‘We are made of our own songs, prayers and stories’: Luci Tapahonso
The original texts of Luci Tapahonso’s poems have been reproduced here by the author’s generous permission. The translator thanks the author for kind permission of translation into Italian, besides the University of Arizona Press, The University of New Mexico Press and West End Press for their kind assistance with copyright clearance. In November 2016 I met Luci Tapahonso at Victoria University of Wellington, where she engaged in a creative conversation with another extraordinary woman, Māori writer Patricia Grace. Tapahonso’s voice was a mere pleasure to listen to, her poems are deep and enchanting, though the truth they reveal is so ‘hard to take’. I was fascinated by the amalgam of mysticism and realism in her writing and telling, by the melodic beauty of her native Navajo idiom and the tragic irony about American contemporary and past history. The spirituality inherent her poetry is rooted within Navajo myths and ceremonies as well as in the idea of the feminine as a source of power and balance in the world. (Antonella Sarti Evans)
* * * * * who were you?
who were you that night
after all the beer you drank that long winter day
who were you?
angry at nothing and everyone
you drove too fast for the winding canal road
swerving to the very edge
where darkened weeds shivered in your rage I followed you
my pleading a hardened ache you took the night in shreds
white clouds of breath hung in between screams the terror of a sudden billow of dust
not into the ditch no
but the pickup spun and stopped crosswise on the road fading yellow light spilling out dust and brakes causing dogs
to bark with a hoarse urgency frozen mud glistening
crumbling as you stumbled through cold, stinging bushes and how did you fall
did you slip on a transparent beer bottle?
(They catch the sharp light of the moon and at a certain angle, even the stars)
or did you slip on a rock
flat and round
slick with winter frost?
who were you that night?
who were you that night dying in angry drunkenness?
hard, winter stars motionless in the crisp dark night the moon, the white moon
chi eri?
chi eri quella notte
dopo tutta la birra che bevesti in quel lungo giorno d’inverno
chi eri?
arrabbiato per niente e con tutti
guidavi troppo veloce sulla strada tortuosa del canale
sterzando secco sull’orlo
dove erbacce scurite tremarono della tua rabbia ti seguii
la mia supplica un dolore indurito facevi a brandelli la notte
nuvole bianche d’alito sospeso fra le grida il terrore di un’improvvisa nuvola di polvere
non dentro il fossato no
ma un testa-coda col pick-up che si ferma di traverso sulla strada luce gialla sbiadita si riversa
sulla polvere e i freni fanno abbaiare i cani
d’aspra urgenza fango gelato che brilla
sbriciolandosi mentre inciampavi nei freddi cespugli acuminati e come cadesti
scivolasti su una bottiglia trasparente di birra?
(Catturano la luce netta della luna e delle stelle ad una certa angolatura)
o scivolasti su una pietra piatta e tonda
sdrucciolosa di gelo invernale?
Chi eri quella notte?
Chi eri quella notte a morire arrabbiato e ubriaco?
stelle dure invernali immote nella
notte scura e pungente la luna, luna bianca.
Pay up or else
Vincent Watchman was shot in the head February 12 because he owed 97c at
a Thriftway gas station.
While he lay dead, the anglo gas boy said
I only meant to shoot out his car tires and scare him.
He fired 2 poor shots -- one in the head, one in the rear window and the police cited him for
shooting a firearm within city limits.
Meanwhile, Thriftway officials in Farmington expressed shock.
It’s not company policy, after all, to shoot Navajo customers who run overflows in the self-serve pumps.
This man will definitely be fired.
There is no way that such an action can be justified, the official said
while we realized our lives weren’t worth a dollar and a 24-year-old Ganado man never used the $3 worth of gas he paid for.
Paga oppure
Vincent Watchman fu ucciso da un proiettile alla testa il 12 febbraio
perché doveva 97 centesimi ad
una stazione di servizio Thriftway.
Mentre giaceva morto,
il ragazzo dell’Anglo Gas disse volevo soltanto sparare alle gomme e spaventarlo.
Sparò due miseri colpi -- uno alla testa, uno al finestrino posteriore e la polizia lo citò in giudizio
per aver usato un’arma da fuoco entro il perimetro urbano.
Nel frattempo, i funzionari della Thriftway a Farmington espressero il loro shock.
Non rientra nella politica della società, dopo tutto, sparare a clienti Navajo che mettono
più benzina del dovuto alle pompe dei self-service.
L’addetto sarà certamente licenziato.
Non c’è giustificazione alcuna per un atto simile, disse il funzionario
mentre noi capimmo che la nostra vita valeva meno di un dollaro e un ragazzo di Ganado di 24 anni non usò mai
i 3 dollari di benzina che aveva pagato.
Hard to take
Sometimes
this middle of the road business is hard to take.
Last week in Gallup, I was in line at Foodway one checkstand open and a long line of Navajos waiting
money and foodstamps in hand waiting to buy food and pop.
My turn and I fumble dropping the change Sorry, I say, sorry
The cashier looks up smiling
first smile in 20 minutes of Navajo customers Oh—that’s okay. Are you Navajo?
I swear, you don’t have an accent at all!
She’s friendly too quick and I am uneasy.
I say to the people behind me Ha’ ‘at’ii sha’ni?
Why is she saying that to me?
We laugh a little under our breaths and with that
I am another Navajo she doesn’t greet or thank.
My change is dropped in front of me and we are not surprised by that.
Merle Norman offers a free make-up job just the thing for a new look I say to myself and stop in for an appointment.
For 15 minutes, I wait for a saleslady then I ask for an appointment outright.
Just a moment, she says,
someone will be with you shortly.
I wait some more while the salesladies
talk about a great hairdresser, General Hospital and Liz Taylor.
So I just leave, shortly is too long,
seeing as I’m the only customer in the place.
I guess I can do without a new look but this kind of business
sure gets hard to take.
Dura da incassare
A volte
questa faccenda di strada è dura da incassare.
La scorsa settimana a Gallup stavo in fila a Foodway una sola cassa aperta
e una lunga fila di Navajo ad aspettare soldi e buoni pasto in mano
ad aspettare per comprare cibo e bevande.
È il mio turno e goffamente mi cade il resto
Scusi, dico, mi scusi
La cassiera alza lo sguardo e mi sorride il primo sorriso in 20 minuti di clienti Navajo Oh – non fa niente. Sei Navajo anche tu?
Giuro, non si sente!
Diventa amichevole sin troppo presto e mi sento a disagio.
Dico alla gente dietro di me Ha’ ‘at’ii sha’ni?
Perché mi dice questo?
Ridiamo un attimo sottovoce e così divento
un’altra Navajo
che lei non saluta né ringrazia.
Mi fa cadere il resto davanti e la cosa non ci sorprende.
Merle Norman offre una seduta di trucco gratis
che buona idea un nuovo look mi dico e mi fermo a prendere un appuntamento.
Per quindici minuti aspetto la commessa poi chiedo un appuntamento direttamente.
Solo un attimo, mi dice verrà qualcuno fra poco.
Aspetto ancora un po’ mentre le commesse parlano di un famoso parrucchiere, dell’Ospedale Generale e di Liz Taylor.
E così me ne vado, fra poco è troppo tempo, essendo l’unica cliente lì.
Credo di poter fare a meno di un nuovo look ma questa faccenda di sicuro
è dura da incassare.
Translated by Antonella Sarti Evans
* * * * *
Luci Tapahonso is a Native American poet originally from Shiprock, New Mexico. She has taught American Indian Studies at the University of Arizona in Tucson and Creative Writing at the University of New Mexico. Tapahonso is the author of several children’s books and books of poetry and short tales, including, Sáanii Dahataal Le donne cantano (1993, the only book translated into Italian to date, Blue Horses Rush In (1997), A Radiant Curve (2008) and many more. Her original Navajo work includes songs and chants designed for performance, also for this reason, her English writing is strongly rhythmic. The poems translated on NEKE are taken from the following collections: ‘Who were you? from A Breeze Swept Through (1987); ‘Pay up or else’ and ‘Hard to take’ from Seasonal Woman (1982).
Antonella Sarti Evans is a widely published translator and author. She is currently a Teaching Fellow in Italian with the School of Languages and Cultures at Victoria University of Wellington. Her literary translations regularly appear in national and international journals.
She is specialized in New Zealand literature and has translated works by Janet Frame, Patricia Grace, Robin Hyde, Vivienne Plumb, Hone Tuwhare, Apirana Taylor and Maringi.
Luci Tapahonso with Patricia Grace (left), Dame Luamanuvao Winnie Laban and Antonella Sarti Evans (right) vZ 606, Victoria University of Wellington, 2016
Luci Tapahonso reading her poetry
Hunter Council Chamber, Victoria University of Wellington, 2016
