Maracas 2: Portrait of my Camarero / Retrato de mi camarero (bilingüe)

Whilst thinking about what I could write about in respect to Maracas, it suddenly struck me that I really ought to eulogise the people who serve me day in day out without a complaint and usually with a smile. Over the years I have been served by several different regular waiters. However, the sensible course was to write about he who is before me each and every day at this current time.

Mientras que pensar en lo que podría escribir con respecto a Maracas, de repente me di cuenta de que realmente debo elogiar la gente que me sirven día a día sin una queja y por lo general con una sonrisa. Con los años me han servido por varios camareros diferentes regulares. Sin embargo, el curso sensato era escribir sobre el que está delante de mí todos los días en este momento actual.

The English version contains several puns and (hopefully) humorous allusions. Regrettably my Spanish is not sufficiently expert to be able to do a translation justice. Nonetheless, I hope the humour does come through in the Spanish version.

La versión en inglés contiene varios juegos de palabras y (con suerte) alusiones humorísticas. Lamentablemente mi español no es lo suficientemente experto para poder hacer justicia a una traducción. No obstante, espero que el humor viene a través de la versión española.

I deliberately use the word 'portrait' as I am attempting to use words to paint as full a picture as possible; not only physical aspects, but hopefully a more holistic perspective. Of course, words can never replace let alone fully describe. I hope you the reader, the staff at Maracas, waiters (past or present) everywhere, but especially Manu, appreciate my efforts. If not, the fault is mine.

Deliberadamente uso la palabra 'retrato' como que estoy tratando de usar palabras para pintar una imagen lo más completa posible; no sólo los aspectos físicos, pero es de esperar una perspectiva más holística. Por supuesto, las palabras nunca pueden sustituir ni mucho menos totalmente describir. Espero que el lector, el personal de Maracas, camareros (pasados o presentes) por todas partes, pero especialmente Manu, agradezco a mis esfuerzos. Si no, la culpa es mía.

Portrait of my Camarero

my camarero

Manu

in black

  externally

     top to toe

performs

  a quotidian ballet

trim physique

  good structure

  bones slender

dancers’ poise

skin tanned

  spotless complexion

manicured stubble

  embellishes

     each cheek

  vaguely

     moustachioed

at times moue

but mostly

radiating warmth

  whether to

     heteros

     lesbos

     bis or gays

hockey-stick

  eyebrows

     arch inquisitively

below an almost imperceptible

  concave brow

     so young

  no furrow

     (Botox of youth)

orbs moreno

  orange-flecked

  held in his gaze

with pink lips

  spades-shaped

     mouth forms 

genuine smiles

  revealing

ivory pegs

leporidic incisors

  concealing

a rosy tongue

  supporting

lilting tenor

  masculine timbre

left nostril

  ringed faintly

of a slight

  narrow nose

unblemished otherwise

good posture

body in motion

  elongates

     a stretch

     underwear's

     silvery band

     underscores

  his sacrum

     faint hairs

     on pearly flesh

     direct to derrière

     where palms wipe

     salt, sweat and

     condensation

  his navel

     wispy line

     demarkation

     to no-man’s-land

opening

  safe passage

     to glide through air

making space

  where none is there

torso static

plumb belly

  straight down

to a standard package

  dressing

     neither to the left

     nor to the right

     unusually

     straight down

     though to the right

     when

     Belén

     is around

arms muscled

  hairy

  naturally

     down they hang

  or

elbows perpendicular

  creating locomotion

  unrehearsed dance

movement

tray in hirsute left hand

  balanced on fingertips

proffers with his

  now healed wrist

     his right

hips twist

  and swing

shapely

  palm-sized

  buttocks

  exact mid-point

  of corporeal entity

     quiver

     alternately

in the turn

  of muscular thighs

down to white flesh

  hairless ankles

standing true

straight back

flat neck

  just the slightest curve

  mole’d nape

  kissing-spot

  or marker for

neatly clipped coiffure

on a lean head

from broad shoulders

upper-right

  tattooed arm

     Hawaiian flower

     Death’s skull

     familial allusion

     contemporary

     heraldry

as to his mission

labour’s motto

to serve

  to collect

  to clean

  tables laid

  all in his sight

  are watered

  and fed

well-practiced

everything done

  serenely

with clean hands

  neatly

  clipped nails

acts with aplomb

  never frayed

  exuding calm

occasionally

  passes the time

  of day

  or early evening

listening

  to tourists’ tales

consummate

  professional

waiter mine

*

speedy relocation

no time to stare

habitués ignore

  your

  daily pants’ stains

*

hiatus beckons

unconventionality

  or individuality

     lime-green

     mobile

     dayglo-green

     Calvin Klein’s

alters mode

metrosexuality

  wanes

atavistic machismo

conventional

  heterosexuality

     re-asserts

now in heat

  even sitting

     simian carriage

voice deepens to bass

still

  in his mien

  compassion remains

  love for beautiful Belén

     a potential marriage

*

you knock on wood

  but not to the beat

  of the current tune

     nervous tic

     frustration

     or ennui?

*

¡Olé!

camarero

el señor está aquí
in the house of bread

I’ll see you again

  with my order

     very soon…

Retrato de mi camarero

mi camarero

Manu

en negro

  externamente

     de pies a cabeza

realiza

  un ballet cotidiano

físico en forma

  buena estructura

  huesos delgados

aplomo del bailarín

piel bronceada

  tez inpecable

barba incipiente cuidada

  embellece

     cada mejilla

  vagamente

     con bigote

a veces hay un mohín

pero sobre todo

radiando cordialidad

  si

     heteros

     lesbianas

     bisexuales o gays

palos de hockey

  sus cejas

     arquee inquisitivamente

por debajo de un casi imperceptible

  frente cóncava

     tan joven

  sin surco

     (Botox de la juventud)

orbes morenos

  moteados de naranja

  fijado en su mirada

con labios rosas

  en forma de espadas

     la boca 

sonrisas genuinas

  revelando

dientes marfiles

incisivos leporinos

  ocultan

una lengua rosáfea

  apoyando

un tenor cadencioso

  timbre masculino

fosa nasal izquierda

  anillada débilmente

de una ligera

  nariz estrecha

sin mancha de otro modo

buena postura

cuerpo en movimiento

  se alarga

     un estirar

     calzoncillos

     elástico plateado

     subraya

  su sacro

     cabellos apenas visibles

     en carne perlada

     indica los pompis

     donde las palmas limpian

     sal, sudor y

     condensación

  su ombligo

     linéa rala

     demarcación

     al terrano de nadie 

abriendo

  paso seguro

  para deslizarse a través del aire

haciendo espacio

  donde no hay

torso estático

vientre a plomo

  hacia abajo

a un paquete estándar

  se cayendo

     ni a la izquierda

     ni a la derecha

     extraordinariamente

     hacia abajo
     aunque a la derecha

     cuando

     Belén

     está por él

brazos musculosos

  peludo

  naturalmente

     cuelgan abajo

  o

codos perpendiculares

  creando locomoción

  baile improvisado

movemiento

bandeja en la mano izquierda hirsuta

  equilibrio mantenido sobre los puntos

profiere con su

  muñeca ahora sanada

     la derecha

caderas giran

  y oscilan

bien proporcionadas

  tamaño de la palma

  nalgas

  punto medio exacto

  de entidad corpórea

     vibran

     alternativamente

en el giro

  de muslos musculares

abajo hasta carne blanca

  tobillos sin pelo

a pie derecho

espalda recta

cuello plana

  sólo una curva lo más leve

  nuca con lunar

  lugar para besar

  o marcador para

peinado recortado pulcramente

sobre una cabeza flaca

de hombros anchos

superior derecha

  brazo tatuado

     flor hawaiana

     cráneo de la Muerte

     alusión familiar

     contemporánea

     heráldica

en cuanto a su misión

lema de la mano de obra

para servir

  para recoger

  para limpiar

  mesas establecidas

  todos en su ámbito

  regados

  y alimentados

bien practicado

todo lo hecho

  tranquilamente

con manos limpias

  cuidosamente

  uñas recortadas

actúa con aplomo

  nunca crispado

  exudando calma

de vez en cuando

  pasa el tiempo

  del día

  o de la tarde

escuchando

  a los cuentos de los turistas

consumado

  profesional

camarero mío

*

movilidad rápida

no hay tiempo para mirar

habituales ignoran

  tus

  manchas de pantalón diarias

*

hiato atrae

no convencionalismo

  o individualidad

     verde lima

     móvil

     verde fosforescente

     Calvin Kleins

altera el modo

metrosexualidad

  mengua

machismo atávico

convencional

  heterosexualidad

     reafirma

ahora en celo

  incluso sentado

     actitud simiesca

voz profundiza al bajo

todavía

  en su semblante

  compasión permanece

  el amor a bella Belén

     un matrimonio potencial

*

te tocas madera

  pero no al ritmo

  de la melodía actual

     tic nervioso

     frustración

     o hastió?

*

¡Olé!

camarero

el señor está aquí
en la casa del pan

Te veré de nuevo

  con mí orden

     muy pronto …

Nude Proofs / Pruebas Desnudas

Well, whilst voyaging home, the proofs from mine and others' nude photographic sessions were published on the lovely photographer, Manuel Delgado's blog, Manuel Y Las Junglas De África. Each subject was asked to just be themselves in front of the camera. Bearing this in mind, some of the images may be considered to be sexual. If nudity and overt sexuality might offend, read and look no further and certainly do not click on the link!

In my opinion, the above portrait of myself has really captured my quintessence: anyone who knows me is aware of my hearty laugh and the fact that I enjoy life as much as I am capable of doing and with gusto. Laughter is supposedly good for the bones, so I am going to keep on laughing until my last breath. Besides, my arthritic bones need every assistance they can procure (pun intended).

My gratitude and love to Manuel (pictured below) for making the experience such a delight.

Most of the folk photographed are not known to me; however, one of my Spanish friends has also been the study of Manuel's camera. It is both disconcerting and fascinating seeing someone one knows naked for the first time. I did not know my chum had tattoos for example as the subject had not arisen in conversation. And, naturally, so on…!!! For example, I have to say, I thought, due to his facial hairiness, my chum would be much more hirsute than he is in actuality.

Once the series is complete and Manuel has decided upon his final selections for his series and (hopefully) exhibition, I shall of course apprise you the readers. And who knows, one might even be able to purchase a naked portrait of yours truly to hang on your walls! ;)

The Compassionate Photo-Art of Manuel Delgado

A couple of days ago, by happenstance, I came across a lovely photo by a Malagueño (a resident of Málaga in Andalusia) though originally from Cáceres (a mediæval city in Extremadura). His name is Manuel Delgado. But it is the photograph of his visage and mien that drew me in.

I have since written to this sensitive artist with my interpretation of the image:

"I love your profile photograph with the come-hither demeanour (well to my eye anyhow!). I cannot decide whether the pillow iterates this position or contrariwise it adds a sensitive perspective of a more vulnerable self. The red of the fabric of your attire, the peach of the pillow and the orange tones of your skin all underscore the passionate. You do not state the colour of your eyes. Initially I thought they were black, but on a closer look they appear hazel. Whilst your mouth is definitely not forming a smile, I suspect those lips do so more than do not. I really like this photo."

Some artists can be a tad prickly about interpreting their work. Personally, I write poetry, it does not bother me what interpretation the reader places on the poem. It means what it does to me. But like a child, it has its own personality and must be allowed the freedom to express itself. Thankfully Manuel took no umbrage whatsoever at my comments.

The portrait had a link to Manuel's photographic website (Manuel Delgado) where copies of his works can be purchased. I am slightly hesitant to add below some of his œuvre, because Manuel wants to see which images I have chosen - no pressure then!

The first is from a series entitled "Banderas" ("Flags") (#27):

This initially made me think of the UN flag; but it is also reminiscent of imperial banners with eagles and such like upon them. Some of the flags look almost recognisable; others are more abstract: but they fascinate nonetheless. Personally, methinks the collection should be viewed as a complete corps to extract full meaning and significance. So why not take a good gander (scrutinise them)?

Next photo is from a compelling (for me) series taken of just one spot on a pavement, "Pasos en la acera" (Steps):

Naturally, this completely appeals to my OCD (obsessive-compulsive disorder). However, additionally, it speaks to me of notions of time & space, transience and the ephemeral; and, more specifically, reminded me about humanity's recent appearance in geological/cosmological time. Of course, to you they may hint at something entirely different!

My next choices are from a series called "La Habitación Secreta" or "The Secret Room" (Room). The images include nudity and subjects that some may take offence at. If so, cease reading this article at this point.

What I find interesting about these images is that they have caught men in quotidian activities that are rarely photographed. Manuel, however, demonstrates an honesty and frankness in this series that recounts a complete narrative without cloying romanticism nor Hollywood glitz nor pornographic brashness. I suspect he has a compassion almost tenderness for his subjects. This is rare as many photographers aim for the photojournalistic dispassion that merely observes rather than interacts with its subject.

And finally, just to demonstrate that the artist is not afraid of colour, here is one from his series "Trabajo en la calle" or "Work on the street" (Workers), Estela the florist:

If one has been to Málaga, one will be all too aware of the wonderful array of blooms available from the street vendors, particularly in the old historic part of the city.

I hope Manuel approves of my choices. I hope the reader's interest has been sufficiently piqued that s/he will want to visit Manuel's web gallery. %)