This month we’re pleased to bring you poems by PEDRO POITEVIN translated from Spanish by PHILIP NIKOLAYEV and new work by 2025 Disquiet Prize finalists AIDEN HEUNG and ELLIE BLACK.
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This month we’re honored to bring our readers an excerpt from MARY JO BANG’s new translation of Dante’s Paradiso, out soon from Graywolf Press.
From Paradiso: Canto XI
The first eighteen lines of this canto are Dante’s elaboration of human difference, his lament over the failure of some humans to realize their gifts, and an exultation for the opportunity he’s been given—which is to enter Heaven before he has died.
Thomas Aquinas’s clarification of “where they fatten up” begins at line 22 and continues without interruption until the end of the canto. In lines 124 to 126, Thomas complains that Saint Dominic’s flock, the Dominican friars, are showing signs of ambition and greed, seeking honors and offices. They are wandering away from the tenets of the order, which are to live a life of humility and self-sacrifice. In lines 137 to 139, he says, “You’ll see what has splintered the tree, / And how the remedy for that can be deduced from // ‘Where they fatten up, if they don’t lose their way.’” The tree is the Dominican order, and it has been scheggia (“splintered” or “chipped away at”) because so many of the sheep have strayed. If the monks and clergy remain true to the principles set out by Saint Dominic, they will be enriched with the “milk” of spiritual nourishment and “fatten up” the way sheep are meant to.
Throughout the Divine Comedy, Dante is concerned with the ways in which selfishness destroys the social fabric. He details how people pay for that selfishness in Hell or by having to trudge up the seven terraces of Mount Purgatory. But Dante isn’t only interested in what happens after death, he is also talking about how we live while on earth. His life was destroyed by the petty grudges of partisan politics. As an exile, he was under constant threat of death. He takes great risks in writing his poem because he hopes that by addressing the greed and megalomania that is destroying Italy, he can help put a stop to it. He also knows that this is not a time-limited problem but a timeless one, which is why he wrote the poem in the vernacular—so that, unlike poems written in literary Latin, it would change over time. He said he was also writing his poem in the vernacular so that it could be read by everyone. That is why I translated the poem into the American vernacular.
—Mary Jo Bang
Poems by CATHERINE-ESTHER COWIE
Having made both poetry and fiction contributions to TC, the multitalented Catherine-Esther Cowie returns to us this month with highlights from her debut poetry collection Heirloom, forthcoming from Carcanet Press on April 24, 2025.
Publisher’s Note
Moving from colonial to post-colonial St. Lucia, this debut collection brings to light the inheritances of four generations of women, developing monologues, lyrics, and narrative poems which enable us to see how past dysfunction, tyranny, and terror structure the shapes of women’s lives, and what they hand down to one another.
Uneasy inheritances are just the starting point for this debut’s remarkable meditations: Should the stories of the past be told? Do they bring redemption or ruin? What are the costs of saying what happened? Beguiling and cathartic, Catherine-Esther Cowie’s powerful, formally inventive poems reckon with the past even as they elegize and celebrate her subjects.
New work from ELIZABETH METZGER, MATT W. MILLER, ANNIE SCHUMACHER, and MARC VINCENZ.
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Poems by RAFAEL ALBERTI
Translated from the Spanish by JOHN MURILLO
From Rafael Alberti’s Concerning the Angels, forthcoming in March from Four Way Books.
Poems appear in both English and Spanish.
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This month we welcome back TC stalwart BRAD LEITHAUSER, who honors us with new work, including the title poem of his new collection from Knopf, The Old Current.
—John Hennesy
New work by LEAH FLAX BARBER, ROBERT CORDING, PETER FILKINS
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In Beaufort
By Robert Cording
At a rented air B&B, I am sitting on a swing
placed here just for me it seems,
or just to carry off my worries and sorrows
as I rock slowly, back and forth, taking in
the shifting colors of the Broad River that circles
this marsh pocketed with cut-outs of water
and long inlets that circle round and round
as if it were one of those spiritual labyrinths
that bring calm as the center is reached.
Works by JEN JABAILY-BLACKBURN and DIANA KEREN LEE
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Archaeological, Atlantic
By Jen Jabaily-Blackburn
A morsel of conventional wisdom: Never use the word
boring in a poem because then they
can call your poem boring. The boring sponge can’t
do everything, but can make holes in oysters, & for the boring sponge, it’s
enough. I miss boring things like gathering mussel shells
for no one. I miss being so bored that time felt physical, an un-
governable cat sleeping over my heart. I have, I’m told, an archaeologist’s
heart. I have, I’m told, an archaeologist’s soul. An archaeologist’s eye, so
Poems By G. C. WALDREP, ALLISON FUNK, and KEVIN O’CONNOR
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Below the Shoals, Glendale
By G. C. Waldrep
I am listening to the slickened sound of the new
wind. It is a true thing. Or, it is true in its falseness.
It is the stuff against which matter’s music breaks.
Mural of the natural, a complicity epic.
The shoals, not quite distant enough to unhear—
Not at all like a war. Or, like a war, in passage,
New Poems by Our Contributors NATHANIEL PERRY and TYLER KLINE.
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34 (Song, with Young Lions)
By Nathaniel Perry
All the young lions do lack
bones. They lie wasted on grass,
cashed out, exhausted and un-
delivered. A poor man cries
eventually. A troubled
friend cries eventually.
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