The Reluctant Traveler

By RACHEL HADAS

 

It seems I had to come this far to see
a puppy rooting in a pile of garbage,
scarlet blossoms on a poinsettia tree.


Two ladies in red saris climb the hill.
A gaunt, determined black dog follows us
up steep steps to the lodge in Dhulikel.

I had to come this far to see a rooster
perching serenely on a motorcycle;
two monkeys frisking up a temple wall.

Three drunken Brahmins dance in Chisapani.
Prayer flags flutter. Garbage chokes the river.
Sparrows on the roof investigate

Tihar pastries left from yesterday,
cold and oily. Even a bold crow
picks at them dubiously and lets them fall.

We climbed three secret steps to the hotel
in Bhaktapur, inscrutable brown city.
I had to venture this far for the dream

kaleidoscope to activate and turn,
a prayer wheel scooping riches from the deep.
You’re here to help, they urged. Give. No more taking.

Sharing rooms and memories with my son,
it seems I had to come this far to learn
to pay attention to both worlds again.

That night’s first sleep led down to inky water.
But in the morning, snow-capped mountains rimmed
the valley we would travel through together.

 

 

Rachel Hadas is Board of Governors Professor of English at the Newark Campus of Rutgers University.

Click here to purchase Issue 03

The Reluctant Traveler

Related Posts

Chinese Palace

Portfolio from China: Poetry Feature I

LI ZHUANG
In your fantasy, the gilded eaves of Tang poked at the sun. / In their shadow, a phoenix rose. / Amid the smoke of burned pepper and orchids, / the emperor’s favorite consort twirled her long sleeves. / Once, in Luo Yang, the moon and the sun shone together.

Xu sits with Grandma He, the last natural heir of Nüshu, and her two friends next to her home in Jiangyong. Still from Xu’s documentary film, “Outside Women’s Café (2023)”. Image courtesy of the artist.

Against This Earth, We Knock

JINJIN XU
The script takes the form of a willow-like text, distinctive from traditional Chinese text in its thin shape and elegance. Whenever Grandma He’s grandmother taught her to write the script, she would cry, as if the physical act of writing the script is an act of confession.

a photo of raindrops on blue window glass

Portfolio from China: Poetry Feature II

YUN QIN WANG 
June rain draws a cross on the glass.  / Alcohol evaporates.  / If I come back to you,  / I can write. My time in China  / is an unending funeral.  / Nobody cried. The notebook is wet.