All posts tagged: 2024

Roadside Blackberries

By ZACK STRAIT

There were other vehicles moving through the darkness behind us. But we didn’t notice. We forced our bodies into the brambles. We stood on our tiptoes, reached high above our heads like we were greedy for the stars that night. But we craved something attainable, we thought. We thought our need was for the wild summer blackberries. But we were foraging for another memory to sustain us through the evil days to come. And as we ate, the past ripened in clusters for us there among the thorns. I don’t know what my father thought about then, as we filled our bellies with those dark jewels, but I could almost taste my grandmother’s fruit cobbler. The blackberries, I remember, were perfect that night. They were plump and sweet. The juice didn’t stain our fingers or mouths. We ate and ate. How wonderful, how the earth offers such goodness to us without cost. And how awful.  

Roadside Blackberries
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Kakosmos

By JILL PEARLMAN

Human systems exist in the mystery
always at the point of spilling 
over green, over and over their present containers
of cities and grids and human perception

for what of entanglements, what of catastrophes
what of black holes, of soot from burnt timber
what of seashells, snails, urchins in the pavement
of ancient Greek settlements 

Kakosmos
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Tramsa, Tromsa, Tramso

By MÒNICA BATET
Translated by MARIALENA CARR and JULIA SANCHES

Sometimes this is my story, others it’s not. They used to bring it up at home whenever the room fell silent. They’d talk about her, about a city with a strange name, Sokołowsko. They’d talk about that evening.

There are still pages and pages with tracings of her hands sitting in a drawer. Some are just of hands, while others have words written on the palms or along the fingers. Run away, Get out, Air air, Disappear…. Now and then I place my hand in one of the outlines to see if we have this one thing in common. If, maybe, I too will see all those people someday.

Tramsa, Tromsa, Tramso
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Furry

By BRAD LEITHAUSER

“Happy and furry?” she inquires, 
                               of the TV— 
but I’ve tuned out. Uh-oh, this may be 
tough to unriddle. When you’re eighty-three, 

as she is, with creeping dementia—all 
sorts of imponderables float by, 
and everything the more inscrutable  

if other faculties are failing too… 
like hearing, perhaps. A few seconds later, 
though, we enjoy a breakthrough, 

as our breezy, blow-dried commentator 
re-airs his catchphrase, which I move to clarify 
by relaying it slowly: 
                                    “Happy. And. Free.” 

 

 … At day’s end, even so, I might prefer 
happy and furry, as though she 
might yet retrieve days when all of us were 

that peculiar entity, a big family— 
father, mother, four boys of various 
ages and stages—become, like any true family, 

inhabitants of a lair, 
wound and bound in a low common smell 
(our own must of sweat and hair),  

that familial furriness which cordons off a small 
walled area while informing a potentially 
invasive world, This is us. 

 

Happy and furry. The woman’s five years dead, 
yet just last week the phrase returned  
as I, watching a YouTube clip, was shepherded  

to an obscure nature site by a tag that posed 
a teasing test: TRY NOT TO CRY AS MAMA CHIMP 
MOURNS BABY. The test? Frankly, I’m not sure I passed. 

Embarrassed, as if being watched, I felt  
my eyes prickle as the blinking simian—so loving, 
so darkly puzzled—stroked and stroked the silky pelt 

of a torso strangely limp 
whose russet fire still burned, 
though warming neither the dead nor the living. 

 

… Furry, then, if not free. We mishear,  
misread, we go on misspeaking, 
and if our errors pain us, soon they disappear  

into an unseen, unseeable, ever-amassing crowd. 
Click here. Click. Now. Always, the furious din out there, 
and what do our answers count, everything so loud 

and larger always than yesterday? We learn to chart 
our growth by the billion-, trillion-fold: 
Vaster, faster numbers. See me. Click. Give me your heart,  

click. Like me…. So many voices, all seeking, 
as I suppose both mothers were, the warm, the old, 
the furred primordial lair. 

 

Brad Leithauser is the author of eighteen books. His nineteenth, The Old Current, a collection of poetry, will be published by Knopf in February 2025. A former theater critic for Time, he is the recipient of a MacArthur Fellowship and a Guggenheim Fellowship. 

[Purchase Issue 28 here.] 

Furry
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Europa

By CAMPBELL MCGRATH

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.

Europa
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Remembrances

By ANTÒNIA VICENS
Translated by MARY ANN NEWMAN

Palma, 1978

One day he came, handed me a little box, and said look, look inside. Oh God, what a husband, I was afraid maybe he was losing it, another day it had been look, open this package, and there were more than half a dozen bras with ruffles. I opened the little box and was practically blinded by a stone brighter than the sun. No explanation, nothing, business is coming along, he said. And at night, here we go, trying for an heir, but that wasn’t coming along at all. 

Remembrances
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What We’re Reading: October 2024

Curated by SAM SPRATFORD

This month, our online contributors CHRIS JOHN POOLE, JULES FITZ GERALD, and LAURA NAGLE recommend three inventive, deeply human books with stories that traverse two oceans—from Japan, to Mexico, to Norway. 

Cover of This is Not Miami: The title is spelled out in colorful lights, appearing soft and out-of-focus against a navy-blue background. Below, the author's name is penned in narrow, wobbly script.

Fernanda Melchor’s This Is Not Miami (trans. Sophie Hughes); recommended by TC Online Contributor Chris John Poole

In her author’s note to This Is Not Miami, Fernanda Melchor writes that “to live in a city is to live among stories.” The city in question is Veracruz, Melchor’s birthplace, a city of cartel violence and political corruption; ritual magic and cold, hard truth. Veracruz’s stories, meanwhile, are those which are gleaned from—and imposed onto—its grim realities.

The stories in This Is Not Miami are crónicas, a genre with no direct equivalent in the Anglophone canon. Crónicas mix reportage and fiction, in a manner akin to gonzo journalism. They favour subjective accounts and firsthand experience over hard data and rigid chronology. Melchor’s crónicas collate rumours, folk myths, and personal narratives, injecting reportage where necessary.

What We’re Reading: October 2024
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A New Kind of Campus Novel: Bruna Dantas Lobato on Her Debut Novel

EMILY EVERETT interviews BRUNA DANTAS LOBATO
 
Bruna Dantas Lobato 
Back in 2017, The Common published a debut short story by a young Brazilian-American writer with a beautiful, understated style, and an enormous talent for translating big emotions into quiet gestures, thoughtful moments, and tense, restrained dialogue. Publishing debuts is always meaningful, but the best part comes after: watching those early-career writers go on to greater and greater successes.

Last year, that writer, Bruna Dantas Lobato, was awarded the 2023 National Book Award in Translation for The Words That Remain by Stênio Gardel. And this month, her debut novel is out from Grove Atlantic’s Black Cat imprint. She sat down with TC managing editor Emily Everett via Zoom to talk about that novel, Blue Light Hours. Zoom felt like a fitting medium: Blue Light Hours follows a first-year college student communicating with her mother back in Brazil only via Skype. They also discussed her work translating from Portuguese, and the pleasures and pitfalls of connecting with her home country through writing and translation. Bruna was born and raised in Natal, Brazil, and now lives in Iowa.

A New Kind of Campus Novel: Bruna Dantas Lobato on Her Debut Novel
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Read Excerpts by Finalists for the Restless Books Prize for New Immigrant Writing 2024

On the Restless Books Prize for New Immigrant Writing:

We are thrilled to announce the finalists chosen for this year’s Restless Books Prize for New Immigrant Writing in fiction. In this ninth year of the prize, it has never felt more important to highlight themes of migration, displacement, unrest, alienation, self-determination—of seeking home, and all the reasons one leaves home to find a better way.

As it has since the beginning in 2015, the prize seeks to support writers whose work examines, with fresh urgency, how immigration shapes our countries, our communities, and ourselves.The winner will receive $10,000 and publication by Restless Books.This year’s judges—authors Priyanka Champaneri, Rivka Galchen, and Ilan Stavans—have selected the following four finalists. Please join us in celebrating their work.

Read Excerpts by Finalists for the Restless Books Prize for New Immigrant Writing 2024
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