Adriána Kóbor
SAT2#RATIO
“to intensify the metaphor”
The leading reason was : to have you nowhere.
Canicule: the odd word for the blood-orange
swearing. The Swedish cool, not about
to cool, sweating. Your sweater:
blood-orange colour,
of past love
pasted onto,
the glove’s
redness,
you wear-off like the flesh's rasps
on the kitchen counter --
where he fucked you
or your mother --
you wear summer, sweat
and misplaced mourning,
on the yellow pages
a squeamish ant walks yellow traces…
Your base is always acid:
free flow, conduction and faithless:
our magnetic raid is a code to avoid toavoid
to a- further businesses: we are
separately bullshitty nottogether notes,
and even though you laugh at me
above
a "succo",
your steady face sucks like a stucco:
all men who loved me the most
I let them leave me or
I left them at the end of the birth
I was supposed to
give them.
impossible before; like the logic/as one
doesn’t conclude the other (but it does)
“jön a vihar” — il temporale sta arri —
vandolgom most is — it’s perm
anent, exanent, certainty he’s leaving
the bad boys are on from now on
the bad girls are offer than before you
wear out like a permanent and my
sharkblond mind remains
full of incisions — off to the Etruscans
even though I could have just said:
bastards, there is nothing
to admire about
an empire that had fallen (is ~)
and explain with gestures of the hand
the hands’ gesture, that giving is
not an option
when you haven’t been doing
anything else — adni, adri, inri, inad —
és kitépi inaik, lusta inas (nem az a
man who can simplify himself
through my thoughts,
nem az a nő; non è la donna; it’s not the
woman who can justify herself
because of her thinking — drop dead,
just by the swimming pool, or
if you want it more naturally: by a lake,
and before we got something (a proof,
there is none, or a lie/alot aloof)
floating : you are a dancer, as I am, your
conjoint injuring arms&sightings
(in heav&he-1); admiring:
some future you were
so much insisting on you actually failed
the SEMPER
A PROT-EST
I’m walking hand in hand with Hitler. (Which I won’t hypothesize), that is: tasteless,
whereas you were doing the same with Stalin (it’s tasteless, too), the fame
built itself Bauhaus on the museums’ nauseated
pavement.
It’s in the process’ ‘structure’.
It is harmful.
You weren’t: you have just w
alked away,
from the entire system; for you the structure didn’t matter.
Solely the building.
THE PRO-TEST
“So, the proposal was not made to cut off my hands”
Silent oath
SAYINGYES
YESSAYING
YESSAYING
YSINGYEAS
UPTILLYES
TERDAYID
IDNTKNO
WWHOYE
Oath silence
Hallgatólagos igen
MONDANI : IGENT
IGENT : MONDANI
MONDATNI : IGEN
MONDTA : IGENNI
TEG NAPIG LE
NEM TUDTAM
GY KI VAGY EN
Igen hallgatólagos
Silent marriage
saying: YES
YES : saying
Y essaying
YsingYeas
Up’tiL yEs
Ter day I did
n’T know
who you
Marriage silence
“So, the proposal was not made to cut off my hands”
She wore a lipstick (they asked her whether she had ever painted).
He had a bullet in his chest (I asked him whether he ever got killed).
The answer was shocking:
She had never painted,
though he killed.
————————————————————————————————————————
LE MIE PAROLE E TU?
LE MIE PAROLE
PAS TU
U
NOT
ARE MY
WORDS
————————————————————————————————————————
Szavaim és, te …?
Szavaim
nem te
te nem
a szavam.
(átadta, szerk.)
———————————————————————————————————————
Dammi un’(altro)attimo
1INFLUENZA
INFLUENZA2
———————————————————————————————————————
Our last — la nostra ultima
CONVERSAZIONE conver
sation INSAZIATA
conver
sion inap
paga
T.A./L.K.
…
Tua truly, A
————————————————————————————————————————
Fanno se(s/n)so/Makes sense.
“Meno male esistono anche le donne”
“Too many hands, I’m sorry!”
Like too many notes,
too many words,
or: too much
love.
?
love
too much: or
too many words,
too many notes, like:
I’m sorry, “Too many hands!”
“Anche le donne esistono, meno male”
Makes sense. Fanno se(s/n)so
fanno “SE”
SO what?!
———————————————————————————————————————
KOL-LÁZS Hála Istennek, te is ezt érzed a csövekkel a kapcsolatban. Barbárság lenne azt mondani: ez nem JEL.
COLL-AGE Thanks God, you feel the same connection about the tubes. It’d be a barbarism to
say: this isn’t a SIGN.
———————————————————————————————————————
COLL-AGE Thanks God, you feel the same through the tubes. It’d be a barbarism to say:
this isn’t a SIGN.
KOL-LÁZS Hála Istennek, te is ugyanazt érzed a csöveken át. Barbárság lenne azt mondani:
ez nem JEL.
———————————————————————————————————————
“Women, are robbed of everything, except of the things that no one notices and those are manifold.“
KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR
KLR KLR KLR KLR KLR KLR
KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR
“A
nők, meg vannak fosztva mindentől, csak azoktól a dolgoktól nem, amit
senki sem vesz észre, s ezek számtalanok.”
YOUR LAST — unpunished — ROBBERY: MY SELF.
MY self: your LAST unpunished ROBBERY.
————————————————————————————————————————
TŰNNI
“Sosem voltál szimpatikus.”
“Sosem szerettem volna szimpatikus lenni.”
EL
————————————————————————————————————————
SEE ME
side by side by the window by myself
I got these worldwide issues although my sem-
antics
are modern
er than my thoughts
traditionals spirituals
folk songs gospels
stand-by
to escape
room, apartment, bushes, hotels
while head-pressed flowers
on the bloody pavement
while fist-pressed
remote controls
on the conscience
I’m tired
vasal
Vasarely’s wishful
dining cycles ripping
all the
animals from all the human tribes
i n t o m y h e a r t
almost as brave as bad
to break
sills and doorsteps and shelves
the side aside besides
me
YOU SEE
Adriána Kóbor (Hungary, 1988), active in the Benelux from 2006 till late 2018. Her poems aim to explore and extend the boundaries of language. The major part of her work is written in English, though her verses and stories written in other languages — Hungarian, Dutch etc. — have gained attention as well. Currently she is busy with the final touches on her unpublished work preparing it for publication. Besides that she created two books in collaboration with a visual poet and a collagist waiting to be pulled through the press. She is regularly submitting and publishing in the international literary media.
She notes: "The poems were inspired by LIFE, the work of Ketty La Rocca (most of the quotes are hers); and two of the poems (The Protest, Coll-age) are dedicated to Bálint Szombathy.”
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“to intensify the metaphor”
The leading reason was : to have you nowhere.
CANICULE
Canicule: the odd word for the blood-orange
swearing. The Swedish cool, not about
to cool, sweating. Your sweater:
blood-orange colour,
of past love
pasted onto,
the glove’s
redness,
you wear-off like the flesh's rasps
on the kitchen counter --
where he fucked you
or your mother --
you wear summer, sweat
and misplaced mourning,
on the yellow pages
a squeamish ant walks yellow traces…
Your base is always acid:
free flow, conduction and faithless:
our magnetic raid is a code to avoid toavoid
to a- further businesses: we are
separately bullshitty nottogether notes,
and even though you laugh at me
above
a "succo",
your steady face sucks like a stucco:
all men who loved me the most
I let them leave me or
I left them at the end of the birth
I was supposed to
give them.
HE-SE?;p-ER/Nero kills himself
impossible before; like the logic/as one
doesn’t conclude the other (but it does)
“jön a vihar” — il temporale sta arri —
vandolgom most is — it’s perm
anent, exanent, certainty he’s leaving
the bad boys are on from now on
the bad girls are offer than before you
wear out like a permanent and my
sharkblond mind remains
full of incisions — off to the Etruscans
even though I could have just said:
bastards, there is nothing
to admire about
an empire that had fallen (is ~)
and explain with gestures of the hand
the hands’ gesture, that giving is
not an option
when you haven’t been doing
anything else — adni, adri, inri, inad —
és kitépi inaik, lusta inas (nem az a
man who can simplify himself
through my thoughts,
nem az a nő; non è la donna; it’s not the
woman who can justify herself
because of her thinking — drop dead,
just by the swimming pool, or
if you want it more naturally: by a lake,
and before we got something (a proof,
there is none, or a lie/alot aloof)
floating : you are a dancer, as I am, your
conjoint injuring arms&sightings
(in heav&he-1); admiring:
some future you were
so much insisting on you actually failed
the SEMPER
I’m walking hand in hand with Hitler. (Which I won’t hypothesize), that is: tasteless,
whereas you were doing the same with Stalin (it’s tasteless, too), the fame
built itself Bauhaus on the museums’ nauseated
pavement.
It’s in the process’ ‘structure’.
It is harmful.
You weren’t: you have just w
alked away,
from the entire system; for you the structure didn’t matter.
Solely the building.
THE PRO-TEST
“So, the proposal was not made to cut off my hands”
Silent oath
SAYINGYES
YESSAYING
YESSAYING
YSINGYEAS
UPTILLYES
TERDAYID
IDNTKNO
WWHOYE
Oath silence
Hallgatólagos igen
MONDANI : IGENT
IGENT : MONDANI
MONDATNI : IGEN
MONDTA : IGENNI
TEG NAPIG LE
NEM TUDTAM
GY KI VAGY EN
Igen hallgatólagos
Silent marriage
saying: YES
YES : saying
Y essaying
YsingYeas
Up’tiL yEs
Ter day I did
n’T know
who you
Marriage silence
“So, the proposal was not made to cut off my hands”
She wore a lipstick (they asked her whether she had ever painted).
He had a bullet in his chest (I asked him whether he ever got killed).
The answer was shocking:
She had never painted,
though he killed.
————————————————————————————————————————
LE MIE PAROLE E TU?
LE MIE PAROLE
PAS TU
U
NOT
ARE MY
WORDS
————————————————————————————————————————
Szavaim és, te …?
Szavaim
nem te
te nem
a szavam.
(átadta, szerk.)
———————————————————————————————————————
Dammi un’(altro)attimo
1INFLUENZA
INFLUENZA2
———————————————————————————————————————
Our last — la nostra ultima
CONVERSAZIONE conver
sation INSAZIATA
conver
sion inap
paga
T.A./L.K.
…
Tua truly, A
————————————————————————————————————————
Fanno se(s/n)so/Makes sense.
“Meno male esistono anche le donne”
“Too many hands, I’m sorry!”
Like too many notes,
too many words,
or: too much
love.
?
love
too much: or
too many words,
too many notes, like:
I’m sorry, “Too many hands!”
“Anche le donne esistono, meno male”
Makes sense. Fanno se(s/n)so
fanno “SE”
SO what?!
———————————————————————————————————————
KOL-LÁZS Hála Istennek, te is ezt érzed a csövekkel a kapcsolatban. Barbárság lenne azt mondani: ez nem JEL.
COLL-AGE Thanks God, you feel the same connection about the tubes. It’d be a barbarism to
say: this isn’t a SIGN.
———————————————————————————————————————
COLL-AGE Thanks God, you feel the same through the tubes. It’d be a barbarism to say:
this isn’t a SIGN.
KOL-LÁZS Hála Istennek, te is ugyanazt érzed a csöveken át. Barbárság lenne azt mondani:
ez nem JEL.
———————————————————————————————————————
“Women, are robbed of everything, except of the things that no one notices and those are manifold.“
KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR
KLR KLR KLR KLR KLR KLR
KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR KLR
“A
nők, meg vannak fosztva mindentől, csak azoktól a dolgoktól nem, amit
senki sem vesz észre, s ezek számtalanok.”
YOUR LAST — unpunished — ROBBERY: MY SELF.
MY self: your LAST unpunished ROBBERY.
————————————————————————————————————————
TŰNNI
“Sosem voltál szimpatikus.”
“Sosem szerettem volna szimpatikus lenni.”
EL
————————————————————————————————————————
SEE ME
side by side by the window by myself
I got these worldwide issues although my sem-
antics
are modern
er than my thoughts
traditionals spirituals
folk songs gospels
stand-by
to escape
room, apartment, bushes, hotels
while head-pressed flowers
on the bloody pavement
while fist-pressed
remote controls
on the conscience
I’m tired
vasal
Vasarely’s wishful
dining cycles ripping
all the
animals from all the human tribes
i n t o m y h e a r t
almost as brave as bad
to break
sills and doorsteps and shelves
the side aside besides
me
YOU SEE
Adriána Kóbor (Hungary, 1988), active in the Benelux from 2006 till late 2018. Her poems aim to explore and extend the boundaries of language. The major part of her work is written in English, though her verses and stories written in other languages — Hungarian, Dutch etc. — have gained attention as well. Currently she is busy with the final touches on her unpublished work preparing it for publication. Besides that she created two books in collaboration with a visual poet and a collagist waiting to be pulled through the press. She is regularly submitting and publishing in the international literary media.
She notes: "The poems were inspired by LIFE, the work of Ketty La Rocca (most of the quotes are hers); and two of the poems (The Protest, Coll-age) are dedicated to Bálint Szombathy.”
posted by mark young at 12:53 PM
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