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A temporary move to Toronto in the winter of 2000, a twisted ankle, an empty house-all inspired Mouré as she read Alberto Caeiro and Fernando Pessoas classic long poem O Guardador de Rebanhos. For fun, she started to translate, altering tones and vocabularies. From the Portuguese countryside and roaming sheep of 1914, a 21st century Toronto emerged, its neighborhoods still echoing the 1950s, their dips and hollows, hordes of wild cats, paved creeks. Her poem became a translation, the jubilant and irrepressible vigil of a fervent person. "Suddenly," says Mouré impishly, "I had found my master." Caeiros sheep were his thoughts and his thoughts, he claimed, were all sensations. Mouré s sheep are stray cats and from her place in Caeiros poetry, she creates a woman alive in an urban world where the rural has not vanished, where the archaic suffuses us even when we do not beckon it, and yet the present tense floods us fully. In this ecstatic long poem of hope and creeks and cats and rain, Sheeps Vigil by a Fervent Person catches Governor Generals Award-winner Erin Mouré at her most playful and ingenuous-and wearing her Galician name.
A propos de l'auteur
Fernando Pessoa (1888 - 1935) was one of the great poets of the Portuguese language. Alberto Caeiro was one of his main heteronyms.ERÍN MOURE is a poet and translator (primarily of Galician and French poetry into English) who welcomes texts that are unconventional or difficult because she loves and needs them. Among other honours, she is a two-time winner of Canada’s Governor General’s Award (in poetry and translation), a winner of the Pat Lowther Memorial Award and the Nelson Ball Prize, a co-recipient of the QWF Spoken Word Prize, a three-time finalist for a Best Translated Book Award in poetry, and a three-time finalist for the Griffin Poetry Prize. She is based in Tiohtià:ke/Montréal.
Résumé
A temporary move to Toronto in the winter of 2000, a twisted ankle, an empty house -- all inspired Moure as she read Alberto Caeiro/Fernando Pessoa's classic long poem O Guardador de Rebanhos. For fun, she started to translate, altering tones and vocabularies. From the Portuguese countryside and roaming sheep of 1914, a 21st century Toronto emerged, its neighbourhoods still echoing the 1950s, their dips and hollows, hordes of wild cats, paved creeks. Her poem became a translation, a transcreation, the jubilant and irrepressible vigil of a fervent person. "Suddenly," says Moure impishly, "I had found my master."
Caeiro's sheep were his thoughts and his thoughts, he claimed, were all sensations. Moure's sheep are stray cats and from her place in Caeiro's poetry, she creates a woman alive in an urban world where the rural has not vanished, where the archaic suffuses us even when we do not beckon it, and yet the present tense floods us fully.
