By DIANE MEHTA
In the operatic corner in the library,
Italian dialects heckle one another—
whose language is honey
on the tongue and who has disjointed
heads off syllables on the pikes of the invaders—
“Ma ti, vècio parlar, rezìsti.”
By DIANE MEHTA
In the operatic corner in the library,
Italian dialects heckle one another—
whose language is honey
on the tongue and who has disjointed
heads off syllables on the pikes of the invaders—
“Ma ti, vècio parlar, rezìsti.”
By YULIYA MUSAKOVSKA
Translated from the Ukrainian by OLENA JENNINGS and YULIYA MUSAKOVSKA
If their history together hadn’t begun this way,
they both would have been left alone, each with their war.
August—hellish, the bathhouse filled with bodies.
She squeezes the familiar palm and comes to life again.
Everything that has happened and didn’t happen to them,
is established, set in stone, unforgettable,
By CHO JI HOON
Translated from the Korean by SEKYO NAM HAINES
Translator’s note:
Cho Ji Hoon’s “Sorrow of Phoenix” appeared eleven months before the Pearl Harbor attack in the literary magazine Moonjang in 1940. This poem, along with “Old Fashioned Dress” and “Monk Dance,” published a year earlier, are considered to be among his major works. Born in 1920, Cho Ji Hoon grew up under Japan’s oppressive colonial rule after the demise of Chosun Dynasty in 1910 and has said that the foundation of his poetry was his attachment to what was vanishing from his native culture. He longed for the beauty of traditional Korea.
April Is Poetry Month: New Poems By Our Contributors
MARK ANTHONY CAYANAN, DAVID LEHMAN, and YULIYA MUSAKOVSKA (translated by the author and OLENA JENNINGS)
Table of Contents:
Mark Anthony Cayanan
—Ecstasy Facsimile (These days I ask god…)
David Lehman
—The Remedy
—A Postcard from the Future
—Last Day in the City
Yuliya Musakovska (translated by the author and Olena Jennings)
—Angel of Maydan
—The Sorceress’ Oath
Poems by KERRY JAMES EVANS, CHINUA EZENWA-OHAETO, RICHARD MICHELSON, and LAKSHMI SUNDER
Table of Contents
Kerry James Evans
—Maria
—Honeybee Psalm
Chinua Ezenwa-Ohaeto
—It’s Either Men Made God or God Made Men
Richard Michelson
—Vermin
—The Wedding in the Cemetery
Lakshmi Sunder
—My Mother Cuts My Nails
Translated from the Portuguese by HEATH WING
Translator’s Note:
Translating the poetry of Ana Carolina Assis can best be described as an ebb-and-flow process. By this I mean that her poetry seems to possess its own current, with waters that rise and recede from one line to the next. Tapping into this current is precisely what proved key to translating Ana’s poetry. Like many contemporary Brazilian poets, Ana largely favors the omission of punctuation, often creating ambiguity in how a line or stanza should flow. She also does not capitalize proper nouns. In English, I maintain the lack of capitalization, including
We’re pleased to offer these new translations from ON CENTAURS & OTHER POEMS by ZUZANNA GINCZANKA, translated by ALEX BRASLAVSKY, out from World Poetry Books this month. This is the first selected volume in English of Zuzanna Ginczanka, a visionary Polish-Ukrainian-Jewish poet of the inter-war years whose life was cut short by the Holocaust.
Zuzanna Ginczanka (1917-1945) was a Polish-Ukrainian-Jewish poet of the interwar period. Born in Kiev, which her parents fled to avoid the Russian Civil War in 1922, Ginczanka began writing seriously as a child in Równe, Poland (now Rivne, Ukraine). She was nationally recognized for her poetry by sixteen years of age. Encouraged by a correspondence with poet Julian Tuwim, she moved to Warsaw in 1935. There she became associated with the Skamander group and the satirical magazine Szpilki, and befriended many writers including Witold Gombrowicz. Her 1936 collection, On Centaurs, was widely lauded upon its release. At the start of World War II, she moved east, living in Równe and Soviet-occupied Lviv. In 1942, after the German takeover of Ukraine, she escaped arrest and fled to Kraków on false papers to join her husband. She was arrested in 1944 and shot by the Gestapo a few days before Kraków was liberated by the Soviets. After the war, her last known poem “Non omnis moriar…” was used in court to testify against her denouncers.
Alex Braslavsky (born 1994) is a scholar, translator, and poet. A graduate student in the Harvard Slavic Department, she writes scholarship on Russian, Polish, and Czech poetry through a comparative poetics lens. She was an American Literary Translators’ Association Mentee in 2021. Her work on Polish literature has been supported by the Jurzykowski Polish Grant and the ©POLAND Translation Program. Her poetry has appeared in Conjunctions and Colorado Review, among other journals.
These poems are excerpted from Olio by Tyehimba Jess, a guest at Amherst College’s 2023 LitFest. Register for this exciting celebration of Amherst’s literary life.
Hagar in the Wilderness
Carved Marble. Edmonia Lewis, 1875
My God is the living God,
God of the impertinent exile.
An outcast who carved me
into an outcast carved
by sheer and stony will
These poems are excerpted from The Trees Witness Everything by Victoria Chang, a guest at Amherst College’s 2023 LitFest. Register for this exciting celebration of Amherst’s literary life.
Far Along in the Story
Once I sat in rain,
opened my mouth to the sky.
I yearned to be changed.
But each drop was a small knife.
New poems by our contributors JULIA KOLCHINSKY DASBACH, BRYCE BERKOWITZ, DEBORAH GORLIN, MATTHEW CAREY SALYER
Table of Contents:
Julia Kolchinsky Dasbach
—Amygdala Means Almond
Bryce Berkowitz
—The Writers’ Bench in Gapped Couplets
Deborah Gorlin
—The Trouble with Rivers
—Landslide
Matthew Carey Salyer
—The Devil, His Own Self
—The Penguin Classics