{"id":28634,"date":"2018-03-05T17:20:39","date_gmt":"2018-03-05T22:20:39","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/?p=28634"},"modified":"2018-03-07T08:19:49","modified_gmt":"2018-03-07T13:19:49","slug":"fourteen-deformed-sonnets","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2018\/03\/fourteen-deformed-sonnets.html","title":{"rendered":"Fourteen:<\/em> Deformed Sonnets"},"content":{"rendered":"

What I\u2019m saying here is not, I agree, poetry,
\nAs poems should be written rarely and reluctantly,
\nUnder unbearable duress and only with the hope
\nThat good spirits, not evil ones, choose us for their instrument.
\n— Czeslaw Milosz<\/strong><\/em> <\/p>\n

<\/a>

A bilingual edition [2017]<\/b> English-German
Click to purchase.<\/a><\/font><\/p><\/div>\n

IV<\/strong><\/font><\/p>\n

I was there in asphalt
\nin ozone dreams.
\nI was waiting for
\na cool stare from a window.
\nI was made of physical coordinates.
\nI was particle.
\nI was a dark sea of genetic codes.
\nI was illegal.
\nI had listened to laughter
\nin the next room.
\nI was gone between the snap
\nof two fingers.
\nAll the clocks in Switzerland
\nlike a maiden aunt had come to call.<\/font><\/p>\n

IV<\/strong><\/font> German translation by Gregor Pott.<\/strong><\/em><\/font><\/p>\n

Da war ich nun auf dem Asphalt
\nin Tr\u00e4umen aus Ozon.
\nIch wartete auf
\nein k\u00fchles starren aus nem Fenster.
\nIch bestand aus k\u00f6rperlichen Koordinaten.
\nIch war Partikel.
\nIch war ein dunles Meer aus genetischen Codes.
\nIch war illegal.
\nIch hatte gelauscht dem Gel\u00e4chter
\nim Zimmer nebenan.
\nIch ging verloren im Schnipsen
\nvon zwei Fingern.
\nAlle Uhren in der Schweiz
\nnun wie Amme, die auf Abruf kommt.<\/font><\/p>\n

<\/a>

Portrait of JH by Gerard Bellaart [2017]<\/font><\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

What I\u2019m saying here is not, I agree, poetry, As poems should be written rarely and reluctantly, Under unbearable duress and only with the hope That good spirits, not evil ones, choose us for their instrument. — Czeslaw Milosz IV I was there in asphalt in ozone dreams. I was waiting for a cool stare […]<\/p>\n","protected":false},"author":3,"featured_media":27321,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[19,18,4,17],"tags":[],"class_list":{"0":"post-28634","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-art","8":"category-literature","9":"category-main","10":"category-political-culture","11":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2017\/10\/FOURTEEN-deformed-sonnets-peter-engstler-verlag-e1520188615770.jpg","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-7rQ","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/28634","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=28634"}],"version-history":[{"count":5,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/28634\/revisions"}],"predecessor-version":[{"id":28740,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/28634\/revisions\/28740"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media\/27321"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=28634"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=28634"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=28634"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}