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Published March 2024
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Translated from the Danish by Sophia Hersi Smith and Jennnifer Russell.
Why am I light-catchingly alive? Light-catchingly companionably expectantly alive? At least among those in the untimed breathing room, the changeresses, the talking animals, the vast expanses. Because we picked me and each other to be last time there was a primordial vote around these parts.
I can see them like it was yesterday. The dewdrops that tightroped in the cobweb forest. One was more translucent than the others. At my slightest breath they each swayed in their network which I happened to avoid getting caught in. The morning I happened not to be an insect in September.
While travelling in the mountain realm I discover in clear weather how unbusy the Earth can be mountain after mountain as far as the eye can reach. Lonely, I make myself noticed by touching with my left elbow and right big toe the beginning and ending of a hundred-metre-long white thread.
Evening was a bigger place than all the other places I knew. It was best to run around the corners of the house in the evening outside the windows’ light. It shined inside and out. It was best to run for a long time and get as much evening and darkness as possible on your body and your clothes. Just like all the people who’ve become invisible do. My eyes didn’t get darkness all over them. It only looked like darkness with darker trees and lit-up windows inside, but it was something else. There was no time to see what the something else was. It whooshed by me too fast. I ran after it. Around and around the house. As many times as I couldn’t count in the big evening.
Marianne Larsen is one of Denmark’s best yet most overlooked poets. She has written over fifty works of prose and poetry and was recently awarded the Danish Academy’s most prestigious award, Den Store Pris. Her latest collection, The Morning I Happened Not to Be an Insect in September, in which an ageing poet recalls glimpses of childhood, was published on her seventieth birthday to great critical acclaim and earned both the Critics’ Choice Award and Politiken’s Frit Flet Prize.
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