Carta a New
York
para Louis
Crane
Quisiera que me contaras en tu próxima carta
a qué lugares vas y qué estás haciendo.
cómo son las obras de teatro y después de las obras
a qué otros placeres te dedicás:
tomando taxis a mitad de la noche,
manejando como para salvar tu alma,
donde el camino da vueltas y vueltas alrededor del parque
y el taxímetro brilla como una lechuza moralista
y los árboles lucen tan raros y verdes,
de pie solos en grandes cuevas negras
y repente estás en un lugar diferente
donde
todo transcurre en oleadas,
y no puedes entender la mayoría de los chistes
y no puedes entender la mayoría de los chistes
como malas palabras borradas del pizarrón
y las canciones suenan fuerte pero algo débiles
y se hace terriblemente tarde,
y al salir de la casa arenada
hacia la vereda gris, a la calle mojada,
un lado de los edificios se levanta con el sol
como un reluciente campo de trigo.
—Trigo, no avena, querida. Me temo
que si esto es trigo no es de tu cosecha,
aún así me gustaría saber
qué estás haciendo y a dónde vas.
Elizabeth
Bishop, Worcester, 1911- Boston, 1979
Versión ©
Silvia Camerotto
Imagen de Louis Crane y Elizabeth Bishop en Writers being real ©,
Letter to New York
For Louise Crane
In your next letter I wish you'd say
where you are going and what you are doing;
how are the plays and after the plays
what other pleasures you're pursuing:
taking cabs in the middle of the night,
driving as if to save your soul
where the road goes round and round the park
and the meter glares like a moral owl,
and the trees look so queer and green
standing alone in big black caves
and suddenly you're in a different place
where everything seems to happen in waves,
and most of the jokes you just can't catch,
like dirty words rubbed off a slate,
and the songs are loud but somehow dim
and it gets so terribly late,
and coming out of the brownstone house
to the gray sidewalk, the watered street,
one side of the buildings rises with the sun
like a glistening field of wheat.
—Wheat, not oats, dear. I'm afraid
if it's wheat it's none of your sowing,
nevertheless I'd like to know
what you are doing and where you are going.
where you are going and what you are doing;
how are the plays and after the plays
what other pleasures you're pursuing:
taking cabs in the middle of the night,
driving as if to save your soul
where the road goes round and round the park
and the meter glares like a moral owl,
and the trees look so queer and green
standing alone in big black caves
and suddenly you're in a different place
where everything seems to happen in waves,
and most of the jokes you just can't catch,
like dirty words rubbed off a slate,
and the songs are loud but somehow dim
and it gets so terribly late,
and coming out of the brownstone house
to the gray sidewalk, the watered street,
one side of the buildings rises with the sun
like a glistening field of wheat.
—Wheat, not oats, dear. I'm afraid
if it's wheat it's none of your sowing,
nevertheless I'd like to know
what you are doing and where you are going.
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