1. If you’re coming for me, don’t raise your hand to call me – in the house I was born, my mother used to count the pains on dads’ fingers and said that raising the hand was the excuse of whom was ill with love. My mother, an angel,
is no more. But if you come for me, leave the clouds at the door and don’t bring the wind in: the wind shows very old dusts and discovers sins where there aren’t; and behind the sins
come ugly questions, and screams, and then the hands on the chest, on the face, and the pain. My sister, an angel, would tell you better. But she is
no more. Now it’s just you and me, and I do not know where we are; but, if you came for me, call me silently in your heart - this house is so far from the world and I still hear the sound of tambours in the night:
Se vieres por mim, não levantes a mão para me chamar – na casa onde nasci, a minha mãe contava as dores pelos dedos do meu pai e dizia que levantar a mão era desculpa de quem vinha com a doença do amor. A minha mãe – um
anjo – já lá vai. Mas tu, se vens por mim, deixa as nuvens lá fora e não tragas o vento para dentro de casa: o vento levanta poeiras muito antigas e descobre pecados onde não estavam; e atrás dos pecados
vêm perguntas feias, e gritos, e logo as mãos – no peito, no rosto – e tantas dores. A minha irmã – um anjo – contava-to melhor. Mas já não está. Agora estamos
só tu e eu, e não sei onde estamos; mas, se vieste por mim, chama-me calado no teu coração – tão longe do mundo é esta casa e eu ainda ouço às vezes tambores na noite:
batem talvez na morte os dedos do meu pai.
2.
That summer, the wind disheveled the fields and the boats yelled over the waves. The excessive beauty of children burst the mirrors; and the girls, coming upon the intimacies of their parents, went mad in the passage ways and sought perdition in the voluptuousness of days. On the centenary trees
there was a bursting of fruit which inflamed the palms of the hands and slid towards mouths with the hastiness of forbidden names. The sun burned the pages of the book that was halted by the violence of a poem, and bent the corners of the only portrait that had resisted the frame of time. At night, the boys dived into the bays
in pursuit of stars; and the lovers, disturbed by the plainness of their bedrooms, set off to make love in the cold of the beach huts and woke up inside each other’s voices. I can’t remember what I said or what you said:
Nesse verão, o vento despenteou os campos e os barcos andaram aos gritos sobre as ondas. A beleza excessiva das crianças arrombou os espelhos; e as raparigas, surpreendendo a intimidade dos pais, enlouqueceram nos corredores e foram perder-se, também elas, na volúpia dos dias. Nas árvores centenárias
rebentaram frutos que inflamavam a concha das mãos e escorregavam para a boca com a pressa dos nomes proibidos. O sol queimou as páginas do livro interrompido na violência de um poema e revirou os cantos do único retrato que resistira à moldura do tempo. De noite, os rapazes deitaram-se às baías
atrás das estrelas; e os amantes, incomodados com a exiguidade dos quartos, foram fazer amor nos balneários frios da praia e acordaram nas vozes um do outro. Já não sei o que disse e o que disseste:
o verão desarruma os sentimentos.
Maria do Rosário Pedreira was born in Lisbon in 1959. She has a degree in Modern Languages and Literatures and has worked in publishing since 1987 - her brief includes the discovery of writers of new literary fiction in Portugal. She has also written a novel and two series of books for young readers which were both adapted for television. All her poetry books are now collected in one volume published in 2012. She writes lyrics for fado singers and has a blog on literary issues.