21 de septiembre de 2017: “pero estamos vivos”
One: home
Two: home dos tres dos tres two: Mother.
One lápiz. One pen. One ocean between us. Six: Home.
By MARA PASTOR
Translated by MARÍA JOSÉ GIMÉNEZ
This island is full of women
who come back the way
skeletons return with the surge
or turtles to their native shore.
And after we officially gained entry into the Brotherhood of Bad Motherfuckers, what could our mothers do but lose sleep, wake into prayer, prepare herbs & apples, cursive the names of our enemies on loose leaf, & let their names dust in the sunlight.
Now everything is clean, rezoned & paved, tenements abandoned like whack parties, what is left for us to do but summon bullies from their graves & liberate ourselves from influence.
A flash of light—
out of the corner of my eye.
Fireflies, the thought flicks on—and dies.
Outside, the night air slaps my face
like a sheet of ice. Tufts of grass
crackle underfoot, porcupines
crawling up my spine.
The power goes out at night.
The house grows colder, its walls
begin to shiver, and we, its organs,
organize. My little son arrives
at my bedside, breathless,
in an inflatable boat.
We go to the window and search for signs.
Disorder everywhere: suitcases
strewn all over lawns, baby carriages
spilling bottles and toys, towers
of books toppling in the driveways. But the sky’s
perfectly ordered, still. In my chest I grope
for a moral law. And I find—
beating powerfully—a starfish.
Oksana Maksymchuk‘s writing has appeared in Words Without Borders, Poetry International, Modern Poetry in Translation, Los Angeles Review of Books,New Orleans Review, Salamander, Cimarron Review, and elsewhere. She won first place in the 2004 Richmond Lattimore and 2014 Joseph Brodsky / Stephen Spender translation competitions and received a fellowship from the National Endowment for the Arts. Most recently, she co-edited the anthology Words for War: New Poems from Ukraine. Maksymchuk teaches philosophy at the University of Arkansas.
By TINA CANE
Lucid dreaming is not a job but a steady occupation
I do not have a big dream they are only little dreams
and right now I cannot think of one
My father read the paper while my mother scrubbed the floor
I pay a woman $100 a week to help me keep my house clean
By MARA PASTOR
Translated by MARÍA JOSÉ GIMÉNEZ
Dozens of cars
wait in line
for a little fuel.
At the gas station
they’re waiting for a ladder
that leads to a generator.
By MARA PASTOR
Translated by MARÍA JOSÉ GIMÉNEZ
She asked me for an ice cream machine.
When she said it her collarbones were pronounced.
They were beginning to wilt,
but her skin was the flesh of coconut itself.
By DOROTHY CHAN
Oh, how I crave Bloody Marys at night, tomato and vodka,
kick of Tabasco, spices make everything in life a hell
of a lot better, or at least a hell of a lot more interesting,
and I think that’s what we’re aiming for, and maybe what
I really want is tomato soup, like Andy Warhol used to request
Josey picks me up at work in a car we bought
together, car she dug out of frozen slush for hours.
She picks me up and gives me roses. Valentine’s Day.
This month The Common offers a selection of poems from the anthology Making Mirrors: Writing/Righting by and for Refugees, forthcoming in November from Olive Branch Press, an imprint of Interlink Publishing Group.
A POETRY ANTHOLOGY THAT ILLUMINATES EXILE AND DISPLACEMENT
Making Mirrors began on two continents, envisioned by Palestinian poet and aid worker, Jehan Bseiso, and Becky Thompson, a US-based poet changed by months of greeting refugees after their perilous journey across the Aegean Sea.
This anthology uses mirrors to reflect imagistic connections that allow us to see ourselves in each other, those on rafts and those standing on the shore, those waiting/writing in detention and those writing from places of relative safety, those who lift their children to the sky and those whose bodies are at the bottom of the sea.
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