce que vos segue Bali botón de ouro... Asubíanvolos merlos agochados baixo as tellas Tránvololos contos do mar e o cheiro da tormenta Pola costa do pracer déstesme a vosa beizón Miñas flores das silveiras prendestes no meu corazón Bali botón de ouro... EN ON PLEASURE ROW Bali golden buttercup Rosiña honeysuckle you were blown in on a soft wind onto Pleasure Row. You came from far away on a bird’s wing, in flight, the sea’s purple thrift and those birds with whom you’ll flit. Under the neon lights bright-eyed flowers of the wall, there’s no spade can uproot you, no sickle make you fall. ​ ​Bali golden buttercup... Hunched under the roof slates blackbirds whistling your sway, they’ve brought in sea shanties and the air of a coming gale. On Pleasure Hill you blessed me Bali, flower in the burrs snagged me as I was passing you’re latched onto my heart ​Bali golden buttercup...
3.
O outro lado 03:57
O OUTRO LADO Soa unha alarma no edificio o canto da curuxa no salón exténdense polo rodapé infinito resoa no patio interior Soñaras cos paxaros esa noite deixas unha codia no balcón cóllelo ascensor ata garaxe cóllela circunvalación Na autoestrada un anuncio en grande: El amor no existe, se hace baixo a foto con palmeiras ó final da primavera segan a herba salvaxe na cuneta outra sinal na radio cantaba Sinead Torceche na líña continua colléchela pista forestal E un día marchache, cruzáchelo valado retoñaba o loureiro no monte queimado roubáchesllo lume, prendéchelo facho e na língua das bestas amañeceche cantando Na panadería conta Luz Divina que agora vas feita un poema seguente tres paxaros, como o cheiro das milfollas polos cables da luz Camiñas pola rúa do Progreso como quen chimpa nas pólas ouveas de memoria e recitas nas paradas do bus E un día marchache, cruzáchelo valado retoñaba o loureiro no monte queimado roubáchesllo lume, prendéchelo facho e na língua das bestas amañeceche ó outro lado EN THE OTHER SIDE An alarm clock rings in the building an owl hooting down the hall, it echoes off the skirting board chimes in the patio interior. You dreamt last night with the birds placed a crust of bread on the sill, took the lift down to the garage then the ring road out of town. Expanding palm trees on a billboard down the motorway​​​​​ under Love doesn’t exist, you make it the wildflowers are mown, come spring. ​​​​ Sinéad on the radio as you drive over the white line, there’s another sign in the ditch​​​​​ that leads to the forest path. ​Then one day you just left, clear over the fence ​the laurel trees sprout on the burnt hillsides ​and you stole the fire, and you lit the torch ​in the language of beasts ​you woke up ​singing. Luz Divina down the bakery says you’re got up like a poem! the scent of fresh pastry three birds follow you home. Skipping down Progreso swinging from tree to tree, reciting lines at the bus stop you howl from memory. ​Then one day you just left, clear over the fence ​the laurel trees sprout on the burnt hillsides ​and you stole the fire, and you lit the torch ​in the language of beasts ​you woke up ​on the other side. the other side...
4.
Doce caseiro 03:52
DOCE CASEIRO Flores recén cortadas no xarrón a persiana do salón aberta o vestido de estrea sobre a cama a toalla de follas na cabeza Sacache o mantel herdado bordado a man a louza gardada para a ocasión copas gravadas pra beber champán Onte no patio deixache posta a mesa Hoxe hai doce caseiro de sobremesa Fixeche doce caseiro de sobremesa Tirache os retratos todos do aparador o album e o camisón da última gaveta do armario o traxe da comunión No patio de luz prendeche a fogueira Hoxe hai doce caseiro de sobremesa Fixeche doce caseiro de sobremesa Seguíante os paxaros mudos dende os balcóns as lapas de cores petaban nas fiestras fumabas o puro da última celebración brilábannos como a palla os ollos ás nenas Hoxe hai doce caseiro de sobremesa EN HOMEMADE DESERT Just-cut flowers placed in a vase the living-room drapes drawn back, your Debs dress laid out over the bed​​​​​ a bath towel crowning your head. ​​​ You took out your mother’s tablecloth​​​​ ​that was embroidered by hand, the delph saved for such an event​​​​​ flutes for sipping champagne; ​​​​ yesterday, in the patio of light, you laid the table. ​Today, there is homemade desert for afters ​You’ve made homemade desert for afters. You pulled all the photo’s from off the dresser albums and nightdress from the bottom drawer, from the wardrobe your old communion dress,​​​ in the patio of light, you set the fire. ​Today, there is homemade desert for afters ​You’ve made homemade desert for afters. From the sills the silent birds watching you​​​ flames at the windows tap you smoke the cigar from that last Ball our little girls’ eyes shine like straw. ​​​​ ​Today, there is homemade desert for afters ​You’ve made homemade desert for the afters.
5.
Domingo 02:30
DOMINGO Debaixo da manta escuitando a Cartola paxaros nas tellas as pingas nas pólas e fóra un carballo rebenta o cemento Rosa dende o cuarto cantando co vento Domingo de manta espida na cama as pingas pingando no meu pensamento O día comeza envolta en franela escuito paxaros na miña cabeza xeranios vermellos resisten revoltos nos tarros Dende a cama un Domingo espida cantando Debaixo da manta escuitando a Cartola as pingas nas tellas paxaros nas pólas no patio un cadelo ladrándolle ó vento Fausto dende a rúa cantando coa alma na praza de abastos resoan boleros e arias o cheiro do incienso ó abrir a ventana e vina na fiestra, cuidando herbas malas a terra nas uñas no pelo gardenias O patio de luz retablo dunha catedral, aberta Dende a cama un domingo espida cantando EN SUNDAYS Under the duvet listening to Cartola birds on the roof slates raindrops on the branches and outside an oak tree breaks through the concrete. I hear Rosa from the 4th singing with the wind Sunday at home naked in bed raindrops are dripping all through my head. The day begins​​​​​ wrapped up in flannel chirruping birds flit through my mind a riot of geraniums rise in their pots ​​​​​ In bed on a Sunday naked and singing. Under the duvet listening to Cartola raindrops and roof slates birds in the branches and down in the patio dogs bark at the wind. And out on the street, Fausto sings with his soul as boleros and arias ring round Market Square and the incense blows through the window and I see her framed tending the weeds earth under her nails gardenias in her fringe. Open patio of light altarpiece to a Cathedral in bed on a Sunday naked and singing.
6.
TO LET THE LIGHT SHINE THROUGH Lucy’s work took her as far as the garden shed – she often stood at the mirror to cut her fringe, on the way out. There was nowhere to sit in her shed just a gas ring where Lucy would often fry button mushrooms. On the way to work she picked up all the fallen leaves from her apple tree, poured them into a vat of clear glue then rolled them into a sheet that she hung on the line, to let the light shine through.
7.
A ARRANCA DAS PATACAS* (Concerto en min menor)   Se souberas que na arranca das patacas eu oía a Rachmaninov nos entrepanos daquela mañá fresca que nunca volverá cen cestos de grandes e cincuenta de pequenas.   Quedei dentro do tule daquela mañá fresca envereñada pola brisa pola risa dos nenos de hai cen anos saltando nos culeiros tan felices cun anaco de pan e outro de mística e touciño.   Viña pola ar fóra do tempo un aquel que non sei papá de onde viña.   Eu fáloche sígoche falando por se o tímpano non se extingue e a música inda permanece nestoutra dimensión na que te abrazo.   Pequeno cólquico filamento estame a poesía achegando a un intre no que se condensan todos e así podo vivirte de maneira simultánea sen temor a perderte na materia.   Se souberas que na arranca das patacas eu oía a Rachmaninov mentres rumbaba o teu tractor cos cabalos do motor ao compás animal dun coro de grilos.   Despois empezou a orballar sobre os sacos de mostil que brillaban coma estrelas descansando no remolque.   E fómonos pra a casa ao final de mañá que non acaba nunca sendo eu nena pequeno cólquico filamento estame a poesía achegando a un intre no que se condensan todos   e así podo vivirte de maneira simultánea sen temor a perderte na materia ao final de mañá que non acaba nunca na arranca das patacas sendo eu nena. * Publicado en Feliz Idade, Olga Novo, 2019, colección Tambo, Factoría K de libros, Kalandraka EN PICKING POTATOES (Concerto in e minor) If you knew that picking potatoes, I heard Rachmaninov from the walls that cool morning we’ll never see again a hundred creels of big ones ​​​and fifty the small. And me behind the tulle of that cool morning ravelled in the breeze, in the glee of those children from a century ago jumping potato creels, so alive with a snatch of bread in one hand and another of bacon and mystery. One of them slipped through time through the air and I don’t know, dad where she came from. I talk to you, I keep on talking so the tympanum beats its tambourine so the music lingers in this other dimension where I hold on to you. Little crocus filament and stamen poetry close to where they connect where I can live you all at once without losing you in the fabric. If you knew that picking potatoes, I heard Rachmaninov as the engine’s horses of your tractor rumbled to the animal beat of a crickets’ chorus. Till the dew began to fall on the hessian sacks glimmering like stars at rest in the trailer. And home we went at the end of an eternal morning feeling like a child tiny crocus filament and stamen poetry close to where they all connect where I can live you all at once without ever losing you in the fabric these last hours of an endless morning picking potatoes and I am a girl. Olga Novo, Feliz Idade, Colleción Tambo, Kalandraka, 2019.
8.
O meu neno 04:35
O MEU NENO O meu neno ten o sono ten ganiñas de durmire ten un olliño pechado e o outro non o pode abrire O meu neno ten o sono ten ganiñas de durmire O meu neno ten o sono e o sono non quere vire Ai Teiño, ai Teiño quen che ha de dar a teta túa nai foi no muíño e o teu pai na leña seca Quen ten rapaces pequenos por forza ha de cantare cantas veces a nai canta con ganiña de chorare EN OH MY LITTLE BOY IS TIRED Oh my little boy is tired longing for his sleep one eye he has already closed the other open, he cannot keep. Oh my little boy is weary yearning for dreams to appear​​​ oh my little boy is weary but sleep will not come near. Oh Teiño, oh Teiño who will give suck to you now, your dad has gone to gather wood your mam to mill the flour. ​​ Whoever out there has little ones must sing them their lullaby how many mothers have intoned when really they wanted to cry.
9.
A HORTA DO BERBÉS Carmucha se ti me ensinaras na Praza do rei botaba patacas Plantaría un carballo no centro mesmo da burocracia A sesta a sombra, café no termo e porca terra nas mans Se ti me ensinas Aurora na Rúa do príncipe botamos cebolas Esperaremos ó devalante para o que crece debaixo da terra así rebente o asfalto como as raíces da oliveira Hervillas, xudías, tomates agatuñando polas farolas ensínoche a andar na bici Julia apréndeme a usar a poda E regos baixando a Gran vía e coros de ras empuzando a alameda e a Porta do sol a monte e a de España e a Princesa Gueivotas e pegas e pombas ocuparán as pólas Cornetas e fentos felices Ocuparán as prazas Se ti me ensinas Remedios na praza do rei botámolo esterco Deixaremos crecelas marxes pra que as abellas volten Semprenoivas e xasmín as cunetas cuspindo flores Se ti me ensinas Amparo na Constutución queimámolo mato Esperaremos ó inverno pra replantar a Ronda e arrincar a cruz e levantar as lousas A porta do sol a monte e a de España e a Princesa E a horta do Berbés florecerá no centro outra vez A horta do Berbés florecerá no centro EN A PLOT IN BERBÉS ​​​​​​ Carmucha, if you show me how I’ll sow potatoes in King’s Square I’d plant an oak right in the heart of bureaucracy. A siesta, the shade, a flask of hot tea the pig earth in my hands, if you teach me, Aurora we’ll sow onions on Prince’s Square. We’ll wait the waning moon for what grows down in the ground till it breaks through the asphalt​​​ like the olive tree roots. And winding round the streetlamps red tomatoes, peas and beans I taught you, Julia, how to ride your bike now show me how to prune the trees. Irrigation overruns Gran Vía choirs of frogs swamp the avenue arbour, the Mountain rises over Porta do Sol over España and Princess Square. Seagulls and magpies and pigeons will occupy the branches calla lilies and fretty ferns ​​​​ will occupy the squares will occupy the squares. If you show me, Remedios we’ll spread manure over King’s Square, we’ll leave the edge overgrown so the bees can return. Great periwinkles and jasmine the gutters spitting blooms​​​ if you show me, Amparo we’ll burn the thickets on Constitution Square. We’ll wait for the winter to replant Don Bosco Circle, we’ll uproot the cross and tear up the flagstones as the Mountain rises over Porta do Sol over España and Princess Square. ​The plot in Berbés will grow in the centre once more the plot in Berbés will grow in the centre once more.

about

GAL

Patios de luz

A estrada dende o Eirado ata o Patio de Luces, tiña máis de cen curvas. Era a estrada pola que marcharon as miñas veciñas, os meus avós, nós.

Cando as nenas preguntabamos por qué tantas curvas, na aldea sempre daban a mesma resposta, fora un ingeniero que cobraba por kilómetros e a nós non nos sorprendía.
Davi e eu intentabamos contalas pero pola curva trinta comezabamos a cantar máis alto cos partidos de fútbol que soaban de fondo na radio. Sempre nos mareabamos

Nese camiño de ida moitas veces, ó chegar, perdíamos a fala, menos cando as nais cantaban pola noite cantigas de berce que resoaban en todo o patio, coma se fose unha catedral aberta, co cheiro da comida de mañá, o marmurio do tráfico, o vento morno e o trapicheo de fondo. As nenas durmían soñando co sabor de doce caseiro nos que as súas nais amasaran todo o amor que lles fuxira das palabras. Os pais quedaban durmidos diante da tele e os paxaros metíanselle nos soños

Mentres na suburbia de Dublín cada mañá Luci erguíase para ir traballar ó seu patio traseiro, en pixama, facendo traballos invisibles. No camiño había unha maceira e aquel outono, recolleu as súas follas, pegounas como se fora unha sábana, botouna ó sol e sentou agardando que a luz se filtrase ó través e semellara que estaba no monte

A Traspielas e o barrio do Calvario separábano unha estrada de máis de cen curvas e cada domingo os habitantes dos patios voltaban cos maleteros cargados de patacas porque nos patios case todas sabían que comer patacas era coma comer terra, recordos, memoria.

EN

Patios of Light

The road from the small plots of land around the houses down to the Patios of Light counted more than a hundred turns. It was the road my neighbours took, my grandpa- rents, the women, us.
In the aldea, when we'd ask why so many turns, we always got the same answer; the engineer was paid by the mile, no surprise there. My brother Davi and I would try and count them but by about turn thirty we'd start into singing and get louder and louder against the football match on the radio. By then we’d be dizzy.
So often on that journey, we’d get back to the city and all fall into silence. Until our mothers sang lullabies that rose through the patios, as if they were open Cathedrals, with the smell of tomorrow’s dinner drifting up, the hum of traffic, the soft, warm wind and the street-deals down below in the alleyways. The children slept dreaming of homemade desserts into which their mothers had kneaded all their love that could never find words. Parents fell asleep in front of the television while birds flit through their dreams.
Meanwhile, every morning in a Dublin suburb, Lucy got up to go to work in her back garden, still in her pyjamas, to tend to her hidden craft. There was an apple tree on her way to work and that autumn she collected all the leaves, rolled them onto a sheet, which she hung out in the sun waiting for the light to shine through, till it felt like she was back on the mountain.
Traspielas and the neighbourhood of Calvario were separated by a road of more than a hundred turns and every Sunday the inhabitants of the patios came back to the city with their bags bursting with potatoes, because in the patios everybody knows that eating potatoes from the mountain was like eating earth, reminiscence, memory.

credits

released December 17, 2022

Voz, coros, guitarras e pandeiro: Su Garrido Pombo
Producción, gravación e ruidos: Marco Maril
Cello: Susanna Blanco (Temas 1 e 7)
Saxo barítono e contralto: Iago Ramilo (Temas 5 e 9)
Fotografía: Fran Rodríguez Casal
Deseño e ilustración: Jorge Rodríguez Durán
Tradución: Keith Payne

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Su Garrido Pombo Vigo, Spain

Su Garrido Pombo é unha cantante, guitarrista e compositora galega. O seu estilo músical abrangue diversos xéneros con matices de bossa, folk e trad. A sua música é intimista e nos seus directos acompáñana a sùa guitarra que os seus pedais de efectos.
1º premio no Concuro Concurso Fran Narf da Deputación de A Coruña (2018) e o Premio Martín Códax Música de autora (2019).

www.sugarridopombo.com
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