By JOHN FREEMAN
Backlit by the glow
from a small passageway,
he kneels into the fog
of yellow light,
head kissing the carpet.
I step around him,
respecting his privacy, when
the mat becomes not prayer
rug but builder’s tool,
a black piece of tarmac, laid down
before the bank so he could
peer close, fix the dead
motion sensor so that people
with money could
be seen, all doors opening
for them.
By TARA SKURTU
It was the first time I’d lived
with a man, and I wanted him
to translate the name of our street.
He was holding my cold fist
in his own, and we were on
Ofrandei, in the middle of unpaved
Bragadiru, Romania, on our way
home. It’s something you give
to get something—like a sacrifice.
Like what you do for a god.
By MARCUS MYERS
If our bodies are vessels, hers sailed away.
I am sunken eleven months deep, away from her
hazel eyes like aulos pipers for my oarsmen,
away from her
I smell her—
she is in the bed sheets
conjuring aged summers
when popsicles stained
our mouths red,
and the sun colored
our noses black.
By BINA SHAH
Shazmina’s best friend, Gul Noor, died on a Monday, pinned down under the wheels of a speeding bus on the long road that stretched all the way down to the beach. Or maybe it happened on a Tuesday or a Saturday. Shazmina was never sure about the names for the days of the week. Monday-Thursday-Tuesday-Wednesday-Saturday melted, one into the other, like the trickles of oily water the buses left in their wake.
Memory: a man cradles his son onshore,
pressing warm sea breeze on his tiny rebellion.
If men gave birth, what would become of gods?
JENNIFER ACKER interviews JOSEPH O’NEILL
Joseph O’Neill is an Irish and Turkish writer who grew up in the Netherlands, practiced law in England, and now lives in New York City while teaching at Bard College. His novel Netherland won the PEN/Faulkner Award and the Kerry Group Irish Fiction Award and was praised by President Obama. O’Neill’s novel The Dog was nominated for the 2014 Booker Prize. He is known for sentences that are both precise and extravagant, that build on each other to undulating and dazzling effect. His work is founded on a bedrock sense of humor, and a healthy sense of the absurd is never far away. And yet his novels and stories are never merely funny; they are also rich excavations of character and observations of modern life. This keen eye, alongside evident empathy and wit are on display in his first collection of short stories, Good Trouble, which was released in 2019 and has been called “an essential book, full of unexpected bursts of meaning and beauty.” This conversation is adapted from O’Neill’s visit to Amherst College this winter.
By RIVER ADAMS
“Miss Val! Miss Val!” A swarm of five-year-olds buzzes around me in the kindergarten playroom. Marni is standing in the middle, feet planted, lower lip sucked in, staring down her blood-coated finger from under her scrunched-up eyebrows as though the finger should have known better. This is leftover hubbub from bigger and scarier trouble in the courtyard, which involved a stuffed monkey, the edge of the sandbox, and a superficial but profusely bleeding head wound, but the ambulance has already left, whisking away the lollipop-loaded victim, and the droplets of blood are being cleaned up outside the courtyard doors.
You go where you belong, my father says to me,
ten years old, listening at bedtime to his story
about how he once was mugged in Brooklyn
in 1974, a small, polite Canadian
The quickness of living.
The quickness of wanting to kill something.
Forget dreams, they attack me and
I welcome their landings.
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