The plan was to take the bus to my father’s farm, to see him in person for a change. My mother said, Your father is too busy for you, and you don’t know his wife. But I went anyway. I wanted to be able to say that my father was unavailable, firsthand account.
I packed only one large duffel bag, and my mother drove me to the bus station. She told me, Call me if you need anything. I said I’d call her every day.
I didn’t mind the nine-hour ride.
The Eunuch
In the courtyard were more of these men and women who—how should I describe them?—who still were. They didn’t do anything except exist. They sat, alone or in silent clusters. None would say yes to an interview. I circled the courtyard, asking. Most did not even say no.
By: BETHANY BALL
From What to Do About the Solomons?
Now it is just a question of what to do with Guy Gever. For extra money he works in the evenings to frighten the birds that eat the crops in the fields around the kibbutz. At night, he hunts the porcupines, the dorban, and sometimes the tiny kipod, the hedgehogs, with his brothers. But now people think he has gone mad.
By CALEB COY
Nanjing, the furnace of the Yangtse, is a city so big it swallows. I can stroll through the streets and brush by anyone, but a weight presses on me like a singular, enveloping fog that never leaves. Men gather outside my apartment building and smoke in the afternoon. On some days a neighbor calls the Chengguan—the Urban Management Enforcement. They arrive in their white van and white hats and chase the smokers off. The smokers flee like carrion birds shooed away.
From The Baghdad Eucharist
By SINAN ANTOON
Translated by MAIA TABET
1
“You’re just living in the past, Uncle!” Maha burst out as she ran from the living room after our argument. Luay, her husband, was upset and he called out after her, his face flushed.
“Hey, Maha, where are you going? Come back! Maha!” But she was already hurtling up the stairs that led to the second floor. He looked downcast as he apologized.
“Forgive her, Uncle. You know how much she loves and respects you.” In a voice speckled with shame, he added, “She’s a nervous wreck and can’t help herself.”
By BIPIN AURORA
From Notes of a Mediocre Man: Stories of India and America
Ramesh Thakur had three houses—one in Defence Colony, one in R.K. Puram, and one in Malviya Nagar. But he was not happy.
“So much dusting, Chandar. I go to each house once a week. I dust, I dust. The sofas, the tables, the mantelpiece. I do not forget anything.
“But it is hard work, Chandar. It is not easy.”
But still I was happy for him. He was retired, he needed something to do. This kept him busy. He had three houses: there was security in that. He had some place to go three days a week: this kept him busy, there was security in that as well.
The last eel of the Rio Grande grows up lonely, brown and serpentine, a river with gills and a pulse swimming inside itself, spooning the river’s oxbows eager for siblings. What the eel doesn’t know could fill a book: that hydroelectric dams keep its kind from traveling upstream to spawn; that eels live elsewhere churning by the hundreds in slicktight knots; the taste of its own firm flesh smothered in soy sauce. The last eel stays ignorant, growing fat on cigarette butts and dreams of parents, growing heavy and slow feeding on the heavy metal hodgepodge downstream of the power plants, a bully coiled up in dark water only coming out to scare smaller fish into submission. And then one day it happens: the flossy flick of a line, the hook and tug before the drag. The eel fights, but its broad, tubed muscles are lazy from afternoon sleeps. It hasn’t run swiftly through a spring flood in years. Hands pull it easily from the water, helped along by the river saying ‘take it, I don’t want this anymore.’
Translated by MICHELLE HARTMAN
New York, Spring 2000
When I first got together with Hilda, I used to enjoy contemplating her reflection in the mirror for hours. I would intentionally take her to cafés and other places filled with mirrors. I’d look at her features in the mirror more than I’d gaze at her directly, as if purposely creating a distance between the physical being that was ostensibly her and her reflection, because a person’s mirror image reveals more of who they really are; it reveals, in fact, the inner self, and to look upon that, as gratifying as it is, requires extraordinary courage.
By AKWE AMOSU
When the storm’s coming, you can feel it. The atmosphere’s tense, quivering the leaves, hot, damp air close up to your face, the cloud doubling and darkening, metallic grey, sucking in the light. There’s a portent in the frenzy of birds and the cat’s retreat into the bottom of the clothes cupboard. Sometimes night falls and everything is still on edge, pending. The child loves to hear the thunder sneak up in the dark with a low growl. She counts the seconds after each cannonade. When the rain finally falls, you can’t hear much else, even when there’s shouting. She likes to climb out of bed into her window and get gooseflesh in the wind, then to jump back, shivering, under the covers to get warm. Then she does it again. Once there were hailstones, thrashing the asbestos roof. The noise obliterated everything, like a drug; she slept.
Beware, O wanderer, the road is
walking too.
—Rainer Maria Rilke
On October 24, 1956, the day I turned 9.8, my grandmother came to take me out of school in Budapest’s 6th District. We were in the middle of reviewing decimal points because of a mistake a classmate named Mary had made. Other parents and grandparents were arriving too with the same aim, although no one had come yet to get Zoli, the boy who sat beside me.
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