Pubblikazzjonijiet ġodda minn Malta

Is-suq tal-ktieb hawn Malta huwa b'saħħtu ħafna, u dan minkejja dak li jgħidu bosta pubblikaturi. Huwa ħasra li dawn tal-aħħar bħal donnhom - anzi huwa fatt - ħolqu ċ-ċrieki għalihom u għalqu l-bibien tagħhom għal kittieba oħra.

U dan biex ma nsemmux il-qasam tal-poeżija li huwa dak li l-aktar ibati meta tasal għall-istadju tal-pubblikazzjoni. Hemm ukoll pubblikaturi li juru x-xewqa li jiftħu l-bibien għal ismijiet ġodda, imma mbagħad, b'xorti ħażina, ma jibżgħux għal dak li jkollhom. Ma jżommux la żmien u lanqas il-kelma meta jiġu biex jagħtu dak il-ftit ħafna li l-awtur ikun ħaqqu bħala kumpens finanzjarju.

Dan hu marbut ukoll mal-pubbliċita' li ċerti kittieba jingħataw sfaċċatament fuq il-ġurnali u r-rivisti kollha, minnufih u aktar minn darba, filwaqt li oħrajn iridu jittalbu biex ġurnal jagħtihom ftit spazju, u dan wara ġimgħat jew saħansitra xhur twal. Hemm pubblikaturi li għandhom magna tal-marketing eċċezzjonali u allura jmexxu l-prodott tagħhom sewwa filwaqt li jonfħu aktar milli hu xieraq il-pubblikazzjonijiet u t-tim ta' kittieba tagħhom, filwaqt li miskin dak li jazzarda jippubblika minn butu. L-ironija hija li meta naslu għall-Premju Nazzjonali tal-Ktieb, huma dawk marbutin mad-djar tal-pubblikazzjoni l-kbar li kważi dejjem iġorru l-aħjar premji sena wara sena u aktar minn darba u f'kull kategorija.

Minkejja dan kollu, kif għidt, dawk li jiktbu u jippubblikaw jibqgħu ħafna. Hawn ħa nsemmi ftit mill-aħħar kotba li ntbagħtuli jew li xtrajt dan l-aħħar.

IL-POEŻIJA:

KATARSI (2011) ta' Andrew Sciberras huwa ġabra ta' 51 poeżija. L-istil ta' Sciberras (membru tal-Għaqda Poeti Maltin) huwa wieħed modern: juża l-vers ħieles, ir-rimi interni, għandu ħakma tajba ferm tal-ilsien Malti u jħaddem metafori mill-isbaħ għalkemm xejn sempliċi. KATARSI għandu Daħla minn Achille Mizzi li jikteb hekk: "L-għaġna mentali ta' Sciberras turina li minn banda jħoss ġibda kbira lejn dak li hu stramb, eċċentriku u eżoteriku [...] u, saħansitra jidher li jinnamra anke mal-okkult [...] Mill-banda l-oħra, donnu biex jibbilanċja għandu interess, impenn u involviment li juri ħerqa, imħabba u kompassjoni lejn l-umanita' li ssofri u juri qilla u intolleranza kontra l-inġustizzji li d-dinja tagħna hija miżgħuda bihom." Din hija s-sitt ġabra ta' poeżiji ta' Sciberras wara Samsara, Noti tad-Demm, Waqtiet fis-Skiet, Mill-Eżilju ta' Ruħi u Traġitti (koawturat ma' Patrick Sammut). Katarsi huwa mżewwaq b'ritratti ta' Aaron Bonnici. Għal min hu interessat jakkwista kopja jista' jikteb direttament lill-awtur fuq artist@melita.com

Anki Omar Seguna huwa membru tal-Għaqda Poeti Maltin. Din hija t-tieni ġabra tiegħu wara li fl-2001 ħareġ Mal-Ħoss Qawwi tar-Ragħad. 24, Triq Ħad-Dwieli (2011) jiġbor fih 81 poeżija. Għandu Introduzzjoni minn Mario Azzopardi li jikteb hekk: "L-esperimentazzjoni grafika f'din l-antoloġija hi punt ta' referenza li jolqot. L-ewwel tentattivi tal-awtur kienu diġa' dehru sporadikament fl-ewwel antoloġija tiegħu [...] imma issa daħlet bixra kinetika aktar koreografata u aktar konspikwa. Forsi anki aktar "teatrika", sal-punt interattiv jew immersiv: hemm strofi inversi li biex taqrahom trid taqleb il-ktieb rasu 'l isfel u oħrajn li jridu jinqraw f'mera biex jingħarfu. Bħala estetika, din hi testimonjanza li Seguna qed jagħmel sforzi konxji biex ivarja (anki radikalment) ir-riċetta konvenzjonali li għadha taħkmu." Għal min jixtieq jakkwista kopja tal-ktieb jista' jikkuntattja lill-poeta fuq omarseguna@gmail.com

SPIRAL (KKM, 2011) hija t-tieni ġabra poetika ta' Joe Saliba wara li fl-1995 ippubblika Vjaġġ. SPIRAL jiġbor fih 133 poeżija u mal-201 ħajku. Għandu żewġ daħliet mill-pinna tal-Prof. Joe Friggieri u r-Rev. Prof. Peter Serracino Inglott. Jispikka l-element liriku fil-versi ta' Saliba. Serracino Inglott jikteb hekk: "Naħseb li hija din il-viżjoni tal-eżistenza bħala passaġġ minn post jew qagħda għal post ieħor jew qagħda oħra illi kważi jġiegħel lil Saliba jkompli jikteb il-poeżija minkejja l-impenji l-oħra li ħafna nies forsi jqisuhom aktar siewja." Joe Friggieri jikteb hekk: "Għadek issib hawnhekk it-taħlita tar-realta' mal-ħolm, tad-dinja kif inhi mad-dinja tat-tfal mad-dinja tal-adulti, tal-innoċenza mal-esperjenza, tal-azzjoni mar-riflessjoni. Għadha tinħass ir-rieda tal-poeta li jperreċ ruħu, li jiddeskrivi bl-akbar reqqa t-tqanqiliet, l-emozzjonijiet, ix-xewqat, it-tamiet u l-aspirazzjonijiet tiegħu, flimkien mat-tiġrib li jgħaddi minnu."

IL-PROŻA:

Carmel G. Cauchi kiteb u ppubblika poeżiji, kotba għat-tfal u anki novelli għall-kbar. Mill-Ġnejna ta' Tfuliti (Merlin, 2011) huwa awtobijografija li tmexxina mis-sena 1950 (bejn wieħed u ieħor), jiġifieri minn meta kien jattendi l-iskola tan-nuna, sas-sena 1962, meta l-awtur daħal jaħdem bħala emergency teacher. Hekk hemm miktub fuq il-qoxra tal-ktieb: "F'dan il-ktieb jirrakkonta fatti - drawwiet u ġrajjiet li seħħew tassew. Cauchi joħodna lura fi żmien tfulitu, fis-snin ħamsin u sittin bikrin, biex miegħu nqallbu l-album tat-tifkiriet. Jistedinna ngħaddu miegħu mill-iskola tan-nuna għal dik primarja u mbagħad il-Liċeo. Idaħħalna fid-dar qadima ta' tfulitu u jlaqqagħna ma' qrabatu. Jaqsam magħna l-istil ta' ħajja sempliċi li għex fi tfulitu bil-ħelu u l-morr tagħha.

Dan huwa ktieb li jappella għall-qarrejja kbar li għexu dawk is-snin għax iġeddilhom it-tifkiriet. Imma jappella wkoll għall-qarrejja żgħar għax jurihom kemm it-tfulija tal-imgħoddi kienet differenti minn dik tal-lum." Il-ktieb huwa mżewwaq mit-tpinġijiet sempliċi, nostalġiċi u mill-isbaħ ta' Frank Schembri.

Għadu kemm ħareġ IL-MALTI LXXXII (L-Akkademja tal-Malti/KKM, 2011), edizzjoni kritika/riċerkata. Fih wieħed isib kitbiet riċerkati ta' Godfrey Wettinger, Carmel Cassar, Anna Borg Cardona, Stanley Fiorini, Reno Fenech, Olvin Vella, Horatio Caesar Roger Vella, Emanuel Psaila u Olivia Borg. Naqraw dwar il-kultura orali f'Malta qabel il-wasla tal-Ordni; il-Malti fi żmien il-Kavallieri ta' San Ġwann; l-għanjiet Maltin li ġabar Alberto Fava; il-Kantilena ta' Pietru Caxaru, imma anki dwar uliedu u omm uliedu; il-prietki bikrin bħala għajn ewlenija għall-istorja tal-Malti; Vassalli u l-ambjent Borgian; Franġisku Saverju Attard u l-festa ta' Marija Bambina 1918; il-letteratura u l-politika f'rabta ma' Fil-Parlament ma Jikbrux Fjuri; u l-poeżija ta' Maria Grech Ganado.

Il-biċċa l-kbira ta' dawn il-pubblikazzjonijiet se tiġi ttrattata f'aktar dettall aktar 'il quddiem fuq il-blog tiegħi www.pagnawarapagna.blogspot.com

EYES OF SOUL – Poetry from Greece by Potis Katrakis

Eyes of Soul (Lexitipon Editions, 2010) is Potis Katrakis’s new poetry collection which comprises 85 poems, translated in English by Zacharoula Gaitanaki.

Themes:

Katrakis opens his collection with As the evening is drawing on where he contrasts the darkness of the night with the flames of inspiration and poetry. Light and darkness are again contrasted in Everything and nothing, where the poet deals with wisdom as against forgetfulness, and man as being everything and nothing at the same time.

The poet as an environmentalist and conscience to mankind is seen in Overpopulation and development: Katrakis deals with the pollution of waters and the lack of pure and natural fountains. Even Predictions deals with “natural phenomenon… pollution… overpopulation”, and also with “atomic arms… terrorism”. All these put our future in danger. On the other hand, in The silence of nature one reads that the poet and nature are bound together. Katrakis observes that nature’s silence is more eloquent than man’s “voice or his pen”: that’s why the poet “spend[s] many times/ reading its silence”.

Poetry itself is frequently a theme in itself. When imagination is in love is about the conception and birth of poetry. This is very beautiful and lyrical verse: white paper on which poetry is written is compared to a “ploughed plain”. Three pillars on which poetry is built are memory, fantasy and judgement (Building poetry). In Poet of visible and of invisible Katrakis asks who the poet is. For him the poet is he who praises all things, visible and invisible. In The extent of a poem he writes that:

“The extent of a poem

does not depend on the number of pages

and its verses

but on the quantity

and the power of light

that it radiates.”

Poetry is light and thus a healing element against “the darkness of soul” (The light of poetry). Poetry is understood as words (or theory) which can be transformed in actions (or practice). Again we read of poetry as light in Theory and practice, which is the poem that concludes this collection. In Mature consideration Katrakis writes about poetry which can be comprehended and poetry that is unintelligible. Such knowledge comes when one is mature. And this knowledge makes the reader understand that there is magic, life and colour behind the poet’s verses (When they become a song). Poets are equalled to gods in Poets are not resigned to, and cannot be bribed or subdued. Behind the figure of the poet there is also the idea of the passion of Christ. Here Katrakis writes thus: “Poets mark/ the stars with their blood”, and later on, “The destiny of the real poets/ is to climb up a Calvary.” This links directly with Why, God almighty?: Katrakis writes that the poet suffers because he sees around him “pain, sorrow, disappointment”, and faced with all this he turns towards God.

There is also the social element in Katrakis’s poetry. In The money he protests against “the executive,/ the legislature, the judiciary,/ the religious power” (all symbols of power), saying that all these are corrupted through money and blessed by the rest of the people. Even in The political cost Katrakis is adamant against corrupted politicians and politics that puts at stake economic development. Politics is again the subject of Violence and corruption: politics is based on these two elements, and ironically this situation is permitted by the people. Again, we read about politics in Satire and politics: according to the poet, both have big audiences. In Enemies Katrakis writes that mankind is a long way from peace because we have both “inside and outside enemies”. Even If they envy you is about enemies: the poet admits that those who have enemies are those who combat injustice. Katrakis also knows that progress and victories come through mistakes, losses and inner conflicts (The result carries weight).

Poverty is seen by the poet as a snake and a “timeless enemy of man/ that poisons/ and swallows his soul” (The snake of poverty). Only unity between mankind can subdue it. This idea is seen also in America and Europe where Katrakis expresses himself in favour of fraternity between the continent states. Regarding poverty Katrakis inspires himself by the simplest of human beings: in The beggars he writes:

“My kindness ordered me

to have pity on the beggar

who stretched out his arms

at the end of the road.”

However, the poet also knows that there are people who transformed begging into a “profitable occupation”. Thus in today’s world there is also some kind of conflicting interest even where begging is concerned.

Acquired rights can be better understood in the light of today’s problems striking Greek economy. This may be linked to Something bad is in the making: the poet is again understood as the conscience of society as he notes that man regresses because moral values have loosened and he has grown selfish. Thus through his poetry Katrakis offers a set of moral and social guidelines in order to live a better life and make a better world. In Rules he writes:

“Rules are the tracks

that runs the train of our life

in order not to derail.”

However Katrakis as a poet is also conscious of the fact that:

“The conquering generals and not the philosophers

conquer the world,

they produce the law

and give solutions.” (There where nature speaks)

On the other hand, You, women is a plea in favour of emancipation of women who are still suffering in countries of the third world, “under the whip of inequality,/ of slavery, of humiliation”. Katrakis also reminds us that we are human beings and thus have to act accordingly. Many are described as “blood thirsty animals” in a society where profit, materialism and power reign (The great honour).

In The unknown world Katrakis writes about past, present and future. He asks how much does man knows now that he has made many technical and scientific discoveries. The poet knows that in spite of all this man still knows very little about his existence. The unknown is dealt with also in To the unknown future: Katrakis as man and poet knows the good and evil of mankind. Mankind is full of contrasts and whatever good or evil he does man is moving towards the “unknown future”. In An honours degree Katrakis asks if real knowledge depends on how many academic degrees one obtains. Knowledge seems to be a key element in Katrakis’s poetry. In Historic route he deals with knowledge and the absurdity of war on the one hand, and knowledge and “the Art of the absurdity to charm” people on the other. Man has his intellect, but who guides it exactly, he or some other force external to him? (Every genius). It remains to find the madman is about Chernobyl and the nuclear holocaust; it is also a plea to be watchful against the “madman”. Katrakis adds more to this in The negatives of progress: science has to be prudent and we must assure ourselves that its target is positive, not negative.

Katrakis writes about spiritual issues too: in My soul the latter is understood as “God’s gift,/ queen of creation”. He also asks where will it go after the death of the body. Religion is seen as a means to law, order and safety (Carats of religion). The poet is understood as a prophet too: he is a foreseer of what is happening and what will happen. The new flood is that which drowns our souls through “corruption… fraud… hypocrisy”, and the only salvation is through “human and divine wisdom”. In To know God Katrakis asks if God is also found inside us human beings. This question seems to be answered in There is no need to pray: God is both inside and outside us, and alone, man is weak and incomplete.

Another poem in praise of God is As far the sun will exist where light dominates through references made to the sun, the intellect and God himself. Gives birth to hope is a poem-prayer: prayer is food for the soul and changes sorrow into a song.

There are also poems dedicated to love in Eyes of soul. In Of famous lovers Katrakis knows that being beautiful and loyal at the same time is rare. Love is seen as a way to generate life on Earth in You are a sucker. Love can only be if there is justice and equality in the world (And some justice). The flame thrower presents love as an “eternal flame thrower”. About beauty he also writes that it is something which is inside us not outside (The beauty). Two tears of emotion is against materialism and in favour of what makes us real human beings. Katrakis also writes about taking things for granted in The habit: “The habit/ kills the charm/ of the new and of the unknown.” In Eyes of soul, the poem from which the whole collection gets its name, Katrakis suggests that the world must be seen through the soul and thus understood as being a miracle. Being alive is therefore a blessing. Life has its beautiful moments too. It is a gift from God and also a way of showing himself to us (It is good as a whole).

Style:

The majority of Potis Katrakis’s poems are composed of a few lines. Concision is the key word. Through concision Katrakis manages to stay in touch with everyday joys and pains. His are short thoughts or reflections about different aspects of life, such as physical health, belief in God, manual labour, laughter, experience, old age, genius, dictatorships, life and death. Katrakis may be seen also as a philosopher. In their concision Katrakis’s poems need time to seep deep inside the reader’s mind and soul. They are only the tip of the iceberg since one can stay reflecting for long on each and every of his poems.

His is also poetry for discussion. This may be linked to the vast empty spaces left on every page: are they there for the reader to reflect, write feedback, a kind of continuation to Katrakis’s verse? Katrakis’s poetry is also didactic.

At times Katrakis uses also prosaic vocabulary such as “rights”, “recession” and “economies” (Acquired rights).

Zacharoula Gaitanaki as the translator, remains very faithful to the original syntax and lexical constructions. The translations in English have to be read more than once in order to appreciate the true meaning conveyed by Katrakis. But this is surely not a disadvantage: all poetry has to be read more than once in order to be well appreciated and understood.

Conclusion:

Eyes of soul has an Introduction written by Dr. Jasvinder Singh of New Delhi. This poetry collection is an invitation to reflect on humankind in general. Poems are to be read bit by bit and are daily food to ponder about for the reader. They are also a way to enrich ourselves as social, spiritual and human beings.

Potis Katrakis was born in Demonia of Laconia. He is an honourable vice-President of the Bar Association of Piraeus, a life member of WAAC/ World Congress of Poets, a member of the Academy Ferdinandea (Italy), of IWA, WPS and of the National Company of Greek Writers. His poetry has been translated in several foreign languages and has appeared in both national and foreign publications. He also writes and has published short stories, theatrical pieces, essays, a travel book about the Soviet Union, and novels.

Patrick Sammut

PICTURES OF LIFE – Poems from Greece by Eleni I. Grivas

Eleni I. Grivas was born in Kato Tithorea Lokridas and lives in her birthplace with her brother and poet, Stathis Grivas. She is a member of the International Society of Greek Poets and of the World Poets Society. Pictures of Life (2010) is Eleni I. Grivas’s first poetry collection which comprises 38 short poems in both Modern Greek and English (translated by Zacharoula Gaitanaki). Her poetry comes deep from the heart and as a result of experience, faith and love towards nature and mankind.

Themes:

Eleni Grivas is the observer of the simplest of everyday things and thus knows that life is made up of strong contrasts. Thus poetry here is a means to reflect about humankind (with its good and evil) and life. She writes about the love and affection of children on the one hand, and about the destruction and cold-heartedness of the adult world on the other. Grivas thus upholds positive values (love, friendship, happiness, having a “good heart”) against today’s materialistic world (wealth, greed, money, power), which is worthless when death hits. Happiness is enjoying the things which have no price and are thus beautiful and unreachable (Health and safety). Where there is no love there is tyranny, poverty and distress (Poverty). Obstinacy is no direct way to knowledge, and the latter neither can be bought (The headstrongness). Bitter words are worse than wounds and sores. All this – including passion and mistakes - may create pain which is kept secret or is hid behind a laugh (The pain, Mistakes). Moreover, pleasure is the result of peace of mind and serenity of the soul (The peace of mind). Grivas advices her reader to think before talking: that’s how one is fair with others in life (Thought). In another short poem Grivas writes about education which she deems as the solution to drugs, theft, murder and rape.

A recurrent element is Grivas’s voice in favour of the “needy people” and in protest against “unscrupulous men” (A total catastrophe). Such a disaster comes when mankind is spoilt through money and materialism which lead to the suffering of many (Disaster).

Grivas also writes environmental verse: in Pollution she contrasts the clean air of the mountains (there is where the real life is) to pollution of the city (man has to escape all this). The mountains are a space where the poet is happy (Spring), and spring is life and happiness through its sounds and colours. In The road of disaster Grivas writes about animal extinction, burning forests, pollution, and ozone problems. Even here we see the poet as the pulse of what’s happening in today’s world.

At times Grivas writes about reminiscences of times past, when things were simpler, more beautiful and better (My village). In The Mother the poet writes about the eternal daughter-mother bond.

There are also poem-prayers where Grivas expresses her thanks to Christ (Christ), especially in today’s “hard times” where He remains the only hope (Hopelessness). In To the Virgin Mary Grivas, again, sees religion as the only hope for those who are suffering and unfortunate. What cannot be cured in society can be healed through Christ (The Faith). In Love one another! Christ is seen as a model and love as a remedy to all suffering. During times of sorrow and grief Christ is the only protection for the poet too:

“Sorrows, grief and sighs

surrounded me

and protection from Christ

I ask to save me.” (Protection).

Death is understood only as a transition and instead there’s the strong belief that beyond it men become “angels” (There, high up). Death is no end, but a way to meet again the ones we love (Expectation).

Style:

What strikes first is the concision in which Eleni Grivas writes. Her poems are short but profound, as if they were thoughts or short prayers too. Simplicity is another key element in her verse, in both language and thoughts. Poetry is also a play on words which speaks the truth: ours today is a materialistic society. Irony can be felt between such lines as:

“The experience of man

is worth very much

because the inexperience

is expensive in our society.” (The experience)

As is clear throughout this collection Eleni Grivas’s are short poems but their effect keeps echoing in one’s mind and soul for long.

At times Grivas’s verse reminds us of the Japanese classical nature haiku:

“Grey and dark clouds

the sky fills

and the rain suddenly

the world inundates.” (The rain);

or,

“Sky is on the high,

sea is on the ground,

if you look them both

they have the same colour.” (The blue colour)

Other times Grivas inspires herself by classical tales or fables (The cicada and the ant).

Conclusion:

Eleni I. Grivas’s poetry is surely not hermetic but straightforward, clear, lyrical, and beautiful in its simplicity. It is an ideal gift to those who love short poems which help them reflect on everyday life. Pictures of Life is a collection which is best read gradually, on a daily basis, so that the reader has the necessary time to digest and think on Eleni Grivas’s wise verse. A big thanks goes also to Zacharoula Gaitanaki (also a poet and writer) who through her translations has made it possible for non-Modern Greek readers to appreciate Eleni Grivas’s poetry. Gaitanaki has also written the Introduction to Pictures of Life.

Patrick Sammut

Il-kittieb Vincenzo Maria Pellegrini mfakkar mill-Għaqda Poeti Maltin

Is-Segretarju, Charles Magro, imexxi l-Lejla ta' Poeżija

Patrick Sammut, viċi-President, jaqra kumment kritiku dwar Pellegrini

Il-President, Alfred Massa, waqt id-diskors introduttiv

Nhar il-Ġimgħa, 22 ta’ Lulju 2011, fis-7pm, l-Għaqda Poeti Maltin organizzat Lejla ta’ Poeżija f’ġieħ Vincenzo Maria Pellegrini, din id-darba fir-Razzett tal-Markiz Mallia Tabone fil-Mosta. Il-Lejla tmexxiet mis-Segretarju, Charles Magro. Fid-diskors introduttiv tiegħu l-President, Alfred Massa, qal li mhux l-ewwel darba li l-Għ.P.M. fakkret poeti membri tagħha. Pellegrini, li dis-sena jagħlaq mitt sena minn twelidu, kien attiv ħafna fl-Għaqda sa mill-bidu, tant li ngħata l-unur ta’ Membru Onorarju. Waqt is-serata nqraw poeżiji mill-membri preżenti b’ilsna u stili differenti u li missew temi differenti. Kien hemm ukoll parti ddedikata għal Vincenzo Maria Pellegrini: inqraw bijografija, kumment kritiku dwar il-poeżiji tiegħu u anki numru ta’ xogħlijiet mill-pinna tiegħu. Is-serata ġiet imżewqa wkoll mill-mużika folk tal-kantawtur Walter Micallef, preżenza regolari waqt okkażjonijiet bħal dawn. Minn hawnhekk ħajr lill-Għaqda Filantropika Talent Mosti li pprovdiet għal darb’oħra l-post pittoresk fejn setgħet tittella’ din il-Lejla. (www.ghpm.blogspot.com)

KTIEB GDID TA' ANTON SAMMUT

www.antonsammut.com

Robert Gatt - zewg blogs godda u interessanti

Il-poeta żagħżugħ minn Għawdex, Robert Gatt, membru tal-Għaqda Poeti Maltin, għadu kemm ħoloq żewġ blogs interessanti ferm.

L-ewwel waħda, bl-isem ta' PANDORA'S BOX, hija bl-Ingliż u fiha wieħed isib kummenti interessanti mill-awtur dwar ħwejjeġ u aħbarijiet kurrenti - ara http://www.robertgatt.blogspot.com/

It-tieni waħda, bl-isem ta' POEŻIJI - ROBERT GATT, hija bil-Malti u fiha wieħed jista' jaqra l-versi ta' dan il-poeta li jipprometti tassew - http://robertgatt-pagna-letterarja.blogspot.com/

Minn hawn nifraħ lil Robert għal dawn l-inizzjattivi u nittama li jibqa' jżommhom aġġornati fil-ġejjieni.

Omar Seguna jniedi ġabra ta’ poeżija ġdida f’kollaborazzjoni mal-Għaqda Poeti Maltin

Omar Seguna waqt li qed jindirizza lil dawk preżenti waqt il-Lejla ta' Tnedija

Il-pubbliku li attenda għal-Lejla ta' Tnedija fil-Gżira

Nhar il-Ġimgħa, 8 ta’ Lulju 2011, ġiet mitbugħa t-tieni ġabra ta’ poeżiji tal-poeta żagħżugħ u membru tal-Għaqda Poeti Maltin, Omar Seguna, bl-isem ta’ 24, Triq Ħad-Dwieli. Dan seħħ f’kollaborazzjoni mal-Għaqda Poeti Maltin waqt Lejla apposta li saret fl-iSkola Sekondarja tas-Subien tal-Gżira fis-7.30p.m. Il-Lejla kienet immexxija mis-Segretarju tal-Għ.P.M., is-Sur Charles Magro, li fetaħ l-okkażjoni billi qara bijografija tal-poeta żagħżugħ. Huwa fakkar ukoll li din mhix l-ewwel darba li l-Għ.P.M. għenet fit-tnedija ta’ pubblikazzjonijiet miktubin minn poeti membri tagħha. Waqt is-serata nqraw apprezzamenti kritiċi dwar din il-ġabra ġdida ta’ poeżiji minn Mario Attard u Patrick Sammut, li tkellmu dwar elementi tematiċi u stilistiċi rispettivament. Waqt is-serata kien hemm ukoll siltiet ta’ mużika fuq l-accordion mill-mużiċista Jason Bugeja. 24, Triq Ħad-Dwieli huwa ktieb li ħareġ flimkien ma’ cd li fiha wieħed jista’ jaqra, jisma’ moqrija u jara akkumpanjati minn videos u ritratti attraenti, il-poeżiji li hemm fl-istess ktieb. Dan huwa kunċett ġdid li jgħin lil dawk li mhumiex ħbieb tal-ktieb joqorbu lejn il-letteratura in ġenerali u l-poeżija in partikolari b’modi aktar moderni marbutin mat-teknoloġija tal-informatika. Lejn l-aħħar tas-serata tkellem ukoll is-sur Dorian Cassar tal-“Active Promotions”, li wera lil dawk preżenti l-proċess li wassal biex 24, Triq Ħad-Dwieli jsir ukoll xorta ta’ e-book. Is-serata ngħalqet b’diskors qasir mill-istess Omar Seguna li wara tkellem ma’ dawk preżenti u ffirma kopji tal-antoloġija poetika ġdida tiegħu. Min attenda għal din il-Lejla ta’ Tnedija fl-aħħar kien mistieden għal riċeviment żgħir li matulu kien hemm il-ħin biex membri tal-Għ.P.M. u nies oħra preżenti jitkellmu bejniethom u anki ma’ Omar Seguna.

Intervistat Frank Zammit (Awstralja)

F’rabta mal-ġabra ta’ ħajku tiegħu Qwiel minn Fomm l-Imġarrab (Pubblikazzjoni taċ-Ċentru Malti La Valette, NSW, 2010)

Frank Zammit twieled Għawdex fl-1944 u trabba l-Marsa. Emigra lejn l-Awstralja fl-1965. Studja f’livell terzjarju f’oqsma bħalma huma l-amministrazzjoni u l-ġurnaliżmu u sa minn kmieni ħabrek għat-tagħlim tal-Malti, l-aktar fost it-tfal u ż-żgħażagħ. Huwa membru tal-Akkademja tal-Malti, awtur ta’ pubblikazzjoniiet differenti u ko-awtur ta’ għadd ta’ antoloġiji f’Malta u fl-Awstralja. Huwa awtur, traduttur u xandar ta’ bosta kitbiet, artikli u dokumenti governattivi fl-Awstralja, u fundatur tal-Għaqda Kulturali Maltija ta’ NSW. Għamel xi żmien jgħallem fil-Kulleġġ ta’ De La Salle fil-Kottonera u jħobb iżur lil art twelidu regolarment.

1. Frank Zammit u l-volum tal-poeżiji tiegħu Bejn Żewġ Gżejjer. Ma’ xiex jiltaqa’ l-qarrej ta’ ġabra bħal din?

Il-ġabra tal-ewwel poeżiji tiegħi (1957-1995) Bejn Żewġ Gżiriet, mhi xejn ħlief djarju ta’ dak li laqatni f’ħajti matul dak iż-żmien. Il-biċċa l-kbira kienu esperjenzi personali u l-bqija riflessjonijiet ta’ dak li kien qiegħed jiġri madwari u madwar id-dinja fl-istess żmien. Ktibt l-ewwel poeżiji meta kelli tlettax-il sena u li kien għalija dawk tal-bidu ma kontx nippubblikahom li ma kenitx l-insistenza tal-ħabib tal-qalb tiegħi, il-mibki Valentin V. Barbara, li ndenja ruħu jħejjili dan ix-xogħol ta’ seba’ mitt paġna bil-kompjuter, lest għat-tbigħ.

2. Bosta snin wara ppubblikajt il-ġabra ta’ 1100 ħajku. Minn fejn twieldet din il-ġibda lejn dan il-ġeneru?

Il-ħajku laqatni l-aktar meta rrealizzajt li mhu xejn ħlief il-ġabra fil-qosor tal-‘ħsieb’ ta’ poeżija itwal. Meta konna l-iskola l-għalliem kien jistaqsina: “X’inhu l-ħsieb ta’ din il-poeżija?” Dak li hu essenzjalment il-ħajku, il-ħsieb miġbur fil-qosor u mqiegħed teknikament f’forma unika ta’ poeżija.

3. X’għandu l-ħajku li l-poeżija m’għandhiex?

Għalija l-ħajku jiddifferixxi mill-biċċa l-kbira ta’ forom oħra ta’ poeżija billi jagħti aktar xogħol lill-qarrej; għaliex kull qarrej ikollu jfittex hu nnifsu x’hemm aktar wara dawk is-sbatax-il sillaba. L-awtur jagħti biss ħjiel. U aktar minn hekk, qarrejja diversi jistgħu jinterpretaw l-istess ħajku differenti minn xulxin, u kultant anki bil-maqlub ta’ dak li kellu f’moħħu l-awtur!

4. Tinħass sewwa r-rabta tiegħek ma’ Malta minkejja li ilek snin sħaħ tgħix fl-Awstralja. Xi tgħid dwar dan?

Ir-rabta ta’ Malta twieldet u trabbiet miegħi. Għalija hija ħaġa naturali li wieħed iħobb lil art twelidu. Iżda nammetti wkoll li bħala emigrant kelli l-opportunità u l-vantaġġ li nħares mill-bogħod lejn Malta u nirrifletti aktar fil-fond sakemm irrealizzajt li fiċ-ċokon tagħha, Malta, mhux m’għandhiex minn xiex tistħi, iżda għall-kuntrarju, għandha wisq biex tiftaħar, kemm storikament kif ukoll kulturalment u ġeografikament u fuq kollox għax għandha l-akbar wirt nobbli fl-ilsien ewlieni. Fix-xogħlijiet tiegħi wieħed sikwit isib kritika rigward politikanti u sistemi soċjali Maltin (u Awstraljani); iżda din mhix ġejja minn nuqqas ta’ rispett jew tmaqdir lejn art twelidi, anzi minn xewqa mħeġġa li l-qarrej jagħti sehmu biex in-nuqqasijiet jonqsu b’risq il-ġid ta’ niesi u l-ġieħ ta’ ommi Malta.

5. Liema huma dawk il-waqtiet meta tikteb il-ħajku? U fejn eżattament?

Il-kelma ‘tikteb’ hawn hija speċifika wisq, għax ħafna drabi nikteb dwar ħsieb li jkun ġieni waqt li qiegħed insuq il-karozza, jew waqt laqgħa amministrattiva jew soċjali. Qatt ma noqgħod bilqegħda u nistenna l-Muża tinżel ħdejja biex tnebbaħni x’għandi nikteb. U hawn nistqarr id-dejn kbir li għandi lejn ix-xjuħ tagħna, li waqt li nkun qiegħed inwettaq dmiri magħhom bħala interpretu, ta’ sikwit, bi kliemhom jew b’imġibithom jimpressjonawni, u allura jnebbħuni b’dak li għandi nikteb. Imbagħad, il-kitba attwali x’aktarx li ssir fil-kantin ta’ xi sptar, fuq sarvetta tal-karti waqt li nkun qiegħed nistenna bejn appuntament u ieħor matul ix-xogħol tiegħi bħala interpretu.

6. Temmen li l-ħajku fil-qosor tiegħu jista’ jilħaq l-universalità? X’tifhem eżattament bih terminu bħal dan?

Bil-kelma ‘universalità’ hawn nifhem ‘dwar kollox u għal kulħadd’. U hawn infakkar li ma kenitx l-intenzjoni tal-għorrief Ġappuniżi li ħalqu l-ħajku li dan jista’ jintuża għal kull suġġett; għall-kuntrarju, huma sawru lista sħiħa ta’ eċċezzjonijiet ta’ suġġetti u etika preskritta. Dawn maż-żmien twarrbu minn poeti barranin, u jien ukoll injorajthom fil-ħajku tiegħi. Iżda niddubita jekk il-ħajku hux għal kulħadd, għax jekk il-qarrej ma jkunx ippreparat jew kapaċi jipparteċipa attivament biex jimla l-vojt li ħalla l-awtur, ħafna drabi ma japprezzax il-valur tal-ħajku. Mela l-ħajku mhux għall-qarrej għażżien jew mgħaġġel.

7. Fit-titlu tal-ktieb hemm il-kelma “Qwiel”. X’għandhom in komuni l-qwiel u l-ħajku?

Il-kelma ‘qwiel’ hija l-plural ta’ ‘qawl’, li ġejja mill-verb ‘qal’. Mela ‘Qwiel’ fit-titlu tfisser x’qal Frank Zammit. Il-qwiel u l-ħajku jaqblu fil-qosor tal-espressjoni u fis-sottilità u l-metafora li sikwit jeżistu fit-tnejn. Kumbinazzjoni, Dr (Fr.) Victor Shields, MSSP, waqt li kien qiegħed iwieġeb xi mistoqsijiet mis-semmiegħa tar-Radju SBS, (billi kien għadu kif nieda żewġ DVD’s dwar il-qwiel qodma Maltin), xiħadd staqsieh kif qatt għad ħadd ma kiteb xi qwiel ġodda. Filgħaxija ċempilt lil Dr. Shields f’Melbourne u informajtu bil-ktieb ġdid fjamant tiegħi. Tgħidx kemm daħak u interessa ruħu u talabni nibgħatlu kopja. Ftit jiem wara ċempilli u qalli kemm ħa gost jaqrah u ħeġġiġni biex nikteb aktar.

8. Kemm tħoss li l-ħajku jadatta lilu nnifsu għall-ilsien Malti?

Jiena għandi fiduċja kbira fl-ilsien Malti u ma nara assolutament l-ebda żvantaġġ biex nużah għall-ħajku, anzi nazzarda ngħid li l-ħajku donnu nħalaq għall-Malti!

9. Kif laqgħu l-qarrejja tiegħek il-poeżiji tiegħek vis-a-vis il-ħajku tiegħek?

Ikolli nistqarr li l-poeżija u l-produzzjonijiet poetiċi l-oħra tiegħi kienu ntlaqgħu aħjar mill-ħajku minn ċerti qarrejja hawn fl-Awstralja. M’iniex sorpriż b’dan, għax wieħed irid jifhem li l-biċċa l-kbira tal-emigranti bikrin t’hawn ma kellhomx ix-xorti li jkomplu sal-kors tal-iskola sekondarja f’Malta, allura dawn għandhom ħtieġa ta’ sforz akbar biex jixtarru l-ħajku u japprezzawh kif jixraqlu. F’Malta, matul ix-xahrejn li domt hemm wara l-pubblikazzjoni, l-impatt kien wisq aktar immedjat u inkuraġġanti, kemm mill-akkademiċi kif ukoll mill-qarrejja inġenerali. Fraħt ħafna li kemm f’Malta kif ukoll fl-Awstralja xi ġurnalisti talbuni l-permess biex minn żmien għal żmien jużaw il-‘Qwiel’ tiegħi fil-programmi tagħhom tar-radju u tat-televixin.

10. Tħoss li hemm rabta diretta bejn il-qosor, jew aħjar, il-konċiżjoni tal-ħajku, u d-dinja mgħaġġla tal-lum?

Naħseb li din il-mistoqsija diġà weġibtha biċċa biċċa fit-tweġibiet l-oħra t’hawn fuq. Ma naħsibx li l-ħajku huwa dak it-tip ta’ espressjoni li tista’ tagħtiha daqqa t’għajn u twarrabha, kif forsi tista’ tagħmel b’kitba oħra mingħajr ma titlef is-sens tagħha. Infatti hija proċedura internazzjonali li meta l-ħajku jinqara f’laqgħat letterarji pubbliċi, jinqara darbtejn wara xulxin, biex l-udjenza jkollha ċans tixtarr u tinterpreta l-kontenut individwalment. Mela l-fatt li l-ħajku jinkiteb f’forma konċiża, bl-ebda mod ma jfisser li dan sejjer joffri xi vantaġġ lil min m’għandux żmien ‘x’jitlef’ fil-qari! Wara kollox il-ħajku twieled fis-sittax-il seklu, meta l-ħajja ma kenitx mgħaġġla bħal-lum, speċjalment fil-Ġappun!

11. Proġetti għall-ġejjieni fil-qasam tal-kitba u l-pubblikazzjoni?

Għandi bosta mijiet ta’ poeżiji bil-Malti u bl-Ingliż li għadhom ma rawx id-dawl ta’ barra l-kexxun tagħhom. Iżda qabel nippubblika dawn, qiegħed naħdem fuq għadd ta’ epigrammi, aktar biex naqta’ x-xewqa ta’ bosta ħbieb tiegħi li sikwit jistaqsuni għalihom, speċjalment wara li jkunu semgħu x’uħud minnhom f’xi laqgħa jew fuq xi programm. Nispera li ma ndumx wisq li nissodisfa x-xewqa tagħhom. Wara dan il-proġett dejjem hemm ħolm ieħor li ma jonqos qatt fil-moħħ u l-qalb ta’ min iħobb il-letteratura.

PATRICK SAMMUT

Intervista mal-poeta żagħżugħ Stefano Farrugia

Jien u l-Kitba tal-Poeżija, Stefano Farrugia

Bijografija:

L-imħabba tiegħi lejn l-identità Maltija kibret miegħi minn ċkuniti, l-aktar l-ilsien Malti li hu l-qasam tal-istudju tiegħi, b’aċċenn fuq il-letteratura Maltija fil-firxa wiesgħa tagħha, u l-ħeġġa għall-kitba tal-poeżija kompliet ġibditni lejn din id-dinja għammiela u ħawtiela. Għalhekk ilqajt bil-ferħ l-istedina tal-Għaqda Poeti Maltin biex nissieħeb fiha, wara li kont diġà ġejt ippremjat f’żewġ edizzjonijiet tal-Konkors Nazzjonali tal-Poeżija li hi ttella’ ta’ kull sena, permezz tal-poeżiji “Minjatura tal-Enimmi” u “Requiem għal Anġlu Martri” fl-2007 u fl-2008 rispettivament fejn kont ikklassifikat fit-tielet u t-tieni post. Xejn inqas meta ġejt aċċettat bħala membru tal-Akkademja tal-Malti aktar kmieni f’din is-sena. Fl-2009 kelli l-privileġġ li nkun ippremjat fl-ewwel u t-tieni post f’konkors ieħor imtella’ mill-istess Għaqda, fl-okkażjoni tal-50 anniversarju mill-ewwel ħarġa tal-ġurnal “it-Torċa” bil-Malti, permezz tal-poeżiji “Eliżir ta’ Mħabba Qalbiena” u “Solitarja Moribonda.” L-Għaqda għoġobha tippubblika wkoll xi xogħlijiet tiegħi fir-rivisti tagħha Versi u Leħen il-Għaqda Poeti Maltin, kif ġentilment għamlet anki L-Għaqda tal-Malti - Università li kont imsieħeb fiha, fost l-oħrajn permezz tal-ħarġa tagħha Leħen il-Malti, u għadd ta’ għaqdiet soċjali u mużikali Maltin, ewlenin fosthom iż-żewġ soċjetajiet fir-raħal tal-Imqabba li jien kburi li nifforma parti minnu għall-Istorja għanja tiegħu u l-kult kbir fit-twemmin tiegħu lejn il-grazzji tal-Madonna.

Mistoqsijiet:

1. Kif twieldet u żviluppat fik il-ġibda għall-poeżija u għall-kitba bil-Malti?

Illum meta nħares lura nirrealizza li l-poeżija kienet fija minn dejjem. Niftakarni nħarbex xi ftit versi ’l hawn u ’l hemm għal xi ġrajja li tinqala’, bħall-bidu ta’ millennju ġdid, kif ukoll għad-delizzji li kelli meta kont għadni ħafna iżgħar, bħaċ-ċelebrazzjoni ta’ festa jew oħra f’kamra fid-dar imlibbsa qisha knisja li llum nista’ biss inħares lejha mir-ritratti tal-imgħoddi. Kelli wkoll ix-xewqa li nsir naf aktar dwar il-metrika u s-sura tal-poeżija, l-aktar meta kont fis-sekondarja. Imma sa dak iż-żmien kont għadni m’iniex konxju għalkollox minn dan it-talent u kemm stajt nimraħ fih, sa ma dħalt fil-Kulleġġ De La Salle għall-istudju postsekondarju. Kien qorob il-Milied tas-sena 2002 meta wieħed mill-għalliema ddedikati li kellna ssuġġerielna niktbu storja jew poeżija qasira biex nirriflettu dwar ir-realtà tal-Milied għal nies differenti, kemm dawk li jistennewh bil-ħerqa għax iqanqlihom sentimenti sbieħ, kif ukoll dawk li jħossu ċerta diqa għax jiftakru f’xi memorji ta’ tbatija. Dak il-ħin ħassejt li dan kien il-mument li nikteb poeżija kif dejjem xtaqt u nuriha lil min seta’ japprezzaha, u l-inkoraġġiment li tawni l-għalliema u sħabi l-istudenti kien il-mutur biex inkompli nikteb bla ma nieqaf, tant li minn dak iż-żmien ma ħaristx lura u bqajt nikteb b’mod kostanti, hekk li f’dawn l-aħħar xhur bdejt ninteressa ruħi wkoll fil-kitba tal-proża, li wkoll kont ili nixtieq nindaga fiha.

2. Inti bħala kittieb żagħżugħ xi tgħid dwar ir-relazzjoni bejn iż-żgħażagħ Maltin u l-letteratura bil-Malti? X’hemm tajjeb, x’jista’ jitjieb?

Bħala kittieb żagħżugħ napprezza ferm il-kontribut ta’ persuni u entitajiet pubbliċi li qed jagħtu spazju għat-talenti tal-kittieba żgħażagħ u mhumiex fi gradi u livelli differenti permezz ta’ attivitajiet u inizjattivi ġodda. Dan hu kruċjali fid-dawl tal-fatt li Malta hi mogħnija b’nies ta’ talent f’oqsma varji tal-ħajja li jeħtieġ ikomplu jiġu megħjuna biex isarrfu l-ħiliet tagħhom bl-aħjar mod u jwasslu dak li għandhom għand kulħadd. L-arti tinsab f’kull wieħed u waħda minna, imma biex tissaqqa trid min jieħu ħsiebha u jindukraha kif inhu xieraq, u għalhekk inħoss li għad hemm lok għal aktar spazju u attenzjoni għal dawn il-friegħi, b’mod speċjali fil-mezzi tax-xandir li jistgħu jkunu ħolqa mill-aqwa biex dan l-għan jintlaħaq dejjem aktar aħjar, u b’hekk ikomplu jħeġġu aktar persuni li għandhom it-talent biex isiru konxji tiegħu u jkabbruh minn żmien għal ieħor għall-ġid tagħhom u tal-komunità kollha kemmi hi.

3. Liema huma l-forom li tħaddem u t-temi li tikteb dwarhom fil-versi tiegħek?

Il-forom li nħaddem ta’ spiss huma aktarx ta’ xeħta tradizzjonali, imma kultant inħobb nesperimenta wkoll b’forom oħra ta’ kitba biex nesprimi l-ħsibijiet tiegħi fuq it-temi li nkun qed nittratta, bħall-vers projettiv. L-aktar temi li jolqtuni huma dawk ta’ issa u hawn, jiġifieri dak li nkun għaddej minnu jien personalment, jew dak li nara u nisma’ fl-ambjent ta’ madwari fuq livell soċjali, lokali u internazzjonali. Għandi ħafna għal qalbi r-rima u l-ħsejjes tal-kliem. Għalhekk meta nikteb noqgħod b’seba’ għajnejn għal kull kelma li nuża billi nisma’ l-ħoss tagħha u nosserva kif tinstema’ fil-kuntest tal-kitba sħiħa. It-temi jvarjaw minn dawk spiritwali, reliġjużi u devozzjonali li wħud minnhom niktibhom għal festi jew avvenimenti partikulari, għal temi aktar lajki li madankollu fihom jista’ jkun hemm ukoll żerriegħa biblika jew dottrinali minħabba l-imħabba tiegħi lejn din id-dinja mimlija metafori u simboliżmu li sarraftha fit-teżijiet li għamilt fl-Università ta’ Malta għall-B.A. (Unuri) u l-M.A. bl-għajnuna tat-tuturi li ggwidawni f’kull tragward tal-ħidma tiegħi.

4 poeżiji ta’ Stefano Farrugia:

Minjatura tal-Enimmi

Qatra wara qatra, id-dmugħ iġelben

Mal-wied tal-ħajja għatxana għal elf għaliex,

Iterraq solitarju f’baħħ il-ħemda,

Jitkagħweġ f’ħalq in-nar li ma ntefiex,

U d-dmugħ iroddli l-karba mat-tifkira,

Joftomni mill-arterji marradin

Tal-ġisem-dinja, mejjet u bla sura

W għajnejja tqal iħarsu bajdanin

Lejn l-ibħra, li jkellmuni fis-silenzju,

Jgħarrfuni bit-tniġġis ta’ ruħ l-għawwiem

Li niżel jogħdos f’ħajtu misterjuża

U sab fit-trab ix-xejn li mlieh bis-sliem.

09/08/2007

Requiem għal Anġlu Martri

Tinstema’ l-protesta vibranti

f’foresta ta’ oqbra mbajdin,

tirtema fl-abbiss tax-xenxilli

fil-lejla tal-oqmra mdallmin.

Jinstema’ t-theżżiż tal-muntanji

f’ormonju li tneżża’ l-qawwiet,

jinħema fil-kenn tal-koralli

fis-sakra tat-telf tal-ħajjiet.

Qed nisma’ bħal ħoss ta’ tarbija

f’mortwarju li fetaħ dirgħajh,

ħa joħnoq żerniq mingħajr skrupli

fil-bħajra li nifed minn rajh.

U tisma’ bħal leħen ta’ mara

f’kalvarju li nesa l-qawmien,

imġiżża bil-frosta tal-ħtija

fil-kmajra li rat it-telfien.

Jinstema’ bħal għana ta’ ġenna

f’sakrarju li jdawwal l-erwieħ,

u l-anġlu meħlus mill-martirju

fis-sema jittajjar rebbieħ,

Jistenna li jħaddan lil ommu

f’xenarju li qatt ma jsib tmiem,

fejn ebda lament ma jinstema’

u l-għabex ifittex is-sliem.

23/01/2008

Solitarja Moribonda

Fuq is-sodda ta’ mewtha waħedha

qed tistenna s-sentenza bla jedd,

taħseb f’kulm’ għadda minnha f’ħajjitha

u fuq ġbinha minqux il-verdett.

Fuq is-sodda ta’ mewtha waħedha

tisma’ l-passi frakassi resqin,

ritratt kiesaħ ta’ qabar mistoħbi

jittawlilha mit-twieqi mbexxqin.

Fuq is-sodda ta’ mewtha waħedha

tħoss il-fakra fid-dawl tal-musbieħ,

ftila tnemnem taħjilha ġisimha

bla ma tista’ ssib ftit tal-mistrieħ.

Fuq is-sodda ta’ mewtha waħedha

tilmaħ ruħha stampata fi ktieb

b’paġni tqal li jidbielu w jisfaru

u jindifnu fit-tajn tal-miżieb.

Fuq is-sodda ta’ mewtha waħedha

mingħajr vjatku li jsabbar ir-ruħ,

mingħajr daqq mill-qanpiena tan-niket,

taħt għajnejha jitfannad id-dmugħ.

Fuq is-sodda ta’ mewtha waħedha,

f’kjostru-mostru min jaf kemm stenniet

li tinħareġ għall-beraħ tad-dinja,

’mma ġo qalbha lkoll siktu t-tamiet.

Fuq is-sodda ta’ mewtha waħedha,

il-kampanja li nqerdet biż-żmien,

tibqa’ biss f’moħħ mikdud ta’ poeta

krematorju li darba kien ġnien.

08/12/2008

Eliżir ta’ Mħabba Qalbiena

Ħarsitna lejn ix-xefaq madriperla

li kibes bid-demm jgħajjat tal-ulied

fi gżira tarmi l-ġmiel bħall-isbaħ perla

li tixgħel bit-tifkira tal-ġrajjiet.

Għanjitna tixhed l-għaqal ta’ dawn ħutna,

ħaddiema kemm tal-pinna, kemm tal-id

li ħadmu u ħabirku biex lil xtutna

jagħtuhom biss is-saħħa fit-taqbid.

Xeddew korazza tilma bil-qlubija,

meddew idejhom tarka għall-mestier,

rabbew ġenerazzjoni waħdanija

li sarrfet dak li wirtet b’xogħol sinċier.

Mill-ġid li xettlu fostna bi bżulithom

illum qed naħsdu frott il-għerq divin

hekk kif f’kull lotta kiefra ta’ ħajjithom

rebbħithom l-arma safja tat-twemmin.

Mix-xejn fittxew li jsawru meravilja,

ma waqfu qatt jissieltu għall-għarfien,

bil-ħila u bl-għerf tagħhom sabu l-milja

fil-kisba tant mixtieqa tal-ħelsien.

F’għemilhom tidher artna bħal bandiera

tixxejjer tul in-nhar u tul il-lej’

u demmhom jibqa’ jbaqbaq bħal f’minjiera

ħa jgħajjex lill-ulied fiż-żmien li ġej.

Niddakkru minn dawn ħutna jeħtiġilna

fl-imħabba lejn il-ġens tagħna l-Maltin

w filwaqt li nġeddu l-ħalfa li għamilna

nitolbu ’l Alla jżommna magħqudin.

07/07/2009

NOSSIDE - Premio Internazionale di Poesia 2011