Poem by EMILY DICKINSON
Translated into Spanglish by ILAN STAVANS
Soy Nobody
Translation by Ilan Stavans
Soy Nobody! Quién eres tú?
Eres – Nobody – too?
Then somos pareja!
Silencio! lo anunciarán – you know!
People were singing on the steps below our living room window, and Elena removed an earphone to tell them to stop.
“You’re singing very badly!” she shouted. “I’m going to throw water on you!”
A man yelled he was too hot anyway. When he said he would like to have water thrown on him, she smiled to herself, closed her eyes, and lay back down on the sofa.
“Careful,” I said. “They might break our window again.”
She said, “It wasn’t them.”
“I know,” I said. “Obviously. I meant ‘they’ in the general sense.”
She put her earphone back in.
I put down my pen, and watched her. I had done that, every now and then, since we were six years old—stopped what I was doing to figure out something about her, to think about her face, or her hair, or the way she always laughed when I talked about death. Mostly I thought about her face. I had done that so often, by now, that I was convinced she must know, and must sometimes arrange herself to give me a good view, to give me time to look, to give me time to think about her textures. I hated it when I saw her do it with other people.
The fan was only disturbing the tips of her hair at the end of her low ponytail—the top, a little greasy, was tight on her skull. She wore pajama shorts, and, as always, when she wore shorts or skirts, I got stuck on the blond hairs on her thighs. And then I moved up, and got stuck on her skin. Like wax. Like alive wax. Wax that would not melt.
By GUNNHILD ØYEHAUG (Translated from the Norwegian by KARI DICKSON)
Reviewed by OLGA ZILBERBOURG
Laura is expecting a baby. A twenty-four-year-old literature instructor, she lives with her partner Karl Peter in the heart of Bergen, a city in the westernmost part of Norway. She’s suffering from a strange sort of anxiety, which she suspects has something to do with the pregnancy: everything around her seems double, not quite like what it is.
Laura has more common anxieties as well, including a problem with her apartment. The buildings in her part of town are constructed of brick on the outside and wood inside, which makes them so flammable that they’re called “chimney houses.” If their chimney house were to catch on fire, there would be little chance of escape. Then, there are the noisy students living above and below, a drug dealer across the street, hypodermic needles littering the neighborhood. She decides that she and Karl Peter have to move before the baby comes, but this decision, too, seems to bring her nothing but anxiety.
Story by TOMÁS DOWNEY
Translated from the Spanish by SARAH MOSES
The piece appears below in both English and Spanish.
Translator’s Note
When I first read Tomás Downey’s story, “Los hombres van a la guerra,” I reread it. This was the ending’s doing: it called into question all that came prior, as the best endings do (I think here of Alice Munro). So I had an ulterior motive for translating the story: I wanted to understand how Tomás had put it together, how he’d written towards that ending. I’m not convinced I’ve figured it out. But in a sense, translating the story was studying it, and I hope that something of the circular way it works makes its way into my own writing. I hope, too, that readers of “The Men Go to War” have a similar experience: that the ending directs them back to the beginning for a second read.
— Sarah Moses
![[ Heart Fragments ]](https://thecommononline.org/wp-content/uploads/2022/10/49748876496_8df6a7f7a3_o.png)
When you touch me I light up into funereal pyre. In the consummation, by char and carbon, brittle is not my name. I tongue flame and soot and singe. Fire to our forests, fuel for restless fires. Fantastical firebrands undergoing scorching metamorphoses. Oh, love, ether.
I could tell you,
If I wanted to,
What makes me
What I am.
But I don’t
Really want to—
And you don’t
Give a damn.
—Langston Hughes, “Impasse”
There are two cops from the Orange County Sheriff’s Department standing in my grandmother’s kitchen. We are all gathered around the kitchen island silently negotiating the power dynamics. Two Black women, two White cops. The cops have come to collect the details for the report, but I’m doing most of the talking. Grammy bears witness.
Winner of the 2022 DISQUIET Prize for Poetry
“if you’re ever lonelayyyy, stop, you don’t have to be.”
—Powerline
you, thrust open leather vest glisten chest in the desert
you, both knee beggin in silver pants plus rain
you, break a lover wide to see what lyrics may flow
By DAVID MILLS
From my row house mailbox, I fished
an envelope: no address, just “David.”
scrawled. In my room, I read: e-mails
bounced back, calls orphaned. If you’re
alive and don’t want to talk I get it.
Though six hours across the Atlantic
is much farther than six along it. If
need be, I will kneel before your grave.
here’s my number. just in case.
By AHMED NAJI
Translated from the Arabic by BEN KOERBER
1
Antar Harami’s kingdom stretches from the iron bridge to the gristmills in the east, and from the El Gaz drainage canal southward all the way to the police checkpoint at the International Hospital.
Power, which hides what it can
—George Oppen
1/
A kind of hangar by the mall.
Propulsive dance hits
looped like the 80s never ended—
B-b-b-b-b-baby, I-I-I-I can’t wait…
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