From Looking at a Donkey

1

A donkey goes by with a little cart up against his ass, there's not much noise because of the rubbered wheels and that real light trotting step. Soon you'll find the cart propped up at some corner of the sidewalk: with his hand in a ragged glove, somebody's working on five or six prickly pears for a customer to eat right there on the street. Knack of doing it fast with a short, strong knife: giving him the completely uncapped fruit like an intimate gesture, too intimate. Pear-peels under the cart. The donkey waits in the little bit of shade given by a wall. An odd mix of micro-economy, of playful contentment between the vendor and his customer, and me already thinking about a poem, here I am

With a book like a small cart, I really hate

To think of how the publisher's going to try and sell this stuff: pleasing the reader (any reader) isn't easy. And waiting in that silence?

I'm sure some day I'll start braying.



 2

What do you know, there's another one waiting, loosely hitched to his little metal cart. Friendly and on your guard, you walk up to pet him.

The surrounding world has the lightness of new buildings around a big vacant lot; bikes wheel it calmly through the sunlight. What's that donkey doing there?

You know his job isn't much of anything. But it's endless (even though long moments of immobility are part of it: waiting to start going again).

You almost start thinking a donkey's kind of useless: then you realize you could say that about everybody. Everyone waits so often without knowing what for. Every morning we start all over again, too.

And it's not so easy to act like an ass:

Not knowing if other people love us or don't trust us is hard to take.

Waiting’s a real pain. Going on isn’t much fun either.

Yes, maybe the world's like a new soccer-ball in a vacant lot full of tough grass: you'd rather think you're no jackass.

Maybe because you just didn't get it:

It's not easy to understand a donkey.


3

I'm looking at a donkey, so what do you want to see, huh?

Its ear moved it's not
            To wave at you, could be
            Because of the flies, who knows?

His ear or all of a sudden a sort of stiffness comes over him
            His hard rubber member, there it is
            Gone just as fast, does the donkey think,
            I really wonder. And you waiting there. I didn't see a thing.

The big ear and calm eye of a donkey, as if
            A lot of silence for writing, probably the words
            Didn't move an inch.


4

One day there won't be any donkeys left, for sure. The last one I really knew back home (every morning we used to go get green fodder—buckwheat field nearby, after the first bushes, cart just a couple of boards laid over a low axle-tree) I liked his gentle eyes, body of a happy donkey showing it all, often.

And in fact when it's all over with the donkeys we're going to miss something, that particular way of being most delicate and most grotesque at the same time:

A lot of silence gathered into the eyes then suddenly space taking the shape of a badly played trumpet sounding out what's missing in the pretentious harmony of the world.

In the end we won't know anything anymore. From time to time I touch my belly, my dumb beast. I have the feeling it's important to write like an ass, too.


5

Hell, the donkey doesn't give a damn
            If life's a bitch or a ball. The world is only quiet blue.

Waiting or assaulting time
            Looks as if it adds up to the same thing:
            What's in his gentle eye
            Or his stiff member.
            Adds up to nothing at all.

Life's a bunched-up rag
            That's not going to wipe a thing. The donkey can show it all,
            He doesn't give a damn.

The France Issue

Summer 2010

From Looking at a Donkey

James Sacré

James Sacré has published numerous books of poetry at Editions du Seuil (Coeur élégie rouge, 1972, reissued in 2001 by Marseille publisher André Dimanche), Editions Gallimard (Figures qui bougent un peu, 1978), André Dimanche Editeur (nine titles including: Une fin d'après-midi à Marrakech (1988); La poésie, comment dire? (1993) and recently Un paradis de poussières, 2007), Editions Tarabuste (seven titles including: La peinture du poème s’en va; âneries pour mal braire; Saint-Benoît-du-Sault, France: 1998, 2006), Le temps qu’il fait (Mouvementé de mots et de couleurs with photographs by Lorand Gaspar, Cognac: 2003), Le dé bleu (Si peu de terre, tout, Chaillé sous-les-Ormeaux, France: 2001), chapbooks and illustrated books with a number of small presses in France (Le Dé bleu, Obsidiane, Cadex, Collectif Génération, Verdigris, Lafabrie …). His work will be the subject of a colloquium this coming September at the Centre culturel international de Cerisy-la-Salle.  After a teaching career in the States at Smith College, Massachusetts, he now lives in Montpellier, France. The French-language originals of the texts presented here appear in âneries pour mal braire (Saint-Benoît-du-Sault, France: Tarabuste, 2006).

English translations by David Ball

David Ball’s recent translations include Abdourahman Waberi’s novel In the United States of Africa (with Nicole Ball), Jarry’s Ubu the King (in The Norton Anthology of Drama), and selections from James Sacré’s poetry in the online journal Action Yes. He has been president of the American Literary Translators Association, winner of MLA’s prize for literary translation for Darkness Moves: An Henri Michaux Anthology 1927-1982 (Berkeley, California: University of California Press, 1994) and Professor of French and Comparative Literature at Smith College. Ball's own poetry has appeared in such places as The Atlantic Monthly, Locus Solus, The World, Action Yes and six chapbooks, among them The Garbage Poems (Providence, Rhode Island: Burning Deck, 1976), Praise of Crazy (Diana's Bimonthly, 1975) and New Topoi (Buffalo Press, 1972). He edited Blue Pig with George Tysh from 1967 (Paris) - 1975 (Northampton, Mass.), a little magazine publishing work by Tom Raworth, Ron Padgett, John Giorno and many others.