This month we welcome back VIRGINIA KONCHAN with a single-author feature.
Table of Contents:
– Yoga Veda
– Memoir
– Beautiful
– Domestic
Poetry by ŞÜKRÜ ERBAŞ
Translated from the Turkish by DERICK MATTERN
Poems appear in both Turkish and English below.
Translator’s Note:
Şükrü Erbaş was born when, as his mother said, “the vineyards were boiling”—that is, when the pekmez (a traditional grape syrup) was being made. He grew up among those vineyards and wheat fields and apple orchards, deep in the Anatolian countryside, in the town of Yozgat, not far from the ruins of the ancient capital of the Hittites.
Erbaş’s reputation in Turkish poetry hasn’t strayed far from the geography he grew up in, neither from its idyllic beauty nor from its brutal poverty and neglect. But while Erbaş doesn’t shy away from the politics or economic struggles of the long-suffering Anatolian people, he’s not reducible to a mere political or a nature poet. His reviewers usually accord him something like the status of a poet of witness. Poet-critic Şeref Bilsel calls Erbaş a socialist poet without slogans, one who doesn’t say “I need to speak” but rather “I have heard.”
We are happy to welcome DAVID LEHMAN back to our pages.
The Complete History of the Boy
1.
The baby giggled in his crib.
His father walked in. “Why are you laughing?”
“Because,” the baby said, “we all have our joy.”
It was his first sentence.
When the baby had his own bed,
he said children are luckier than grownups
because they get to sleep in their own bed
while grownups have to share.
At four he was asked what he wanted
to be when he grew up. “Santa Claus,” he said.
That was Thanksgiving. By January he thought better of it.
“I never want to be a grown-up because
that would be the end of me.”
It was the age of the aphorism:
“Candles are statues that burn for the ceremony.”
“Saliva is the maid of your mouth.” (It cleanses it.)
Poetry by CLAUDIA PRADO
Translated from the Spanish by REBECCA GAYLE HOWELL
Poems appear in both Spanish and English.
Translator’s Note
These poems and versions are from Claudia Prado’s El Interior de la Ballena (Editorial Nusud, 2000), a novel-in-verse based on Prado’s agrarian family legacy in Patagonia. Prado is an Argentinian poet and filmmaker known for making groundbreaking, socially progressive art. El Interior de la Ballena was her debut, a poetry collection that received the bronze Concurso Régimen de Fomento a la Producción Literaria Nacional y Estímulo a la Industria Editorial del Fondo nacional de las Artes (this is the third place award for the biggest literature prize in Argentina). Mixing fiction with oral history, Prado imagines her ancestors’ 19th century migration from the Basque Country into Argentina and, ultimately, southward into the oceanic desert. These poems offer a rare look at the Patagonian plateau between 1892 and 1963, years of intense immigration and population growth, written through a feminist lens. In addition to poems written in the poet’s own voice, the book also makes wide use of monologue and persona techniques, weaving together this intergenerational story through a multiplicity of voices: here speaks a woman who, against her will, is taken to that desert; here is revealed the thoughts of an orphan laborer; here, a chicken thief celebrates his sad prize. In El Interior de la Ballena, Prado uses her page to privilege the often unseen and unheard, composing in silence as much as sound, and in so doing creates a poetics of Patagonia itself. When read together, the poems quilt a place, time, and lineage through a story of strong women, wounded and wounding men, and a rural and unforgiving landscape from which hard-scrabble labor is the origin of survival.
—Rebecca Gayle Howell
The mansion where Gone with the Wind was written sits up on blocks
like a trailer, underpinnings exposed, like a trailer, trucked down a road,
relocated from one county to another that also can’t afford its restoration,
a green curtain of vines drawing over the decay. What should stay?
and the amazed girls saw their bodies equipped with golden plumage, and the wings and feet of birds
I turn over the soil, my son chattering beside me. He wants to talk about time, its intransigency and evasions. Our hands breaking up the clumps, pulling out old roots.
If not for the lust of women, there would be no alphabet.
Save for the breaking of traffic rules, there would be
no Cubism; no fractured light scrutinized from subways
or kaleidoscopes in the tool belts of surveyors.
By IAIN TWIDDY
As if he was pelting for a winter,
his hair returning, the closer he gets,
to that flossy, watchful, infant softness,
like the idea of an angel’s wing;
By CRISTINA CARLOS
Translated by JETHRO SOUTAR
At school I learned to count—one plus one is two
I learned to multiply—one times one is one
And subtract—one minus me is zero: Nothing!
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Celebrating 15 Years