Poems by S. VIJAYALAKSHMI, KUTTI REVATHI, and PUTHIYAMAADHAVI
Translated by THILA VARGHESE
A farm in Tamil Nadu, India. Photo by Flickr user Emily Abrams.
Mullai Nilam (The forest and pastoral region)
Forest Fire
By Vijayalakshmi
My forest is on fire,
and a solar sphere explodes within.
Chicago, Illinois
things break. The last time, on the last day, the pipes in the kitchen burst and flooded my parents’ blonde wood floor. When I’m up in that 87th floor apartment, I look at the sky’s blank expression. I keep the little square office window open for the sliver of nature. It’s hard to read with Fox News blaring, so I drift from room to room.
Each time before I fly to Chicago, I lose my debit card. This time it leapt out of my raincoat pocket on my way to the grocery store and refused to reappear. I had the new one shipped straight to the Hancock.
Poems by SUKIRTHARANI, ILAMPIRAI, and SAKTHI ARULANANDHAM
Translated from the Tamil by THILA VARGHESE
Table of Contents:
Drawing by Sakthi Arulanandham for her poem “Land Grabbing Bird.”
Marutha Nilam (The agricultural and plains region)
For the sake of living
By Sukirtharani
In the courtyard filled with
bubbling water flowing from
the palm-leaf thatched roof
during monsoons,
grew a golden shower tree.
On that tree, yellow flowers
bloomed in clusters.
There was a nest on the tree
where sparrows with short beaks
would be chirping incessantly.
Sitting under the shade of the tree,
I would be studying passers-by.
Phoenix, AZ
Camelback’s faces wither in the sun. I used to hate Arizona and coming here and then I moved here and hated it and left and now all I think about is a good summer day and the lazy way a person can be themselves sifting through the desert, eating pizza, all that kind of stuff anyone does anywhere else, except then this mountain Camelback is available to burn off all those cheese calories. And that’s not the same everywhere. There is a part of me who everyday thinks of being back in Arizona walking around blistering days, laughing how when I had them to myself, I had thought this was the end of the line, that there had never been a worse place on earth. That’s mid-thirties type clarity.
Beppu-shi, Oita Prefecture, Japan
From beyond the waves, looking back at the shore, civilization betrays itself. The aging amusement park—its sign hasn’t been illuminated in years and the ferris wheel creaks under the weight of a glance—still perches on the hill. There are hotels, a communications tower, a shopping mall: each bows its head to the context of an environment that cannot wait to overtake it. The wooden faces of homes have settled themselves in intimate relationship: in or among the bamboo, against the mountain, above the valley, over the sea.
Rome, Italy
I am tangled up in time. My body is the fine silver of my necklace, tying knots through curls of hair. I am the feeling of trying to untangle its spindled chain with too thick fingers, tips all pink, reaching for a dexterity they just don’t have. I’m caught up like that. Strangled.
Photos courtesy of the author.
Ellesmere Island, Nunavut, Canada
Ellesmere Elegy
This land dreams up marvels:
a meteorite shower of clumpy
snow streaking under midnight’s sun.
This land embodies ruses:
broad valley floors and nondescript
slopes distorting scale and distance.
By STELLA WONG
Photos courtesy of Gandalf Hernandez.
The magnetic North Pole, Northern Canada
dramatic monologue as Bebe Barron
By JOEANN HART
Photos courtesy of author.
Gloucester, Massachusetts
It was mid-winter, so I timed my afternoon walk to end before the early night. Heading to the beach, I crossed a sea-battered causeway that dropped off to the salty Atlantic on one side, and the fresh water of Niles Pond on the other, ending at Brace Cove. Formed by two boat-breaking arms of intertidal granite, waves were still crashing into the cove from a recent storm. Migratory seabirds struggled to fly in the crosswinds. Added to the elemental roar of water was the steady screech of stones grinding in the surf, too rough a day even for the resident seals. As I stepped down from the causeway and onto the beach, I saw a man with binoculars around his neck. He was talking on the phone and there was a large, motionless shape at his feet.
Photo courtesy of author.
San Francisco, CA
Gold is all you notice at first. A triptych dressed in shiny monochrome. The center of it is just above eyesight, so you’re left looking up at of Keith Haring’s altar, Life of Christ, an imposing piece, big enough to hold most of your gaze and envelop your mind. Haring made the original cast in 1990 and it’s considered his final work. Grace Cathedral in San Francisco acquired this edition in 1995 for its Interfaith AIDS Memorial Chapel.
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