Field studies II

The seaward approach calm and without engines across green lakes with mountains that/ descend into the water and Jalapeño birds in flight over them - how can I explain this: every/ morning to get a new watermark when arriving at field I from field II, these areas not so/ dissimilar, but often this journeying between them describes some strange distances along/ the dark mountains, beneath the hunting birds and in this demotorised sailing trip from the/ particular exactness of sleep, an ecstasy that can only be measured in its own ecstasy and in/ the firm admission of the sin of the waking world and in the great initiations that have to be/ counted on every night - all this in the greatest intimacy and exactitude along with some/ outburst or other from animals or humans in distress or joy, the scraping of claws against an/ underlying surface, water in motion, the rattling of strange ceremonies and customs, the war/ in progress, the almost soundless cardinal fish, the whoosh of the closest fixed stars.//

What can I say about this simultaneity that blends with the sharp cries from the/
hunting Jalapeño birds?/
A moment of absolute pitch is unexpectedly granted me and naturally I seize/
the opportunity, identify the note precisely in the transition between field I and/ field II and say:/
‘That is a C sharp.'

English Translation by John Irons