If life is no more than a prolonged flirtation with death, then Hilda Hilst's Of Death. Minimal Odes is the true account of a lifelong seduction. It is at once both a reverie and reliquary, as the poet imagines and reimagines that most paradoxical moment of disintegration—the corporeal flesh fusing with death's own dark corpus. With a visceral‐mystical poetic voice that is as teasingly unrestrained as it is intellectually sublime, Hilst's odes enact a baroque danse macabre, where the poet revels in the incongruities of simultaneously seeking the sacred and profane. Translating the first collection of Hilda Hilst's significant body of poetry to appear in English, Laura Cescarco Eglin renders the imagery and philosophical complexity of these minimal odes with brio, while preserving the playful tone and lush melodies that mark Of Death. Minimal Odes as uniquely Hilstian.
Hilda de Almeida Prado Hilst, more widely known as Hilda Hilst (Jaú, April 21, 1930–Campinas, February 4, 2004) was a Brazilian poet, playwright and novelist, whose fiction and poetry were generally based upon delicate intimacy and often insanity and supernatural events. Particularly her late works belong to the tradition of magic realism.
In 1948 she enrolled the Law Course in Faculdade de Direito da Universidade de São Paulo(Largo São Francisco), finishing it in 1952. There she met her best friend, the writer Lygia Fagundes Telles. In 1966, Hilda moved to Casa do Sol (Sunhouse), a country seat next to Campinas, where she hosted a lot of writers and artists for several years. Living there, she dedicated all her time to literary creation.
Hilda Hilst wrote for almost fifty years, and granted the most important Brazilian literary prizes.
Belonging I carry you: mutant back, death. Aware of you for millennia and I never know you. Us, consorts of time beloved death I kiss your flank your teeth burning I walk your fortune, mine. I ride you. I try.
Her work and what the translator did with it is godly.
Hilst writes with such a lyrical complexity and fascination with language that I did not want to put the book down and instead forced myself to take more time in it. Delighting in the translation choices, the language and song of the original work alongside, tremendously beautiful and full of the poems which let you know that you are being thought of. I felt cared for, as a reader. What magic.
If Anne Sexton were a Brazilian minimalist but better. I love how death is alive and constantly shifting in identity and shape in each poem. For Hilda Hilst, death is just the beginning and brimming with possibilities. I gobbled this up.
'Rinoceronte elefante Vivi nos altos de um monte Tentando trazer teu gesto Teu horizonte Para o meu deserto.'
'Sonhei que te cavalgava, leão-rei. Em ouro e escarlate Te conduzia pela eternidade À minha casa.'
'Se eu soubesse Teu nome verdadeiro Te tomaria Úmida, tênue E então descansarias. Se sussurrares Teu nome secreto Nos meus caminhos Entre a vida e o sono, Te prometo, morte, A vida de um poeta. A minha: Palavras vivas, fogo, fonte. Se me tocares Amantíssima, branda Como fui tocada pelos homens Ao invés de Morte Te chamo Poesia Fogo, Fonte, Palavra viva Sorte.'
'Te sei. Em vida Provei teu gosto. Perda, partidas Memória, pó Com a boca viva provei Teu gosto, teu sumo grosso. Em vida, morte, te sei.'
I remember just enough Portuguese to read these poems and at least kind of hear how they're supposed to sound. But I read definitely not enough Portuguese to get them, and I suspect there's something missing in the English translations (as ever with translations). The opening poems, with the accompanying watercolors, are among my favorite poems I've read in a long, long time.
While there are some beautiful phrases, the extent of the meaning is limited by the “minimalist” nature of them. This wasn’t a collection of poems that I lingered on.