Last May, having exhausted all possible local options, my husband and I got into our car and drove one hundred miles west. We left home early that morning in search of two specific things: better medical care and a definitive diagnosis.
During that first drive into Manhattan, we held hands. Almost ten years into our marriage, it’s something we rarely do anymore — and certainly not for prolonged periods of time. Looking back now, I was holding on for dear life.
Five New Poems by VICTORIA KELLY
Victoria Kelly graduated from Harvard University, Trinity College Dublin, and the Iowa Writers’ Workshop. She is the author of the poetry collection When the Men Go Off to War (Naval Institute Press), about her experience as a military spouse. Her poetry has appeared in Best American Poetry and has been made into an animated short film by Motion Poems. She is the author of the novel Mrs. Houdini (Atria Books / Simon & Schuster). She lives in northern Virginia, where she works in public relations, writes and is raising her two young daughters.
Table of Contents
Excerpted from Battle Dress: Poems by Karen Skolfield
The author of this excerpt, Karen Skolfield, will be a speaker at Amherst College’s LitFest 2020.
Enlist: Origin < German, to court, to woo
Perhaps with a desk between,
some chaste space, the recruiter leaning
forward, warm bodies on the other side.
Of the teenagers present
one will lie about her age,
one will eat bananas to make weight,
one pull herself from small-town quicksand.
Lace the hands behind the head,
look good in a uniform, look nonchalant.
Tehran, Iran, through public surveillance footage
all begins slowly like anything else. night. two birds walk together through a cobblestone alley.
the rooster first, then the hen. if I were to invert this order, begin again. there is a pile of bags
a pile of white cloth sacks. the objects transform themselves as I write. two bicycle
tires over the sacks to restrain them. a waiting for the image to come from darkness.
An excerpt from The Other Americans by LAILA LALAMI
My father was killed on a spring night four years ago, while I sat in the corner booth of a new bistro in Oakland. Whenever I think about that moment, these two contradictory images come to me: my father struggling for breath on the cracked asphalt, and me drinking champagne with my roommate, Margo. We were celebrating because Margo had received a grant from the Jerome Foundation to work on a new chamber piece, her second big commission that year. We’d ordered steamed mussels and shared an entrée and lingered late into the night. The waiter was trying to convince us to get the chocolate mousse for dessert when my phone rang.
By SUSAN CHOI
The author of this excerpt, Susan Choi, will be a guest at Amherst College’s LitFest 2020.
It’s been obvious from the beginning who are Broadway Babies and who aren’t. Those who truly can sing, who can give them the old razzle-dazzle, who live for that one singular sensation, have for the most part drawn attention to themselves from the first day of school. They cluster around the Black Box piano during rainy-day lunchtimes and sing The Fantasticks. They wear the Cats sweatshirts to school that they got on their holiday trip to New York. Some of them, like the Junior named Chad, are enviably serious musicians who can not only sing but play Sondheim, for real, from sheet music. Some of them, like Erin O’Leary, don’t just sing but dance like Ginger Rogers, having apparently put on tap shoes at the same time as they took their first steps.
CAMERON FINCH interviews OLIVER DE LA PAZ
Oliver de la Paz is the author of five collections of poetry, including his latest book, The Boy in the Labyrinth (University of Akron Press, 2019). His work has been published or is forthcoming in Poetry, American Poetry Review, Tin House, The Common, The Southern Review, and Poetry Northwest. He is a founding member of Kundiman and now serves as co-chair of Kundiman’s advisory board. He teaches at the College of the Holy Cross and in the Low-Residency MFA Program at Pacific Lutheran University.
Cameron Finch spoke with Oliver about mythic metaphors, the problem with story problems, empathy in the digital era, and the role of poetry in the endless exploration of ourselves.
By JESMYN WARD
The author of this excerpt, Jesmyn Ward, will be the keynote speaker at Amherst College’s LitFest 2020.
Sometimes I think I understand everything else more than I’ll ever understand Leonie. She’s at the front door, paper grocery bags obscuring her, hitching the screen and kicking it open, and then edging through the door. Kayla scoots toward me when the door bangs shut; she snatches up her juice cup and sucks before kneading my ear. The little pinch and roll of her fingers almost hurts, but it’s her habit, so I swing her up in my arms and let her knead. Mam says she does it for comfort because she never breast-fed. Poor Kayla, Mam sighed every time. Leonie hated when Mam and Pop began calling her Kayla like me. She has a name, Leonie said, and it’s her daddy’s. She look like a Kayla, Mam said, but Leonie never called her that.
Poetry by ROYA ZARRIN
Translated from the Persian by KAVEH BASSIRI
Poems appear in both Persian and English.
Translator’s Note:
My interest in translating Persian poems began more than a decade ago, while spending six months in Tehran researching contemporary Iranian poetry. I met many poets and returned with hundreds of poetry books. The range of voices was amazing—their work ran the gamut from postmodern experimentations to traditional ghazals—yet very few of these poets were available or properly translated in English.
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