Speaking In Tongues
Scribbling In Voices

Vera Pavlova

Translated by Nika Skandiaka




À ìîæåò áûòü, áèåíüå íàøèõ òåë
ðîæäàåò çâóê, êîòîðûé íàì íå ñëûøåí,
íî ñëûøåí òàì, íà îáëàêàõ è âûøå,
íî ñëûøåí òåì, êîìó óæå íå ñëûøåí
îáû÷íûé çâóê... À ìîæåò, Îí õîòåë
ïðîâåðèòü íàñ íà ñëóõ: öåëû? áåç òðåùèí?
À ìîæåò áûòü, Îí áüåò ìóæ÷èí î æåíùèí
äëÿ ýòîãî?
And could it be that this our bodies' pounding
begets a sound unheard by human ear,
but heard up yonder in the clouds and higher,
but heard by those who can no longer hear
a common sound... And could it be for sounding
us that He wanted it: quite sound? no cracks?
And could it be the reason that He whacks
men against women?





Òàê êëóìáà ãîñóäàðñòâåííûõ òþëüïàíîâ
âçûâàåò: íå õîäèòå ïî ãàçîíàì! —
íàäåÿñü: îáîðâóò, êîãäà ñòåìíååò.

Òàê þíîå âëàãàëèùå, ðûäàÿ
ïîä ìóæåñêîé ðóêîé, ïîùàäû ïðîñèò
è æàæäåò, ÷òîáû íå áûëî ïîùàäû.

Òàê ÿ ìîëþ: óâîëüòå æèòü â Ðîññèè!
È çíàþ: ñëàâà Áîãó, íå óâîëÿò.
Thus in the park a bed of state-owned tulips
implores the passer-by: Stay off the plantings!
in hopes of being plundered after sundown;

Thus does a young vagina, sobbing under
man's fingers, beg, and beg, and beg for mercy
and long for mercy never to be granted;

Thus do I pray: Spare me a life in Russia!
and know full well: thank God I shan't be spared.







Óñòàâÿñü íà òâîþ áàáî÷êó, íà òâîé öâåòîê,
êàê ïðîñèòåëü — íà îðäåí, íà ïóãîâèöó, íà ñàïîã,
áîÿñü ïîñìîòðåòü íà÷àëüíèêó ïðÿìî â çðà÷êè...
Ïðîñèòåëþ — ÷èíîâ, äåíåã, äà÷ó ó ðåêè,
ìíå æå, Ãîñïîäè, ãðåõ ïðîñèòü — ó ìåíÿ
öâåòîê, áàáî÷êà, ñàìàÿ ñåðåäèíà äíÿ...
Peering at your flower, at your butterfly,
like a supplicant at a medal, a button, a boot: ashiver
to look right into the pupil of the master's eye...
For the supplicant: money, a promotion, a house by the river;
but for me it's a sin to ask for anything, Lord: for I
have the very middle of day here, a flower and a butterfly...







Î ñàìûé ìóçûêàëüíûé íà ýòîì ñâåòå íàðîä,
÷üè áóêâû òàê ìàëî îòëè÷àþòñÿ îò íîò,
÷òî — ñïðàâà íàëåâî — ÿ èõ ìîãëà áû ñïåòü
òîé ÷åòâåðòüþ êðîâè, êîòîðîé ïîðîþ òðåòü,
ïîðîé — ïîëîâèíà, ïîðîþ — èç áåðåãîâ,
íîñîì ëè, ãîðëîì... È ðàññòóïàåòñÿ ìîðå âåêîâ,
è âîäíîé òðàíøååé èäåò êî ìíå Ìîèñåé
ñ Ðàõèëüþ Ãðèãîðüåâíîé Ëèâøèö,
áàáóøêîé Ðîçîé, ïðàìàìîé ìîåé.
O the most musical people in all the world,
so little differs from music your written word,
which, right to left, I could sing with the quarter of blood
that is sometimes a third and sometimes a half and sometimes a flood:
out the throat, out the nose... And lo and behold, the sea
of ages discloses a trench in the waters; I see
Moses advancing toward me and leading close by his side —
Rachel Lifschitz, my greatmama,
Granny Rose.







Õîòü ÷óòü-÷óòü óâåêîâå÷ü —
âûëåïè ìåíÿ èç ñíåãà,
ãîëîé òåïëîþ ëàäîíüþ
âñþ ìåíÿ îòïîëèðóé.
Eternize me just a touch,
make my likeness from the snow,
with a hand that's warm and naked
polish me from head to foot.






Èíêîãíèòî, êàê Êóïèäîí Ïñèõåå,
èíêîãíèòî, êàê Ýëüçå Ëîýíãðèí...
Íî ýòèõ ëåãåíäàðíûõ äóð óìíåå,
íà÷èòàííåé, ÿ çíàþ: øàíñ — îäèí,
ÿ èìåíè âûïûòûâàòü íå ñòàíó,
ÿ äàæå ãëàç íå ñòàíó ïîäíèìàòü,
êîãäà â ãîñòèíèöå ñ íàçâàíüåì ñòðàííûì
ëþáîâü òû áóäåøü ìíîþ îáëàäàòü.
Incognito: like to his Psyche, Cupid;
incognito: like to his Elsa, Lohengrin...
But, being more well-read and not so stupid
as these two chits of lore, my fortune's lone grin
acknowledging, I will not ask nor wonder
about your name, won't even raise my eyes,
when in that hostel titled strangely under
the sign of love you'll take me for your prize.








Ïîïàëñÿ, ãîëóá÷èê? Òû â êëåòêå,
òû â êàæäîé ìîåé êëåòêå,
ìîãó èç îäíîé ñâîåé êëåòêè
ñîçäàòü òåáÿ, êàê ãîëîãðàììó,
âñåãî òåáÿ — èç ìèëëèãðàììà,
èç eâèíîé êëåòêè — Àäàìà.
You're caught, pal, and locked in a cell,
you are locked in my every cell,
I can make you from just one cell,
I can — like a hologram — add them,
divide into you — an atom:
an Eve atom — into Adam.




ÿ îáåùàëà áîãó
ÿ îáåùàëà ìàìå
ÿ ñåáå îáåùàëà
ìàëî
ìàëî
ìàëî ñèëû ó áîãà
ìàëî ñèëû ó ìàìû
ó ìåíÿ íåòó ñèë —
ïîñòîðîíèòåñü
èäó ïðåäàâàòü
i promised to god
i promised to mom
to myself i promised
little
little
little
little the power of god
little the strength of mom
i have no strength —
get out of the way
i'm off to betray








Áîá ñêàçàë:
— À òû íàïèñàëà,
êàê ÿ ëîâèë ëåòó÷èõ ìûøåé?

Áîá ëîâèë ëåòó÷èõ ìûøåé,
ïîòîìó ÷òî ïàïà ñêàçàë, ÷òî íåëüçÿ
èõ ïîéìàòü — ó íèõ óëüòðàçâóê.

Áîá ëîâèë ëåòó÷èõ ìûøåé,
áûñòðî-ïðåáûñòðî êðóòÿ ïîëîòåíöåì.

Îíà áûëà æèëèñòîé,
êàê èç «Êóëèíàðèè».

Åå îòïóñòèëè.

Áîá ñêàçàë:
— Íàïèñàíî âåðíî,
íî ÷òî-òî ñ ðèòìîì
Bob said:
«Did you write about
how I was catching bats?»

Bob was catching bats
because Dad said you can't
catch them: they've got ultrasound.

Bob was catching bats
by really-really quickly
spinning a towel.

It was sinewy
as if from Kulinariya.

They released it.

Bob said,
«That's right,
but something's up with the rhythm.»              





Òîò ñâåò — ôèãóðà ðå÷è.
Íî òàì íå áóäåò ðå÷è.
Êëàäáèùåíñêèå ðå÷è —
ïîñëåäíèé íàòèñê ðå÷è
è ïîñëåäíåå ïîðàæåíèå ðå÷è
â áîðüáå ñ íåèçðå÷åííûì.
The other world: a turn of speech.
But in that world there is no speech.
And any cemetery speech
is but a late attack of speech
and but a late defeat of speech
against the speechless.







Ïîíÿëà, ãäå ó ìåíÿ äóøà —
â ñàìîì íèæíåì, íåæíîì ñëîå êîæè,
â òîì, èçíàíî÷íîì, ÷òî ê òåëó áëèæå,
â òîì, ÷òî îòëè÷àåò áîëü îò ëàñêè,
â òîì, ÷òî áîëüøå ëàñêè èùåò áîëè...
Now I know where my soul resides:
on the skin's innermost, tenderest side,
on the inside, underside, body's own hide,
one that separates kisses from torment,
one that seeks torment more than the kisses...





Êîìó-òî â áåäå ïîñûëàþò àíãåëîâ
Ìíå ïîñûëàþò ëþäåé
Òî ëè íà âñåõ íå õâàòàåò àíãåëîâ
Òî ëè õâàòàåò ëþäåé
Òî ëè ïîñëàííûõ ìíå àíãåëîâ
ïðèíèìàþ âïîòüìàõ çà ëþäåé
Òî ëè â ëþäÿõ âèæó àíãåëîâ
è íå âèæó ëþäåé
Some in distress get angels
I get people
Either there's not enough angels
Or there is enough people
Or in the dark I mistake the angels
sent me for people
Or in people I see angels
And don't see the people








Íå êðè÷èòå íà ìåíÿ, ïòèöû,
íå ìàøèòå íà ìåíÿ ðóêàìè, åëêè,
íå ïîäãëÿäûâàéòå, àíãåëû, çà ìíîþ
ñêâîçü çàìî÷íûå ñêâàæèíû çâåçä —
íè÷åãî ÿ íå ìîãó äëÿ âàñ ñäåëàòü!
Don't scream at me, birds,
don't wave your arms at me, spruces,
don't spy on me, angels,
through the keyholes of stars —
there's nothing in the world I could do for you!






Ñîáëþäàéòå ìîþ òèøèíó. Please observe my silence.






Ãîëîãàìèÿ (ãðå÷. holos — ïîëíûé, gamos — áðàê) — ïðîñòåéøèé òèï
ïîëîâîãî ïðîöåññà (ó íåêîòîðûõ çåëåíûõ âîäîðîñëåé, íèçøèõ ãðèáîâ),
ïðè êîòîðîì ñëèâàþòñÿ íå ïîëîâûå êëåòêè, à
öåëûå îñîáè.
Ýíöèêëîïåäè÷åñêèé ñëîâàðü



Ãîëîãàìèÿ (ãðå÷. holos — ïîëíûé,
Gamos — áðàê) — ïðîñòåéøèé òèï
Ïîëîâîãî ïðîöåññà (ó íåêîòîðûõ
Çåëåíûõ âîäîðîñëåé, íèçøèõ ãðèáîâ),
Ïðè êîòîðîì ñëèâàþòñÿ íå ïîëîâûå
Êëåòêè, à öåëûå îñîáè.

Hologamy (Gk. holos whole, gamos marriage): the most primitive
type of reproductive process (in some green algae, lower fungi),
which involves the merging, not of reproductive cells, but of
entire specimens.
The Encyclopaedic Dictionary




Hologamy (Gk. holos whole,
Gamos marriage): the most primitive type
Of reproductive process (in some
Green algae, lower fungi),
Which involves the merging, not of reproductive
Cells, but of entire specimens.





Ïî÷åìó ñëîâî ÄÀ òàê êîðîòêî?
Åìó áû áûòü
äëèííåå âñåõ,
òðóäíåå âñåõ,
÷òîáû íå ñðàçó ðåøèòüñÿ ïðîèçíåñòè,
÷òîáû, îäóìàâøèñü, çàìîë÷àòü
íà ïîëóñëîâå...
Why is the word YES so short?
It should be
longer than any,
harder than any,
so as to take time daring to say it,
so as to think better of it and fall silent
halfway through...








ßçûê — ýòî ÷àñòü òåëà.
Êàê áû ÿ íè õîòåëà
ÿçûê îòäåëèòü îò òåëà,
ÿçûê — ýòî ÷àñòü òåëà
è ðàçäåëèò ó÷àñòü òåëà.
A tongue is a body part.
No matter how in my heart
I'd like to keep them apart,
a tongue is a body part
and in body's lot will take part.




ß — îäíèì ðîñ÷åðêîì.
Òû — îòðûâàÿ ïåðî
÷åòûðåæäû.
Íàïèñàòü Òû
â ÷åòûðå ðàçà òðóäíåå.
I: with one stroke.
You: plucking the pen
four times.
Writing You
is four times harder.









Ëþáëþ öåëîâàòü êíèãè.
Ó òîé öåëóþ îáëîæêó.
À ýòó — â îáå ñòðàíèöû,
ïîðûâèñòî, òðîåêðàòíî.
I enjoy kissing books:
that one's entire cover,
and this one upon both pages,
thrice, fitfully.




Çàïîìíèòå ìåíÿ òàêîé,
êàê ùàñ: ðàññåÿííîé è ðåçêîé.
È ñëîâî áüåòñÿ çà ùåêîé,
êàê áàáî÷êà çà çàíàâåñêîé.
Now memorize me as I speak:
as am now: absent-minded, curt and
with beating words beneath the cheek
like butterflies beneath a curtain.








Áûëà áû ìîÿ âîëÿ, ÿ áû çàïðåò
óïîòðåáëÿòü îäíî ñëîâî â ñîñåäíèõ ôðàçàõ
ðàñïðîñòðàíèëà íà ñîñåäíèå ñòðàíèöû, ãëàâû, ðîìàíû,
ìåñÿöû, ãîäû. Ïîìîë÷è. Íî òû ïîâòîðÿåøüñÿ
äàæå â ìîë÷àíüå.
Were it in my power, I would extend the ban
on using one word in two adjacent phrases
to adjacent pages, chapters, novels,
months, years. Keep silent awhile. But you are repeating yourself
even in silence.





÷àøêà
íà ñòîëå
íà êëååíêå
íà ëóæàéêå
íà ñîëíöå
ïîñëå äîæäÿ
è íå ðèôìîâàòü
a cup
on the table
on an oilcloth
on the lawn
in the sun
after the rain
and no rhymes








Äàâàé äðóã äðóãà òðîãàòü,
ïîêà ó íàñ åñòü ðóêè,
ëàäîíü, ïðåäïëå÷üå, ëîêîòü,
äàâàé ëþáèòü çà ìóêè,
äàâàé äðóã äðóãà ìó÷èòü,
óðîäîâàòü, êàëå÷èòü,
÷òîáû çàïîìíèòü ëó÷øå,
÷òîáû ðàññòàòüñÿ ëåã÷å.
Let us touch each other
while we still have arms,
forearms, elbows, palms,
let us love the torture,
let's torment, distort,
batter, maim, dismember,
to remember better,
bearably to part.





Íåò ëþáâè? — Òàê ñäåëàåì åå!
Ñäåëàëè. ×òî äàëüøå áóäåì äåëàòü? —
Ñäåëàåì çàáîòó, íåæíîñòü, ñìåëîñòü,
ðåâíîñòü, ïðåñûùåíèå, âðàíüå.
There's no love? — We've got enough to make her, eh?
Done. What shall we do with all the rest?
Make the caring, bravery, caress,
Jealousy, betrayal, cloyment, fakery.








 ñëîâå äðîæàòü
æàð, à íå õîëîä,
åæåëè ìîëîä.
 ñëîâå äðîæàòü
õîëîä, íå æàð,
åæåëè ñòàð.
The word to shiver's
not hot but cold
if one is old.
The word to shiver's
not cold but hot
if one is not.





 çíàê òññ ïðèëîæè ïàëåö
ê ìîèì ìàëûì ãóáàì
Âïðî÷åì, îíè íå ìåíüøå
ìîèõ îñíîâíûõ ãóá
Âïðî÷åì, îíè è íå áîëüøå
Âïðî÷åì, ïî÷åìó îñíîâíûõ
Âïðî÷åì, áîëüøå î ïðî÷åì
íå ìîãó, ïîòîìó ÷òî — òññ
In a sign of shh press your finger
to my smaller lips
As a matter of fact, they're no smaller
than my main lips
As a matter of fact, nor are they larger
As a matter of fact, why main
As a matter of fact, no matter
now, because — shh...








Çèìîé — æèâîòíîå
Âåñíîé — ðàñòåíèå
Ëåòîì — íàñåêîìîå
Îñåíüþ — ïòèöà
Âñå îñòàëüíîå âðåìÿ ÿ æåíùèíà
In winter — an animal
In spring — a bud
In summer — a bug
In the fall — a bird
All the rest of the time I'm a woman





Ñâîé äàð îòäàòü íàðîäó?
Äàðåíîå íå äàðÿò,
íå ïðîäàþò. —
Çàðûòü ïîãëóáæå:
êðýêñ-ôýêñ-ïýêñ!
Íàóòðî ïðîðàñòåò.
Give my gift to the peopleÆ
But gifts are not to be given
away, nor sold. —
Bury, bury it deeper:
abracadabra!
Tomorrow it'll sprout.








 õîð, íà õîðû, â õîðîâîä õîðàëà,
ãëàäèòü ãëàñîì íèìáîâ ÷åøóþ,
çàáûâàòü, ÷òî äëÿ ñïàñåíüÿ ìàëî,
÷òî «Òåáå ïî¸ì» Òåáå ïîþ.
Ïóòü íåòðóäåí — íå ïðîñè íàãðàäû,
ïóòü íåäîëîã, êàê îò äî äî ëÿ,
îò âèíà — îáðàòíî ê âèíîãðàäó,
îò êðåñòà — äî ëóííîãî íîëÿ.
To the choral carousel! — In chants
running hallows over haloed scales,
to forget: salvation takes perchance
more than the unfurling of the hails...
Light the load: I ask for no reward;
short the way, as A-ward from a C,
vineward from the wine and homebound toward
lunar nullity from crossbound Thee.




Åæåëè äîëãî ãëÿäåòü íà öâåòîê íà îáîÿõ,
ìîæíî óâèäåòü äðóãîå, äîïóñòèì, ôèãóðó.
Çíà÷èò ëè ýòî, ÷òî çðåíèå íàñ îáìàíóëî?
Èëè ôèãóðà óñòàëà öâåòêîì ïðèòâîðÿòüñÿ?
Åæåëè äîëãî ãëÿäåòü íà ñâîå îòðàæåíüå,
ìîæíî óâèäåòü ñîâñåì íå ñâîå îòðàæåíüå.
Çíà÷èò ëè ýòî, ÷òî çðåíèå íàñ îáìàíóëî?
Èëè äåéñòâèòåëüíî ñìåðòü ïîäñòóïèëà òàê áëèçêî?
If we stare at a flower in a pattern,
we can see, say, a shape of a person.
Does it mean that our eyes have betrayed us?
That he's weary of aping a flower?
If we stare long at our own reflection,
we can see something far from reflection.
Does it mean that our eyes have betrayed us?
Or has death really stepped up so close?








Ñïÿùåìó ïîïðàâèòü îäåÿëî,
â ëîá ïîöåëîâàòü è âäðóã óâèäåòü
áîðîäó è êóäðè íà ïîäóøêå
ñ òî÷êè çðåíèÿ Èðîäèàäû...
To tuck up the sleeper in bed,
kiss his brow and suddenly see
the beard and curls on the pillow
from Herodias' point of view...





1) Äåâóøêà, ó êîòîðîé ãóáû
âûðàçèòåëüíåé, ÷åì ãëàçà
2) Ìóæ÷èíà, ó êîòîðîãî ðóêè
óìíåå, ÷åì ëèöî
3) Áîìæ. Ñâ. Ôðàíöèñê
åãî áû ïîöåëîâàë
4) Ðåáåíîê ñ ïëîõèìè çóáàìè
5) Äàëüøå, ÿ çíàþ, — òû
Íî áîþñü íà òåáÿ ñìîòðåòü
Âäðóã ÿ òåáÿ íå ëþáëþ
(1) A girl whose lips
are more expressive than her eyes
(2) A man whose hands
are wiser than his face
(3) A street man. St. Francis
would have kissed him
(4) A child with bad teeth
(5) The next one, I know, is you
But am afraid to look
What if I love you no more