Translated from the Hungarian by Ottilie Mulzet
1a |
The gods are called the examiners of hearts and kidneys, I don’t know why. When my father cut out the pig’s heart, at first he placed it in his palm, lifting it up, appraising it and guessing the weight, and he said: Do you see what a beautiful, healthy heart it had, only the leaf lard surrounding
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1b |
the organ weighed upon it, making the Mangalica wheeze, gasping for breath, suffocating by day, rasping at night when it slept, because your mother fed it well, the poor thing. I also cut off the penis, and all this was gathered around its heart, you see, and I saw what had been cut out of the sac, and it was
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2 |
no longer beating, only twitching, and there was no longer any penis either, only a muscle and the thick white mucous-like leaf lard. And the two purplish testicles, now empty, my father called them dog’s ears, these also had to be sliced off, as was our custom,
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3 |
and we give these to the dogs, my father said, the gods’ habitual offering. We also offered the hooves during the singeing, if you boiled them, and cooled them off with cold water, you could remove the hoof by twisting it off at the end
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4 |
of the pig’s knuckle. In the air was the dawn mist, the rising smoke and the scent of the burnt curly bristles, the men silencing the dogs’ whining by yelling: Quiet, you! The fire burned in the pit beneath the cauldron, the well water boiling, steam bubbling upward, seething water as the sheafs of dry tinder, shovel-packed in beneath the cauldron, burned. Then my mother came out from the kitchen, she stirred the cauldron, the clear water seething in the boil.
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5a |
She came to separate the clean from the unclean, after my father, groaning, plopped the intestines down into the wooden trough, he carried them with two arms from below. In the heap, coiled like a snake, there lay the ruffled hindgut, dangling out from the trough, separated from the rectum by lengths of tied string, the pile of loins that would be stuffed into sausage, the stomach which my mother filled with cheese, then pressed it flat with wooden planks, a basalt rock placed on top. There were
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6 |
all the internal organs: the spleen, the liver, the kidneys, the winglike lungs, between them the gristly windpipe, the tongue bone and the singed tongue at its end, bitten off in pain, because my father’s knife found neither the heart nor the veins next to it,
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7a |
he hacked away at the poor thing until somehow the lungs began to bleed or the animal died a horrific death from fear and corpulence. In the gray dawn
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7b |
the snow reflects the small light given by the fire, as well as the courtyard bulb. Now only the courtyard gives off light, like an island surrounded again by silence, and the sky, the end of the pitch-black night, fear, the emptiness after murder. Because the gods always take what belongs to them. Whatever they have given, suddenly they take back forever, granting nothing in return. Thus Odysseus drifted in the spell of spaceless self-accusations and dark words, in a place where only islands awaited, islands upon islands and in the sky, cages of light followed upon each other
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7c |
in the void which could be termed as the sea of language, the ocean, the snow, even ice, because all these are images of water. There are shores which edge the light within, while the water leads away the light within itself. But to the well’s bottom there plunges only the light of the moon or of the stars. And so the sky was choking in the dawn silence, and every day was shorter, because every night was longer than the night
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7d |
before. The silence of the longest night was close by. But the stench that follows screaming had entered the land. At these times, my mother sat in the kitchen, turning the radio all the way up to drown out the shrieking coming from outside, the water of the tears in her eyes drew in the light as she slowly peeled small garlic wedges into the cup with its gold-patterned dots, which she otherwise never removed from the shelf, she peeled the garlic after the red onion because it drew the tears from her eyes. And she listened to the music before the five a.m. news because the gods, with their harmonies, were sending a message through the ether. |
Ottilie Mulzet is a translator of poetry and prose, as well as a literary critic. She was awarded the Tibor Déry Prize in 2020, and her translation of Borbély’s Final Matter: Selected Poems 2004-2010 was a finalist for the PEN America Poetry in Translation Prize 2020. She is based in Prague.