Born in gilded fealty to the state, which was the people’s will,
which was the refined sugar of suffering and indifference,
which was the inherited burden of society, gift of the forefathers.
Bathed in cream, I transmuted hayricks into silk and mirrors.
I ate and destroyed, seeking relief from my depression.
By EDITH BRUCK
Translated by JEANNE BONNER
Poems appear below in English and the original Italian.
Translator’s Note
What I find indelible about Edith Bruck’s work is the subtle ways she introduces the topic of the Holocaust. A poem like “Pretty Soon” provides a glimpse of the author’s mindset – she managed to survive Auschwitz, and she hasn’t wasted a moment since her liberation as a teenager. She’s been incredibly prolific as a writer, and has traveled the world. But winning her freedom is an event forever married to the worst event ever: losing both of her parents in concentration camps. The challenge is to render that subtlety, which in the original is effortless. This is her life – it’s what she’s always known.
This thematic back and forth is also present in “There Were Eight of Us.” There were eight of us – but not anymore. One brother was swallowed up by the Holocaust, to use a phrase Bruck often employs in other work.
This piece is part of a special portfolio featuring new and queer voices from China. Read more from the portfolio here.
By Li Zhuang, Cynthia Chen, Chen Du, Xisheng Chen, and Jolie Zhilei Zhou.
Table of Contents:
This piece is part of a special portfolio about youth and contemporary culture in China. Read more from the portfolio here.
By JINJIN XU
I try to feel this is home 1
I don’t think
I am a foreigner 2
I was not supposed to be living 3
This piece is part of a special portfolio featuring new and queer voices from China. Read more from the portfolio here.
By WU WENYING, SU SHI, SHANGYANG FANG, YUN QIN WANG, and CAO COLLECTIVE.
Translated poems appear in both the original Chinese and in English.
Table of Contents:
New Poems by Our Contributors MORRI CREECH, ELISA GABBERT, ANNA GIRGENTI, and GRANT KITTRELL.
Table of Contents:
The Others
By Morri Creech
The children that I have never had follow me, late, through the vacant corridors.
They whisper there is still time, time for the quarter moon to nock its black arrow
New Poems by Our Contributors NICOLE COOLEY, DUY ĐOÀN, and JOHN KINSELLA.
Table of Contents:
Covanta, A Detail
By Nicole Cooley
The incinerator smoke an incision in the sky.
My daughter no longer small yet still I want to swallow her back into my body.
Sky a scalding.
My daughter asks me to stop saying, I wish this wasn’t the world you have to live in.
In my dream my girl is the size of a thumb I catch between my teeth.
Sky all smoke.
In the morning, men wearing masks drag our cans out to their truck.
In the morning, out the kitchen window, I wish the wide street rivered.
I.
In my dreams, I see our house,
Strong and proud like a monolith,
A monument to your mythology
Marked by the lighter squares of paint
Behind missing picture frames
And slowly rotting walls.
A hole in the drywall,
The ceiling falling through.
By ANZHELINA POLONSKAYA
Translated from the Russian by ANDREW WACHTEL
Poems appear below in English and the original Russian.
Translator’s note
Anzhelina Polonskaya frequently writes poems inspired by visual artists. These are not, however, ekphrastic renderings of an image in words, but rather a snapshot of the emotions that a given painter’s work evokes. In the poem “After Breughel,” published here, we need to ask, what precisely makes the text Breughelesque? To me, it is the anthropomorphized image of snow, with its dead white eyes in the first stanza, contrasted with the scarlet color (of blood, hell, the burning bush). This unsettling juxtaposition creates the Breughelesque landscape which has destroyed the artist, as in the painting Dulle Griet from 1563. But Polonskaya provides her picture without the scaffolding of a narrative, and, as far as the translator’s job goes, I needed to avoid explaining the poem, rather allowing the translation to be as allusive and mysterious as the original.
—Andrew Wachtel
After Breughel
Snow, listen up. Your eyes are dead.
We know full well we’re being led
like hostages of universal blindness.
Who are we, then? Unknown and homeless.
By MEGAN PINTO
Excerpted from “even in silence”
My father is perseverating, moving around the edges of rooms. On repeat, he asks, but how will
we pay for it? How will we pay for it?
He follows me, my mother, then me, then my mother. Inside my childhood home, there are only
so many rooms.
On Christmas Day, I bake a loaf of frozen bread. I feed slices to my father with my hands, then
catch each chewed up bit he pushes back out with his tongue.
He is speaking.
I am numb.
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Celebrating 15 Years