miércoles, 1 de junio de 2016

KATE DURBIN [18.817]


KATE DURBIN

Kate Durbin es poeta, escritora y artista de Los Ángeles, EE.UU. Sus libros de poesía incluyen The Ravenous Audience (Akashic), E! Entertainment (Wonder), and ABRA, una aplicación para iPad y un libro de artista que creó con Amaranth Borsuk and Ian Hatcher.  Sus actuaciones más recientes incluyen Hola selfie, que apareció tanto en Los Ángeles como en Union Square en Nueva York.

En Facebook se define como agénero, y sus redes sociales están llenas de fotos de ella misma con looks arriesgados y menciones al pop estadounidense más rosa y más influida por el mundo Disney. Sin embargo, su literatura no es tan tierna como su imagen, sino todo lo contrario. Trabaja en el mundo del espectáculo, y en su libro E! Entertainment, compuesto de pequeñas ficciones, poemas y ensayos, la autora desgrana la cultura MTV y hace una crítica brutal y divertida a ese mundo de famoseo en el que las fuerzas oscuras de la televisión nos dicen qué tenemos que hacer, cómo tenemos que amar y de qué manera hemos de comportarnos. [Blog de Luna Miguel]





PASEO DE CAPERUCITA

Hedor de primavera, el mundo jadea con lascivia.
Madre olfatea el sexo desde la ventana de la cocina.

Leñadores desnudando árboles,
Amas de casa montando sementales.

No es un mundo para niñas pequeñas, dice,
Dándose la vuelta y sonriendo

Sin dientes
(No estamos seguros de que Madre los tenga)

Caperucita de grandes ojos y labios temblorosos,
Con tu chal de piel de zorra que cosió la Abuelita.

¿Cuándo contarás a Madre
Que la primavera se contonea camino de casa?

Bultosdecarne brotan de tus clavículas;
Un bosque furtivo se desliza entre tus agujeros ocultos.

Rezando ante las llamas,
Pides al fuego del hogar que chamusque tu nuevo pelaje,

Mitiga la peste de sangre vívida.
Hay quien hace sus oraciones con el culo.

En el violeta que precede al alba
Despiertas con manchas en las sábanas.

Rostros de vampiro en la ventana de tu cuarto
Azuzándote con amistosos colmillos.

Estabas asustada.
No estabas precisamente arrepentida.

Madre te ordena adentrarte en los árboles,
Para entregar huevos y leche a la Abuelita,

Que está tan vieja que no sirve para localizar
Hendiduras de gallina, ni apretar tetas de vaca.

¿Seguirás el camino o te desviarás?
Claro que te desviarás, eres una perdida —

Encuentra a tu lobopríncipe,
Tópate con sus dientes desnudos.

Cuando lo hagas, no lo entregues
Todo de vez, solo despierta su apetito.

(¿Fuiste instruída en esto,
o lo aprendiste por instinto?)

¿Pero qué es esto?
En la puerta de casa de la Abuelita,

Falsa timidez, sonrisa de manual,
Extiendes tu dedo corazón.

Pequeña Caperucita, pedazo de puta — lista, con esa precisión animal de 60/40
A media milla divisas la garra en la ventana, que te hace señas,

Y ese picaporte que no es picaporte. Zarpas de la Abuelita,
Despertaron tu apetito.

Seddesangre, hambredepiel, tufo seductor de tierrapelocarne —
¿De quién es la panza que aúlla?

No vamos a entrar,
O sí


-- “Little Red’s Ride” es un poema de Kate Durbin, incluído en The Ravenous Audience (Black Goat/Akashik Books)
-- traducción de Tive Martínez, 2016.
http://paradojasdelconserje.blogspot.com.es/2016/05/paseo-de-caperucita-por-kate-durbin.html



LITTLE RED’S RIDE

Spring-stink, the world heaves with lust.
Mother sniffs sex from the kitchen window:

Woodsmen stripping trees,
Housewives mounting stallions.

Not a world for little girls, she says,
Turning and smiling

Without teeth
(We are not sure Mother has any).

Little Red of the big eyes and tremulous lips,
Of the fox-fur stole Grandma sewed,

When will you tell Mother
Spring is slinking its way home?

Fleshnubs sprout under your clavicle;
A stealth forest slips across your secret holes.

Praying into flames,
You solicit hearth fire to singe this new fur,

Settle the stench of bright blood.
Some prayers are half-assed.

In the violet before-dawn,
You woke to stains on the sheets,

Vampire faces in your bedroom window,
Cheering you on with friendly fangs.

You were scared.
You weren’t really afraid.

Now, Mother orders you into the trees,
To deliver eggs and milk to Grandma,

Who too old, too useless to locate
Chicken crevices, clutch cow teats.

Will you follow the path, or will you stray?
Of course you stray, disoriented one—

Encounter your wolfprince,
Crash into his exposed teeth.

When you do, you don’t give it
All away, only whet his taste.

(You knew this by instruction?
You knew this by instinct?)

But what’s this?
At Grandma’s front door,

You coy smile up from the page,
Middle finger splayed.

Little Red, big bitch—clever, with that 60/40 animal sight,
A half-mile back spotting the paw in the window, beckoning,

And that doorknob no doorknob, Grandma’s tendons,
Whetted your taste.

Bloodthirsty, skinstarved, tantalizing reek of earthhairmeat—
Whose belly is howling?

We aren’t coming in,
Are we






The Hills, 5

Song “I Feel Like Something’s Changed” plays over a shot of a sidewalk full of people. The street sign says Sierra Bonita Ave. Shot of a black and white Guess by Marciano billboard. The woman on the billboard is reclining on a dock in a black bikini with black high heels and a zebra print cotton shirt that is being blown open by the wind. She has long blonde curly hair. Behind her is the sea. Behind the billboard are the Hollywood Hills and one lone palm tree. Shot of an intersection with a black Mazda zipping past. The building set against the blue sky is white with curliques and has red umbrella’d tables in front. The sign says “Milk” and each letter appears inside a different red milk bottle. The caption says “Milk Los Angeles, CA.” As cars whiz through the intersection, Lauren’s voice can be heard saying: “Oh my god I have to tell you something.” Shot of Lauren’s face. She is outdoors, wearing brown sunglasses and her hair is tied back with a blue Pucci headband. The caption says: “Lauren.” The back of a blond woman’s head can be seen sitting across from Lauren. The blond woman is out of focus and there is a red straw going from the barely visible tip of her sunglasses to the corner of the screen. “Audrina was at work today," continues Lauren. Her tongue flashes against her white teeth. “And Heidi walked into her work," says Lauren. She picks up her white Styrofoam cup. Shot of woman across from Lauren. The caption says: “Whitney.” She is wearing large brown sunglasses with a lizard print frame. Her hair is tied back in little braids. Behind her cars are driving past. “Really?” she says, scrunching up her mouth. She puts something in her mouth. It’s not viewable. She has a gold large ring on her middle finger. Shot of Lauren lifting her Styrofoam cup. Her fingernails are burgundy and short. “She came to give us invitations to her housewarming party," says Lauren. Shot of Whitney chewing with her mouth open. Whitney lifts up another piece of yellow looking food as she continues to chew. She says with her mouth full: “That’s strange, does she really think you’re gonna go?” She puts the yellow food in her mouth. Her fingernails are short and black. Shot of Lauren. Lauren makes a sound like “no” or “oh.” She shakes her head slightly. “She can’t think I’m gonna go," Lauren says. Shot of Whitney. “I feel bad not going," Whitney says slowly. She pulls a strand of hair out of her mouth. “But at the same time I just think I’d feel really uncomfortable being there.” She picks up her drink and sips from the red straw. Shot of Lauren pursing her mouth. “She’s in a different world," says Whitney. Lauren nods, barely. “Yeah," Lauren says in a low voice. Shot of Whitney chewing on her straw. “Oh well," Whitney says. “Hope she has fun.” She slurps. Shot of Lauren. She is drinking. “So what are we doing tonight?” asks Whitney. Shot of Whitney. She tugs on her right ear. “We’re going to Les Deux," says Lauren. “You should come.” Shot of Lauren. Her chin is resting on her fingers. “Almost every time I go there I meet a cute guy," says Lauren. “Really?” asks Whitney. Shot of Whitney smiling. She looks over her shoulder at something out of the camera frame. “That sounds fun.” She laughs. Shot of Lauren nodding. She smiles and laughs. Picks up her drink. A rap song begins.





The Hills, 11

 “Left this city for a day,” sings The Feeling.  Shot of two men from the waist down on a sunny sidewalk.  One in surf shorts holds a blue Powerade;  one in white dress pants walks a Lhasa Apso.  Shot of a crowd of people on the sidewalk from the waist up.  Shot of two blonde girls in pink tank tops and short white shorts, walking toward the camera.  They are slightly out of focus.  Their bodies are fit and tan and they are wearing clogs.  Close-up of a black stretch limo with a white Playboy bunny emblem on the side.  The limo passes the camera.  A tan BMW passes the camera.  “You took me southwards on a plane and showed me Spain,” continues the song.  A drilling sound joins the song.  Shot of the outside of a beige apartment complex.  The sign says: “Heidi and Spencer’s Apartment, Hollywood, CA.” Shot of a blender whirring with purple liquid inside.  A man’s tan hand presses the top of the blender down.  The machine is industrial.  Next to the blender are a blue plastic cup, a white container of protein Milk mix, and a bottle of Bragg’s Liquid Amino Acids.  Behind the blender are two bottles of champagne.  Wider angle shot of the blender and the man with the hand.  His hair is curly blonde and he is wearing a black t-shirt with unreadable white letters.  White letters appear in the right hand bottom corner of the screen.  They say: “Spencer, Heidi’s Boyfriend.” “I liked,” begins a girl’s voice.  Shot of Heidi’s face.  She is not wearing makeup.  The screen says “Heidi.” “All your friends last night,” Heidi continues in a sing-song voice.  She bats her eyelashes and shrugs.  Shot of Spencer in the kitchen.  He is looking down at the counter and doing something below the camera’s view.  “You know, they love you,” he says, smiling at the counter.  Shot of Heidi.  She has on a grey hoodie with a navy rose print.  “They seem very nice, all of them,” she says.  She waves some papers mostly out of the camera’s view.  Behind her is a large flat screen TV, turned off.  Shot of Spencer.  “Oh, Frankie invited us to his birthday party at Les Deux tonight,” he says.  There is a sound of papers shuffling.  Shot of Heidi on a cream couch.  The couch appears to have a raised floral print.  Heidi holds letters in her hand.  “Oh yeah?” she says.  Heidi shuffles the letters around.  Several of them appear to be opened.  Shot of Spencer.  He stares at the bottle of Liquid Aminos he is holding in front of his face.  “Is um Lauren going?” Heidi asks.  Spencer puts the bottle down.  Shot of Heidi.  She looks at her French-manicured fingernails, then makes a fist and twirls it.  Shot of Spencer.  It is now possible to read the letters on his shirt.  They say “Innovation Management.” “Uh she actually just called me, I just missed her call uh uh I’ll call her back and ask her and see what she says,” he says, smiling.  His teeth are white.  He looks down at something he is doing on the counter.  “I wish that Audrina,” Heidi interrupts.  Shot of Heidi on the couch.  “—and Lauren would have come last night,” Heidi finishes.  She twirls her hand, mostly out of the frame.  Shot of Spencer in the kitchen.  He is moving around a lot.  “I mean I totally accept that she doesn’t like me,” Spencer says.  Shot of Heidi.  “Yeah,” says Heidi, grimacing.  “But she shouldn’t take that out on you,” continues Spencer.  “I know,” says Heidi, furrowing her brow.  “Our friendship shouldn’t suffer from it,” she mumbles, looking down.  Punky guitar music begins.  “There’s something wrong here,” sings Cori Yarckin.  Shot of Spencer in the kitchen, hands pressed to the counter.  He looks to the side then to the front again.  He opens and shuts his mouth.  Shot of Heidi.  She shakes her head.  Her eyes shift back and forth. 


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