João Ricardo Lopes – Portuguese Writer

2026-02-052026-02-06

Rembrandt’s sadness

REMBRANDT’S SADNESS

the question was always this:
can someone’s sadness, at any time, in any place,
ever find a way to be satisfied?

we have our doubts about the matter

sadness shares with water the sin of avarice.
first it skips about, then it digs itself in,
and a little further on it hollows out sombre lights
through the hills,
one day it cuts across our path

“you shall not pass,” it writes under its breath,
“you shall not pass”

let us consider the case of Rembrandt Harmenszoon van Rijn

his pain seems limitless, growing from portrait
to portrait, like a river that knows itself unstoppable
in its predatory course

looking into his eyes as they look into the mirror,
we see Saskia and the promissory notes, old age imprinted
in the swellings and the cracks of the skin

what is the size or the depth of his grief?

we have an idea about the matter,
water is a good term of comparison

one day it makes us sink into a delirium of silver‑gelatin paper.
but not even there, not even then, does it show itself fully sated.
sadness will not abide the earth’s crust,
its kingdom lies in the deepest hells,
or even beyond them

A TRISTEZA DE REMBRANDT

a questão foi sempre essa:
pode em algum momento, nalguma parte, a tristeza
de alguém satisfazer-se de alguma forma?

temos as nossas dúvidas sobre o assunto

a tristeza partilha com a água o pecado da avareza.
primeiro saltita, logo depois entrincheira-se,
um pouco mais à frente escava luzes sombrias
por entre as colinas,
um dia corta-nos o caminho

«não passarás» escreve em surdina,
«não passarás»

vejamos o caso de Rembrandt Harmenszoon van Rijn

a sua dor parece ilimitada, cresce de retrato
em retrato, como um rio que se conhece imparável
na marcha predatória

olhando os seus olhos olhados ao espelho,
vemos Saskia e as notas de dívida, a velhice estampada
nos inchamentos e nas gretas da pele

qual o tamanho ou a profundidade do seu desgosto?

temos uma ideia sobre assunto,
a água é um bom termo de comparação

um dia faz-nos submergir num delírio de papel gelatina
de prata.
mas nem aí, nem assim, se mostra ela inteiramente saciada.
a tristeza não a suporta a crusta terrestre,
o seu reino é nos infernos mais ínferos,
ou mesmo para além deles

(2026)
.

2026-02-042026-02-04

February

FEBRUARY

you will often return to yourself
as one enters places where hearths once burned
and where the smell of smoke lingers
melancholic
and invisible

an autumnal or wintry mustiness
grips your startled hands
and wants to sink them into the earth

so take the necessary precautions

when the tangle of days on your shoulder blade
feels like cement or hatred in its pure state,
leave the house, breathe the grasses, bite their stems
hard

don’t ask why, bite them,
and that’s that

FEVEREIRO

entrarás muitas vezes em ti
como se entra nos lugares onde lareiras arderam
e o odor do fumo permanece melancólico
e invisível

um ranço outoniço ou hiemal agarra
as tuas mãos espavoridas e quer afundá-las na terra

toma, por isso, as necessárias precauções

quando o emaranhar dos dias sobre a omoplata
te parecer cimento ou ódio em estado puro,
sai de casa, respira as ervas, morde-lhes o talo
com força

não perguntes porquê, morde-as
e pronto

2026-01-25

Ritual

Cleaning the hands — Photo by Melissa Jeanty

He had acquired the habit of meticulously washing his hands and trimming his nails before delivering a speech. He ran his palms and the backs of his fingers under the water, lathered them with Clarim, then held them again beneath the stream flowing from the tap, almost scalding hot. It was a ritual.

Then, before leaving his office, he read the text one last time and corrected it with a cheap pencil, crossing out more words than he put back onto the page. He disliked coming up against formulas, clichés, sentences that sounded like a great deal and yet said nothing.

Finally, he looked at himself in the mirror.

He did so in silence, trying to glimpse in the face before him the slightest traces of childhood. He searched there for the boy in clogs, with a torn sweater and an ugly little moustache, whose courage in the hard work of those earlier days he seemed to value more than the prestige he had gained over the years. That boy was his inspiration.

He remained in near-total silence for a long time, an immeasurable stretch, an hour, a minute, an eternity, until an aide knocked at the door.

They were waiting for him.

This was the moment. Millions of viewers had their televisions tuned to the channel through which his words would echo, measured, carefully chosen, perhaps a little rough, competent, in a steep dive toward the very core of the problems.

2026-01-102026-01-11

Vermeer

VERMEER

in these days of vertigo, when the world seems to go mad with every gunshot, and even open books are grasping mouths waiting for impure truths to be spoken through them, I return to Vermeer’s silent paintings: to the milkmaid pouring the white unhurriedly, imbued with grace; to the geographer who, through the panes of glass, discerns the inexact place of thought; to the girl reading the mysterious letter, in which she may be shown a certain love, not delicate like a poem, but in the hardness of verbs that do not hide in grammar and instead strip themselves bare in living gestures, difficult and unfeigned

VERMEER

nestes dias de vertigem em que o mundo parece ensandecer a cada disparo e até os livros abertos são bocas avaras à espera de que por eles se digam as impuras verdades, volto aos quadros silenciosos de Vermeer, à leiteira vertendo o branco sem pressa, eivada de garbo, ao geógrafo que descortina pelos vidros o inexato lugar do pensamento, à rapariga que lê a carta misteriosa, na qual talvez lhe seja mostrado um certo amor, não delicado como um poema, mas na dureza dos verbos que se não escondem na gramática e antes se desnudam em gestos vivos difíceis e não hipócritas

2025-12-312025-12-30

Limpidity

There is only one dependable way to love life: to draw near to the limpidity that asks for patience, courage, sacrifice, and so often silence and self‑denial. And also for defeats, for the encounter with what contradicts us, for the labour of continual learning. Zbigniew Herbert, in a remarkable poem, writes, “I would like to describe the simplest emotion,” trading “all metaphors / for a term / torn from the chest like a rib / for a word / that fits / within the limits of my skin.”

With age we learn that nothing is quite as difficult as the limpidity of childhood—an equivocal yet precious gift. We learn that truth (like the sun) still casts its light and warmth, though it has shifted its place upon the horizon. The irony could hardly be sharper: as we grow older and confront physical short‑sightedness, we look more deeply into things, into the character of others (and of ourselves), into the perplexity of life, into the feeling stirred by little beings, into the pain dealt to us by ignorance and human savagery; we look more intently into the depths of the cosmos, of death, of the genuine happiness born in a poem; we look towards the comfort of friendly voices, towards the solemn wisdom of Vilhelm Hammershøi’s paintings, or the enchantment of the guitar chords of Isaac Albéniz or Joaquín Rodrigo. Life does not require wealth or genius to be worthy. It asks only for kindness and stillness. And with age we learn that nothing matters more than drawing close to our destiny, even if that destiny is a mirage. We recognise it by the confidence and quiet joy with which we open the door each morning. In the end, compassion is the reward of our discovery.

I write these words on a bright December morning, a cup of coffee warming my hands. I feel, far beyond myself, the harmony of space and the mind’s impetuous surge of effort. I might have taken up pencil and paper to write something entirely different. But I needed to set down this thought. Life chose us, as love chooses us, or as the gaze of someone seeking ours. I suppose that responding to such devotion is worth not only the effort, but above all the heart.

29.12.2025

2025-12-252025-12-27

The Leper

A cliff rose steeply, and on its summit ancient hermits had built, stone by stone, a small church. Seen from afar, it could scarcely be told apart from the granite mass itself. Up close, it looked more like an animal shelter, with a cross perched upon its roof.

Soeiro Ramires, falconer, or perhaps goldsmith, or tailor, or even royal furrier, depending on the version that has reached us, was afflicted with the dreadful disease of leprosy, and found in that rough and holy heap of stones his hiding place. Not only to die there, but because he was fleeing justice. His crime was to have maintained relations deemed against nature with another man. Leprosy and guilt pursued him without mercy.

It was in the time of the first kings of Portugal. Afonso, son of Sanches and grandson of Afonso, was himself dying as a leper. Other monarchs of Christendom had suffered, and would yet suffer, from the same affliction. He, Soeiro Ramires, was seized by a single thought: to climb, to climb as high as he could, before it was too late, to a solitary place where the mercy of Our Saviour might find him sooner than wretched human judgement, and there to await, if not the healing of the flesh, then the absolution of the soul.
At the top of the cliff, where the pinewoods hide themselves in the mist, he dismounted and settled as best he could. He lit a fire, wrapped himself in a thick blanket, ate bread and prayed.

“Love chooses us,” he thought. “With this great sin of loving I have offended the Creator, who has thus defiled my face, my hands, my arms and all my body.”

The cold spread its white cloak all around. Great falls of snow plunged from the sky and made the Beira mountains gleam, from their foothills to the sharp bones of their peaks. Shivering, the wretch gathered what firewood he could and set it alight.

One night, a great star streaked across the horizon from end to end, falling in luminous ash upon his head. Soeiro Ramires marvelled greatly. Not only did the trembling and itching of the flesh cease to torment him, but a profound peace, a sense of rebirth and inexplicable lightness, lifted him from the vileness of the world.

It is said that the disease left him as mysteriously as it had come. Ramires devoted himself to the religious life, becoming one of the first Franciscans to profess in the kingdom. A temple of considerable size was later built on the site of the primitive one: the Church of Saint Francis, Saint Sebastian and the Nativity.

Today, little frequented and almost abandoned, it remains a place to which desperate believers still make their way, in search of a miracle and of redemption.

2025-12-132025-12-12

Torben Bjørnsen

There was a time in Torben Bjørnsen’s life when his deeds flowed easily and applause reached him from every side. Success seemed without limit and he carried it in his gestures and in his words, for he was a fine writer and an even finer orator. The initials TB gleamed on bookish placards and university periodicals, but above all on the flyers and posters set at the entrances of the packed lecture theatres where he appeared so often.

But that was another time.

With no explanation we might offer the reader, Torben Bjørnsen flung himself into a harsh flight of self-erasure: he refused interviews, turned down invitations, forgot patrons and admirers, and sealed himself in a troubling muteness and solitude, as though he had suddenly needed to transform the empathetic skin of his former self into an armour of scales and spikes. For almost two decades he has produced no new writings, not even the brief prose poems we cherished so much.

Celebrity was followed by resentment and vendetta.

A kind of hatred for the man has taken root in Denmark, a country which, like all others, accumulates both noble and rotten makers of public opinion. Some claim Torben fled the reach of justice, guilty of some offence drawn from the spectrum of social aberrations. Others explain his silence through a profound religious conversion, the sort one does not expect in days so stripped of spirituality as ours. There are those, too, who justify the change with a single word: weariness.

Ida Kjær, a mutual friend, told us recently that she meets him once a year.

Torben does not live in Greenland, in the Faroe Islands, nor on any of those islets on the way to Sweden. He lives where he has always lived, with his cat, with his collection of nativity scenes, with his endless notebooks where he scrawls emendations and runic symbols. “Only older, much older, and filled with that childlike glow that draws us, on this Saint Lucy’s Day, in a crowd to the lighted canals. Torben will be there, anonymous and content, sharing and receiving lussebullar. You’ll see!”

Tag: João Ricardo Lopes