The Lover Transforms

Portrait of François Truffaut by Duane Michals, 1981



«Transforma-se o amador na coisa amada»,
com seu feroz sorriso, os dentes,
as mãos que relampejam no escuro.
Traz ruído e silêncio.
Traz o barulho das ondas frias
e das ardentes pedras que tem dentro de si.
E cobre esse ruído rudimentar com o assombrado
silêncio da sua última vida.
O amador transforma-se de instante para instante,
e sente-se o espírito imortal do amor
criando a carne em extremas atmosferas, acima
de todas as coisas mortas.

Transforma-se o amador.
Corre pelas formas dentro.
E a coisa amada é uma baía estanque.
É o espaço de um castiçal,
a coluna vertebral e o espírito
das mulheres sentadas.
Transforma-se em noite extintora.
Porque o amador é tudo, e a coisa amada
é uma cortina
onde o vento do amador bate no alto da janela
O amador entra por todas as janelas abertas.
Ele bate, bate, bate.
O amador é um martelo que esmaga.
Que transforma a coisa amada.

Ele entra pelos ouvidos, e depois a mulher
que escuta
fica com aquele grito para sempre na cabeça
a arder como o primeiro dia do verão.
Ela ouve e vai-se transformando, enquanto dorme, naquele grito
do amador.
Depois acorda, e vai, e dá-se ao amador,
dá-lhe o grito dele.
E o amador e a coisa amada são um único grito
anterior de amor.

E gritam e batem.
Ele bate-lhe com o seu espírito de amador.
E ela é batida, e bate-lhe
com o seu espírito de amada.
Então o mundo transforma-se neste ruído áspero
do amor.
Enquanto em cima o silêncio do amador e da amada alimentam
o imprevisto silêncio do mundo e do amor.

Herberto Helder





«The lover transforms into the thing loved» with his
savage smile, his teeth,
his hands that flash in the dark.
He brings sound and silence.
He brings the noise of the cold waves
and burning stones which rage within him.
And he covers this primordial sound with the staggered
silence of his last life.
The lover transforms from moment to moment,
and it’s the moment of the immortal spirit of love
creating flesh in extreme atmospheres, wafting
over all death things.

The lover transforms. He cuts through forms to the core.
And the thing loved is an enclosed bay,
the space of a candlestick,
the backbone and spirit
of women sitting.
He transforms into extinguishing night.
Because the lover is everything, and the thing loved
is a curtain
battered by the wind of the lover on the heights
of an open window.
The lover enters through every open windows and
batters, batters, batters.
The lover is smashing hammer.
that transforms the thing loved.

He enters through her ears,
and the woman who listens
holds that shout forever in her mind
burning like the first day of summer.
She hearsand slowly transforms,
while sleeping, into that shout of the lover.
She awakens, and goes, and gives herself to the lover,
she gives him his own shout.
And the lover and the thing loved are a single shout
preceding love.

And they shout and batter.
He batters her with his lover spirit.
And she is battered and batters him
with her spirit of the beloved.
Then the world transforms into this harsh noise
of love.
While overhead the silence of the lover and the beloved feed
the surprising silence of the world and of love.

Translation by Assírio & Alvim


Luís Vaz de Camões’s sonnets are thematically far more diverse than those of Petrarch or William Shakespeare. Some are retellings of Biblical tales (Jacob) or Greek myths, often with a new twist; or they present historical or mythological figures in new scenarios, as in the sonnet which has the goddesses Diana and Venus discussing the merits of trapping animals versus ensnaring human hearts (While Phoebus was lighting up the mountains). Other sonnets take up the theme of the world’s disorderedness and the inevitability of change (Times change, desires change), and life’s brevity (Oh how long, year after year). But love, for Camões as for most Renaissance poets, is an ever-present hope and complaint, a source of pain alternating with ecstasy, a rich symbol and a chimera – an inexhaustible subject of poetic and existential exploration. Love, in the sonnets and sestina presented here, is not merely a hankering after an idealized and beatified ‘senhora’ (lady); it is a psychological territory for self-discovery. This is most blatantly the case in the celebrated Transforma-se o amador na cousa amada, a twentieth-century remake of which The Lover Transforms was produced by Herberto Helder (b. 1930).

Dialogue Between Fashion and Death

Yves Saint Laurent


YSL Rive Gauche nappa leather platform pump, 2010


Saint Laurent by Hedi Slimane silver skull and leather necklace


Yohji Yamamoto 1995-1996 Ad campaign photographed by David Sims


Alexander McQueen Spring Summer 2010 eyewear advertising


Christian Dior Haute Couture by John Galliano. Autumn-Winter 2000


Iris van Herpen Capriole Haute Couture AW11


Dsquared2 Fall 2010


Reveal The Inner Self, collection of Taiwanese designer Wei Ting Liang for her 3rd year final project, at the Ecole de la Chambre Synidcale de la Couture Parisenne


Jean Paul Gaultier, Fall Winter Couture collection 2006-2007


gaultier skeleton 2011Jean Paul Gaultier fashion show, 2011


Jean-Charles de Castelbajac, Fall/Winter 20011-2012


White cotton jacket printed all over with dotted grey skulls wearing light blue sunglasses by Comme Des Garcons Homme Plus, Spring-Summer 2011


Narciso Rodriguez’s sketch-books


Vans skulls slip-on shoes


Christian Audigier, French fashion designer and entrepreneur


Vivienne Westwood



Translated by Charles Edwardes

FASHION — Madam Death, Madam Death!

DEATH — Wait until your time comes, and then I will appear without being called by you.

FASHION — Madam Death!

DEATH — Go to the devil. I will come when you least expect me.

FASHION — As if I were not immortal!

DEATH — Immortal?

“Already has passed the thousandth year,”

since the age of immortals ended.

FASHION — Madam is as much a Petrarchist as if she were an Italian poet of the fifteenth or eighteenth century.

DEATH — I like Petrarch because he composed my triumph, and because he refers so often to me. But I must be moving.

FASHION — Stay! For the love you bear to the seven cardinal sins, stop a moment and look at me.

DEATH — Well. I am looking.

FASHION — Do you not recognise me?

DEATH — You must know that I have bad sight, and am without spectacles. The English make none to suit me; and if they did, I should not know where to put them.

FASHION — I am Fashion, your sister.

DEATH — My sister?

FASHION — Yes. Do you not remember we are both born of Decay?

DEATH — As if I, who am the chief enemy of Memory, should recollect it!

FASHION — But I do. I know also that we both equally profit by the incessant change and destruction of things here below, although you do so in one way, and I in another.

DEATH — Unless you are speaking to yourself, or to some one inside your throat, raise your voice, and pronounce your words more distinctly. If you go mumbling between your teeth with that thin spider-voice of yours, I shall never understand you; because you ought to know that my hearing serves me no better than my sight.

FASHION — Although it be contrary to custom, for in France they do not speak to be heard, yet, since we are sisters, I will speak as you wish, for we can dispense with ceremony between ourselves. I say then that our common nature and custom is to incessantly renew the world. You attack the life of man, and overthrow all people and nations from beginning to end; whereas I content myself for the most part with influencing beards, head-dresses, costumes, furniture, houses, and the like. It is true, I do some things comparable to your supreme action. I pierce ears, lips, and noses, and cause them to be torn by the ornaments I suspend from them. I impress men’s skin with hot iron stamps, under the pretence of adornment. I compress the heads of children with tight bandages and other contrivances; and make it customary for all men of a country to have heads of the same shape, as in parts of America and Asia. I torture and cripple people with small shoes. I stifle women with stays so tight, that their eyes start from their heads; and I play a thousand similar pranks. I also frequently persuade and force men of refinement to bear daily numberless fatigues and discomforts, and often real sufferings; and some even die gloriously for love of me. I will say nothing of the headaches, colds, inflammations of all kinds, fevers — daily, tertian, and quartan — which men gain by their obedience to me. They are content to shiver with cold, or melt with heat, simply because it is my will that they cover their shoulders with wool, and their breasts with cotton. In fact, they do everything in my way, regardless of their own injury.

DEATH — In truth, I believe you are my sister; the testimony of a birth certificate could scarcely make me surer of it. But standing still paralyses me, so if you can, let us run; only you must not creep, because I go at a great pace. As we proceed you can tell me what you want. If you cannot keep up with me, on account of our relationship I promise when I die to bequeath you all my clothes and effects as a New Year’s gift.

FASHION — If we ran a race together, I hardly know which of us would win. For if you run, I gallop, and standing still, which paralyses you, is death to me. So let us run, and we will chat as we go along.

DEATH — So be it then. Since your mother was mine, you ought to serve me in some way, and assist me in my business.

FASHION — I have already done so — more than you imagine. Above all, I, who annul and transform other customs unceasingly, have nowhere changed the custom of death; for this reason it has prevailed from the beginning of the world until now.

DEATH — A great miracle forsooth, that you have never done what you could not do!

FASHION — Why cannot I do it? You show how ignorant you are of the power of Fashion.

DEATH — Well, well: time enough to talk of this when you introduce the custom of not dying. But at present, I want you, like a good sister, to aid me in rendering my task more easy and expeditious than it has hitherto been.

FASHION — I have already mentioned some of my labours which are a source of profit to you. But they are trifling in comparison with those of which I will now tell you. Little by little, and especially in modern times, I have brought into disuse and discredit those exertions and exercises which promote bodily health; and have substituted numberless others which enfeeble the body in a thousand ways, and shorten life. Besides, I have introduced customs and manners, which render existence a thing more dead than alive, whether regarded from a physical or mental point of view; so that this century may be aptly termed the century of death. And whereas formerly you had no other possessions except graves and vaults, where you sowed bones and dust, which are but a barren seed, now you have fine landed properties, and people who are a sort of freehold possession of yours as soon as they are born, though not then claimed by you. And more, you, who used formerly to be hated and vituperated, are in the present day, thanks to me, valued and lauded by all men of genius. Such an one prefers you to life itself, and holds you in such high esteem that he invokes you, and looks to you as his greatest hope. But this is not all. I perceived that men had some vague idea of an after-life, which they called immortality. They imagined they lived in the memory of their fellows, and this remembrance they sought after eagerly. Of course this was in reality mere fancy, since what could it matter to them when dead, that they lived in the minds of men? As well might they dread contamination in the grave! Yet, fearing lest this chimera might be prejudicial to you, in seeming to diminish your honour and reputation, I have abolished the fashion of seeking immortality, and its concession, even when merited. So that now, whoever dies may assure himself that he is dead altogether, and that every bit of him goes into the ground, just as a little fish is swallowed, bones and all. These important things my love for you has prompted me to effect. I have also succeeded in my endeavour to increase your power on earth. I am more than ever desirous of continuing this work. Indeed, my object in seeking you to-day was to make a proposal that for the future we should not separate, but jointly might scheme and execute for the furtherance of our respective designs.

DEATH — You speak reasonably, and I am willing to do as you propose