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Return / To the Beloved / Athens

There was a nearly suffocating smell: smell of old walls, it struck me like the melodies that resurrect in the heart the deepest memories. You know: on that sofa I wept so much when I knew you wouldn’t come back. And today, in the doorway, my soul of that time took hold of me; in an instant my entire past returned. . .

Nine Excerpts from Padre Tierra: A Poem in 50 Parts

I sleep and everything sleeps. The bread dough sleeps in the bowl covered with a damp cloth. The jars are sleeping in the cupboard, each a womb of enameled glass. Quinces sleep, household suns, on embroidered bridal linens in the hope chest. Tomorrow you’ll be fine. Between dreams, I hear you. Tomorrow, you’ll run, as if this were nothing. It’s just that you’re growing. . .

Klétka: The Story of Jenő Gold

From the spring of 1986 onwards, Vera’s abdomen, stomach, or something thereabouts, hurt. It didn’t hurt all the time. It hurt sometimes. It didn’t even always hurt in the same way. At times, it hurt more; at other times, it hurt less. They thought: it happens. One’s stomach hurts sometimes. It will go away.

Five Poems from One Hundred Prisons of Love

Because my heart
is honey and soft wax
flesh craving a fingerprint
or just a dent––

I dream, defer, despair,
and in love’s hundred prisons,
die and die again.


The guns sing a carmine joy incarnate—note how, here, two figures of speech live in peaceful coexistence to narrate an epic event.[…]

Forgetting My Mother

Now she can’t do anything anymore, so, when I visit her, I tell her to prepare the salad, just to kill time. She peels away the bad leaves, and I tell her, “Throw them away and leave the good ones.” She starts, but then she forgets, so we eat the rotten salad and we mix it with curcuma and balsamic vinaigrette to cover the bad taste.[…]

Untitled Selections From L’Adolescence

And when the night draws its celebrations to a close, the hares undress all alone, sexes smeared from long storms. Perhaps we’ve forgotten that the body, yes the body, finds a desolate kind of beauty once exposed […]

The Doll’s House / Let’s go! To Paris not to live, but to die / No Need to Savor Youth

Blame me not, but society, morals, laws, and customs Your mother as a pioneer was a martyr of destiny Someday you may come as ambassadors to Paris Find my grave, leave one flower for me[…]

Dead Fox

The Support Verses, Earliest Sayings of the Buddha/ The Beatitudes

Marrow/ Boat People/ Balsero/ Ritual/ Exequias

Havana reverberates, resists,
bursting through the cobblestones.
Light years,
I sense a galaxy of infant stars.
I don’t use its name and it doesn’t use mine […]

It is always raining in our memory/ Untitled/ The Island Drank Up All the Air/ The Sunset


The Color of Envy

Before Spring, XXXV., Advent, & Omega

[translated poetry]

Before Spring

A strange sound wakes you.
Your heart? Your stomach? Just the pipes.
Two-thirty in the morning. A pale lane
of light pollution looms between the high rises

on the horizon. Above it, a thin
strip of sky. Like clumps of minerals
in a newly discovered mining cavity,
dim stars shine. The night swallows the minutes’

mine carts, the years. And it all stays down
in the deep forever. The past tears away,
like a quarry’s steep cove.
Cold water. A few movements. Hands.

What you think about, longingly and full of surrender,
is what has already come to pass.
And suddenly, you recognize—a few elementary
words, a child’s outfit—this was your life.



The direction of the winds has changed.
In place of the rotting smell of salty
Seaweed, drifts the resin aroma
Of the almond trees. In summer’s

Dense company, wavy
Watered-down death shines.
It’s easy to spot the city’s spires.
Like faint female figures,

They stand there, and their dresses,
Sewn from leaden steam,
in this flammable moment,
drop to their ankles.



My friend and I were sitting at a bar
drinking dark beer and whiskey,
watching the sluggish bartender behind the taps.

The beer wasn’t bothered by anything, the beer would’ve run
over the rims of glasses,
over the rims of mouths;

but the guy was slow, patient, persistent—
he waited. He tamed the golden
brown animal before him.

We were sitting at the bar, my friend and I,
counting down the past,
change hitting the glass,

We meditated on the future,
brought up an old mutual friend,
how he’d lost his way, messed up, doesn’t stand a chance.

We finally stepped out onto the street, drunk.
And steaming there before us on the sidewalk
on that November night was a pile of shit.

Human or animal? It didn’t matter.
It doesn’t matter. “You going
home?” “I’m going.”

We shook hands, headed home
in two directions.
It was cold. Foggy.

Winter had already dressed up and was waiting
patiently backstage.
I walked. I was cold. I fished out a cigarette.

When the flame of the lighter came to life,
I thought about how that pile of shit on the sidewalk
in front of the bar was probably frozen by now.
And while I shivered and blew smoke
and my steps knocked along the sidewalk,
I thought about what it was

that kept you with me so long,
and if I haven’t turned yet, what will turn
me against you in the end.



Street lamps on the closing curve,
off-white silk skirts
swish. It’s midnight.
Growing claws, tomorrow hangs
onto yesterday.
The city laid out after rain
like a freshly washed corpse.

Love’s not enough for anything.
It does not turn deceit good.
It does not obstruct spite.
It does not ease death.
There has to be something else
beyond love.



Tavasz előtt

Valami különös neszre felriadsz.
A szív? A gyomor? Csak a vízvezeték.
Hajnali fél három. A fényszennyezés
sápadt sávja dereng a toronyházak közt

a látóhatáron. Fölötte keskeny
szelet égbolt. Mint frissen feltárt
bányaüregben az ércrögök, fakó csillagok
ragyognak. Az éjszaka elnyeli a percek

csillesorát; az éveket. És mind lent marad
a mélyben örökre. A múlt leszakad,
mint egy bányató meredek öble.
Hűvös víz. Pár mozdulat. Kezek.

Arra gondolsz, vágyakozva és lemondással
teli, ami előtted már alászállt.
És hirtelen felismered – néhány kezdetleges
szót, egy gyerekruhát –, hogy ez volt az életed.



Megváltozott a szélirány.
A hínárok sós rothadásszaga
Helyett a mandulafenyők
Gyantaillata száll. A nyár

Tömör közegében hullámzó,
Híg halál ragyog.
Jól látni a város tornyait.
Mint halovány nőalakok,

Állnak, és ólomgőzből
Szőtt ruhájuk,
E lobbanásszerű percben,
Bokáig lehull.



Ültünk egy barátommal egy bárban,
barna sört ittunk, whiskyt és
figyeltük a lomha pultosfiút a sörcsapok mögött.

A sört nem érdekelte semmi, a sör futott
volna, túl a poharak száján,
túl a szájakon;

de a fiú lassú volt, türelmes, állhatatos –
kivárt. Megszelídítette ezt az aranyló
barna állatot.

Ültünk a pultnál, a barátom és én,
számoltuk le a múltat,
aprópénzt a pultra,

latolgattunk jövőt, és egy közös
barátról is szó esett,
hogy ő mennyire félrement, elrontotta, esélye sincs.

Kiléptünk az utcára végül, részegen.
És ott gőzölgött, a novemberi éjszakában,
a járdán egy kupacnyi szar.

Emberé vagy állaté lehet? Nem számított.
Nem számít. „Mennél már
haza?” „Megyek.”

Kezet ráztunk, és – ketten kétfelé –
elindultunk haza.
Hideg volt. Köd.

Már felöltözött a tél, és türelmesen
ácsorgott a színfalak mögött.
Gyalog mentem. Fáztam. Előkotortam egy cigit.

Mikor az öngyújtó lángja föllobbant,
Eszembe jutott, hogy mostanra talán
a bár előtt, a járdán az a kupac szar már megfagyott.

És míg reszketve fújtam a füstöt,
és a léptem kopogott,
arra gondoltam, mi volt,

ami megtartott eddig neked,
és ha nem fordultam el, mi fordít
végül mégis ellened.



Utcalámpák a záródó kanyaríven,
törtfehér selyemszoknyák
suhognak. Éjfél van.
Karmot növeszt, kapaszkodik
a tegnapba most a holnap.
Kiterítve eső után a város,
mint egy frissen mosdatott halott.

A szeretet nem elég semmire.
Nem teszi jóvá az árulást.
Nem akadályozza a haragot.
Nem könnyíti meg a halált.
Valaminek kell még lennie
a szereteten túl.

Translator’s Statement:

I first came across some of these poems at a reading Babiczky gave in Budapest in the winter of 2017 that I attended, several months before Unfinished Poems, the collection in which these poems appear, was published. I was instantly pulled in by the cold, seasonal imagery of the first poem Babiczky read, “Advent.” It was winter outside, the first winter I’d spent in Budapest since I left the country as a child. I was also discovering the city on my own for the first time after leaving a relationship that summer that was immensely important to me. I was still nursing old wounds in Budapest, and the last few weeks I’d spent in the chilly city helped me to easily identify with the speaker as he who walks through the frozen streets of Budapest meditating on what it will take for his feelings to change about his ex-lover.

By the time Babiczky made it to the end of “VII.,” a poem about his mother’s days on the Balaton shore as a young woman, I was visibly sobbing. My mother, who likewise spent many summers of her youth on the Balaton shore, often questions her decision to have left her home country behind for America, and later, in looking over my first draft of the translation, admitted that she also cried when she read “VII.” I know I must translate a Hungarian work into English when it speaks to me on an emotional level, and often that helps me to bring it more seamlessly into English, but that is not always the case. In translating these poems, however, I needed simply to find and latch on to the emotional tenor of each piece to bring them into English. The process was surprisingly quick, when, in fact, I wished I could have stayed in the poems longer, revel in the deep emotions each one strikes. Babiczky and I spoke a few times, once even in person, about the translations, and his feedback was immensely helpful, particularly in maintaining the sounds, rhythms, and occasional rhymes of certain of the poems.

Timea Balogh is a Hungarian-American writer and translator with an MFA in creative writing from the University of Nevada, Las Vegas. A 2017 American Literary Translators Association Travel Fellow, her translations have appeared or are forthcoming in The Offing, Two Lines Journal, Waxwing, Split Lip Magazine, Arkansas International, and the Wretched Strangers anthology from Boiler House Press, among others. Her debut original short story was published in Juked magazine and was nominated for a PEN/Robert J. Dau Short Story Prize for Emerging Writers. Another of her stories is soon to appear in Passages North. She divides her time between Budapest and Las Vegas. You can tweet her at @TimeaRozalia.

Tibor Babiczky was born in Székesfehérvár, Hungary, in 1980. He earned degrees in Hungarian and English from Pázmány Péter Catholic University in 2005. He has worked as a journalist, editor of a literary magazine, and a book editor, which he still does today for the Hungarian publishing company Libri. He has been twice nominated for a Horváth Péter Literary Grant, a Margó Grant, and is the winner of the Móricz Zsigmond Grant. His poems have been translated into English, Czech, French, Greek, Croatian, and Polish. Tibor has published six poetry collections and one crime novel. The poems submitted here are all drawn from his latest poetry collection, Félbehagyott Költemények (Unfinished Poems), which hit bookshelves in the spring of 2018.

Black Magic

[translated flash prose]

Take this seed. Plant it in an olla that has only been used to make coffee. Water it lightly Tuesdays and Fridays around midnight. It will grow into a plant with black flowers. Cut them with a man’s knife and grind them up in a new lava stone mortar. You will be left with a bit of paste resembling congealed blood. Drop this into a bottle of mezcal and let it brew for twenty-eight days. By then you will have a perfume. Sprinkle a few drops on the sheets each time you bring a woman to your bed. If she is the woman you are destined to love, the bed will fly through the window, sail to the shore and at the shore become a boat and disappear at sea. Nothing will be heard of the two of you again but why would you want to return to land if you’ve found true love. But if she’s not the one, the bed will become a wild mare, will leap through the window and run with you all night long. When you wake in the morning, nothing will matter to you. You’ll ask why you would want to meet your soulmate if a woman who isn’t yields such grand pleasure.

Magia Negra

Toma esta semilla. Plántala en una olla que se haya usado sólo para hacer café. Riégala un poco los martes y los viernes cuando esté por dar la medianoche. Crecerá una planta con flores negras. Córtalas con un cuchillo de hombre y muélelas en un molcajete nuevo. Te quedará una pastita como sangre coagulada. Ésta la vas a echar en un cuarto de mezcal y la vas a dejar ahí 28 días. Al cabo de éstos tendrás un perfume. Rocías unas gotitas en las sábanas de tu cama cada vez que lleves una mujer. Si es el amor que te toca, vas a ver que la cama sale volando por la ventana y se va a playa y en la playa se convierte en una barca y se pierde en el mar. Nunca se volverá a saber de ustedes, pero para qué quieren regresar a la tierra si ya encontraron el amor. Ahora que, si no es la mujer que te toca, la cama se convertirá en una yegua bronca, saltará por la ventana y se los llevará a correr toda la noche. Cuando despiertes en la mañana, ya no te importará nada. Dirás que para qué quieres encontrar a la mujer que te toca si con la que no te toca es tan grande el placer.

Translator Statement

Agustín Cadena intends to subtly connect “Black Magic” to indigenous magical beliefs of rural Mexico and does so with three words: olla, molcajete, and mezcal. I was able to keep olla, that unique receptacle, because, of course, it has only been used to make coffee: café de olla is as particular as café au lait. Generally speaking, alcohol needs no introduction, so mezcal should be fine. Molcajete was the problem. The sentence describes the grinding done in it, but a molcajete is not just a mortar. It’s a dark lava stone mortar used by country folk and when it’s new, the stone is as coarse as a concrete block. The rest of this wild flash story is all Agustín Cadena.


Patricia Dubrava teaches writing and literary translation at the University of Denver. She has two books of poems and one book of stories translated from Spanish. Her translations of Agustín Cadena’s stories have appeared most recently in Mexico City Lit, Exchanges, Asymptote, Numéro Cinq, and Cagibi. Her translation of a Cadena story was a finalist for Lunch Ticket’s Gabo Prize in 2017. Dubrava blogs at

Photo Credit: Ella Dascalos

Agustín Cadena was born in Ixmiquilpan, Hidalgo, México, and teaches at the University of Debrecen, Hungary. Essayist, fiction writer, poet and translator, Cadena has won national prizes for fiction and poetry. His books include collections of short fiction, essays, poetry, five novels, and eight young adult novels. His work has been translated into English, Italian, and Hungarian. Cadena blogs at

Photo Credit: Roberto Garza

The Love Designer

[translated fiction]

Dime-a-dozen, fair-weather friends—the ones you met to do nothing but sit around, drink beer, and gab. The night we hung out was of the same kind. On one side of the booth sat men who wanted a one night stand. None of the ladies on the other side were seeking Mr. Right, either.

Nobody listened to anybody amidst the peal of women’s laughter, the men’s coarsening chatter, the overspill of shouts from the other booths, and then I heard it.

“The Love Designer,” went an announcement behind me.

“Is that a thing now?”

“When is anything not a thing?”

“How does it work?”

The woman’s coy question was answered by the unseen man’s low but self-assured voice.

“Say a guy’s been chasing after you. You ignore him. If this guy doesn’t know the love designer, he is done for. But if he finds me, he’ll end up becoming enamored by you.”

“You manipulate affections?” The woman laughed in delight. “No way.”

Something in her voice said she had put on a sly glance.

When I turned around, the woman was stealing looks left and right. Her teasing gaze then trained on me, and—here’s the damnedest thing—she smiled.

As drunk as I was, I beamed back. But, as if having expected it, she whipped up a stink-eye, and looked away. The self-proclaimed love designer looked like he had at least a decade over us, with a genial face and a highball glass of tomato juice in front of him.

I only remember drunkenly thinking, If I met a real enchanter like this fellow is on about, I’d make this broad fall for me. For cutting eyes like that, I’d make her fall for me, and then jilt her to lifetime despondency.

On one side of the booth sat men who wanted a one night stand. None of the ladies on the other side were seeking Mr. Right, either.

Two of the three stupidities in my life, I do drunk. I may have even bumped into the fellow in the men’s room and grabbed his business card…?

Through sheer luck I made a massive fortune that no other twenty-something could amass, and that was when I found myself in company of these friends.

Three years ago, they latched on to help me scatter my money, like sand through fingers. Three years ago, I was a loner—and now I had a small herd following me day and night. I guess they thought they were using me: taking advantage. I didn’t care what they thought, what mattered to me was that wild friends sat under the shade of my wallet whenever I wanted some fun company. The little boy inside me didn’t think he had been leeched, wheedled or swindled even though he had been. The boy was that strong, that naïve. We humans are like an animal that blends into its environment. That night, I noticed the absence of the smiling boy, who had trusted everyone.

I used to think life should be interesting. I even indulged in the smallest intrigue to make life interesting: I bought sundry fun-sized toothpastes to try as many flavors as possible. My friends were also fun. But I yearned for other kinds of fun. At the time, I had bought my first personal computer, and I was addicted to surfing the Web. Every time I was back from that opium-like, fabricate world, I would call my booze friends. Yet, echoing above our usual drunk conversation were those words:

“The Love Designer.”

Let me cut to the chase. It’s unwieldy to write, it must be unwieldy to read.

I met the strange fellow again and asked him to entangle me with that smirking woman.

“Perhaps I can introduce you two first,” said the stranger in an ingratiating tone, “See if she’s into you. Who knows? Perhaps you don’t need me after all.”

Two days later, we had a “chance” encounter at the bar. Just as the conversation was flowing, the love specialist excused himself and left me with her.

The woman wasn’t into me from the get-go.

Afterwards, I invited her to dinner at a ritzy restaurant—twice—with no luck.

“Sorry, it’s not that I am busy,” she said. “You’re just not my type of guy.”

Hearing these words stirred not so much my desire but my vindictiveness, so I called on the love designer. My interlocutor said:

“She looks coquettish but she’s wily as they come. Not an easy game. I’ll use a special method. How about she dream of you in the coming nights? Can’t do anything else for now. I’ll think of something if it fails.”

Well, shit, I thought. He’s just another scammer. In my most naïve voice, I said:

“What? She’ll dream of me?”

“It’s gonna be dreadful for a while.”

“Why dreadful?”

“Think about it! You said she didn’t give you the eye, right? Who in their right mind wouldn’t be discomfited when some indiscernible guy visited them every night, caressed them to goosebumps, touched their intimate parts, and left them in the morning with vivid memories and a palpitating heart?”

“Every night?”

“For several nights, before the break of dawn…”

“My goodness, if that were to really happen, I—”

Just as I bit my tongue for sounding so gullible, the love designer coolly said, “Pay me.”

It was expensive to spite a woman who spurned you. He justified his exorbitant fee by saying, “Life can be over anytime. No use counting on days ahead. If you’re getting a hooker, settle for the prettier and more expensive one.”

He’s totally in cahoots with that lady! I thought. Oh, well, whatever. All I’m after is something to add intrigue to that which can be over soon.

For what it’s worth, he stood insanely confident. I even thought I had picked such an easy woman.

While waiting for the money, he continued his scheme. “She’ll dream of you starting tomorrow.”

She could be dreaming of me. I could be fucking this haughty, cold-shouldered woman, in her dreams. Isn’t that the most tempting, if not the most ludicrous, idea? It was funny to see how naïve I was at the same time. I supposed that woman would be calling to say, “I can’t help but dream of you. It’s driving me nuts.” They’d be snickering after she hang up the phone. Nevertheless, I kept wondering how exactly it would go down. A subtle shudder took over me; I thought I must be going insane as I forked the money over.

“You won’t dream of her, though,” he said. “Only she of you. Bare as you were born. And if you have any marks, tattoos, she’ll see them. That okay?”

“No. I wanna see her dreams. Put her dreams in my dreams.”


“Aren’t we already beyond that?”

I thought it no small feat to be staring down a con-artist. In any case, I prevailed the stand-off with dignity. He kept quiet.

“All I want is to see her,” I said. “To caress and—some intimate moments with her.  Losing that makes me sad, even if it’s only in a dream, even if it won’t really happen in a million years.” I added that this could be the most important event of my life. I was already channeling my Romeo.

The love designer eyed me for a beat, and said:

“It’s gonna cost you.”

The next morning, I awoke—shell-shocked from my sensual dream—and lobbed myself off my soiled cover.

“It’s all my fault,” I thought nervously. “I’ve always been the wretch wired to fall for these traps.”

After dreaming of the coquettish-yet-haughty woman seven days straight, I realized it gave me no pleasure, but sheer dread. You dumb Romeo, you’ve met the devil!

Presuming that devils exist, I was all about running away. I had been tied down to a large business venture as an investor. A partner said:

“Gotta make a big move. We can only profit big by spending big.”

I asked back, “If the gaining and losing are about the same, why the hell is it worth it?” It stymied my partners and thankfully liberated me.

I holed up in a foreign country for three months, then in the northwestern-most soum[1] in Arkhangai aimag[2] for two years. I lost my unhelpful, unforthcoming, parasitical friends for good in the process. But it turned out you can’t elude your dreams.

No sooner had I returned to the capital and turned on my no-longer-trendy cellphone than came a new message. Thinking it was the love designer looking for me, I opened it. The number was the woman’s. Now was the time to renounce the hex. I had to see her and ask everything.

The woman had not changed at all. She said I looked tanned, like a country boy. I can’t recall how we steered the conversation into the topic. Both of us needed some drinks.

“Yes, I dreamed that.” The woman glowered. “So what?”

“It wasn’t a dream.”

“What do you mean?”

“We really were intimate. Part of me was left deep inside of you. Like permanently. What we dreamed happened for real.”

“Are you out of your mind?”

“I think I am, but it doesn’t matter. If you’re analyzed in whatever kind of screening however far in the future, I am sure that my cells will be found in you.”

“Could you be any more ridiculous?”

“It’s all real. Just like that guy who forgot his mother tongue.”

“You lost me.”

“One morning this guy in Arkhangai woke up to talk at his mother in a foreign tongue. He’d never studied any language. Nobody believed him right off. But by and by, they discovered that he hadn’t memorized a single foreign word before. He could only comprehend Spanish, nothing else.”

“Am I supposed to believe in that story?”

“When you stand up barefoot, you come up to my chin. I didn’t realize you were so short, so I was surprised. I’ll never forget how your tongue tastes like. You always smile when you let me put it in. We lock eyes when we do it. You smile and you pinch my back. Do you remember when I said ‘Sorry,’ the first time we did it? Why do you think I said it? Why do you always smile by the way? Why do you keep your eyes open?”

“Shut up!” she cried, which rang out with the same imperious but quivering tone as her “Harder!” and “Don’t stop!”

It pleased me to realize this commonplace voice of my dreams belonged to a real person. As if this had been my wish all along.

We sat in silence until she said abruptly:

“OK. Let me see that scar.”


“No. If these dreams are real, let’s go there.”

I tripped over my mouth. Where were we anyway? Was there a specific place? But then I sensed that the woman wasn’t really buying it.

“You don’t remember?” she asked ironically. “You said you’d never forget it.”

“You still don’t believe me? At least you believe in your dreams, don’t you? What, did we just dream the same sequence of events?  I think you were in that dream as much as I was. It wasn’t a dream, don’t you get it?”

“It’s just a dream,” the woman said through her teeth, “That’s it!” and sprang away from the table.

I don’t know why, but I felt relief. Yes. Isn’t love, this miraculous phenomenon that everyone praises, nothing but an asinine dream? When I walked after her, she flounced down the street. A gray cab screeched to her hailing; she climbed in and left.

After all we’ve been through, she still won’t be mine.

I took out my phone and deleted the pretty woman’s number, she of the inviting stare and cold soul. It was a pity. But what are you gonna do, right?

After my dreams returned to normalcy, I located the home of the man with the ability. We drank all kinds of vodkas and wines. The love designer had a wife and a grown-up son.

“I didn’t bear him any children because he never asked me to,” said the wife.

“Didn’t you say you two had a son?”

“It’s not my husband’s. But he doesn’t accept it. My son doesn’t have a clue he’s not his biological father. He said he’d divorce me if I brought this up to my son, so I haven’t let out a peep.”

Isn’t love, this miraculous phenomenon that everyone praises, nothing but an asinine dream?

The love designer smiled quietly at her wife. Later, when his wife had turned in, he said, “What do you make of what she said?”

“Which part?”

“About my son not being my biological son.”

“What can I say? It’s more common than you think.”

“No. Do you understand why I didn’t want us to have a child?”

“Either of you had issues?”

“No issues whatsoever. If I wanted it, we could have had as many children as we wanted.”

“You don’t like children.”

“Not at all. I love kids! Before I was married, I wanted to have nine kids and name them after the nine treasures.”

I dreaded he would reveal something remarkable, or worse, something disturbing.

“My son thinks I am his real father. That sits well with me. If he finds out someone else is his father, I’ll be hurt. It feels like my life will cave in when it happens. So I refused to have my own child. If I had, it would become evident to my son that I am not his father. The ability from my side would come out, wouldn’t it? My son would see his younger sibling, compare himself, and one day he’d realize I am not his father. I didn’t want that.”

“You forfeited your nine treasure names?”

“The desire to have many children is, in a way, a naïve cupidity,” he said.

Quietude descended on the room; even the cars passing outside made no sound. Not bearing to stand the silence any longer, I decided to say something.

“You must love your wife a lot.”

“Love is one of life’s fun things,” he replied.

As I left their place, the warm autumn wind blew into my eyes, which in turn welled up. It’s as if we’re born with an intuition about someone who would swoon our hearts. That intuition solidifies in our childhood, grows with us in our mind, and becomes potent enough to burst out of our adulthood. By then, we are overwhelmed by the gap of that someone in our lives, and lose our minds. Well, not losing, per se, because this is an act the mind is meant to do in the first place. So, we embark on a quest for that person. Whenever we meet someone, we perceive them through our bespoke lens. The closer our partner is to our imagined soulmate, the happier we fare. If they are different from our imagined soulmate, or, if we realize that to be the case, the epiphany leaves us bereft.

As for the enchantment, the bewitchment…It’s not worth mentioning. Other people don’t enchant us, we enthrall ourselves. In truth, we leave ourselves spellbound, and unscathed people mock our weakness.

It just so happened that the mocking, mysterious trickster was actually a writer.

On the table sat a thick manuscript, and as he left me momentarily, I stole a look at the top page to read the following:

“If they called this eccentric, feeble and gullible loser an angel for easily falling in love, we’d laugh our ass off.

– So?

– So nothing. The guy just spread his wings and took off…”

Even though I had gone there to find out about the dreams that tormented (not just) me, I left the place without making any efforts to figure out the most mysterious happening of my life.

[1] Soum – administrative unit in Mongolia, the equivalent of county (Translator)
[2] Aimag – larger administrative unit, the equivalent of a province (Translator)




Ямар ч зорилгогүй, хаа нэгтээ шар айраг ууцгаан элдвийн хоосон зүйлс ярьж баясахаас өөр хийх юмгүй, залуу насанд олонтаа таардаг тийм л найзууд. Тэр орой ч бас л нэг тийм цуглаан болсон юм. Уушны газрын ширээний нэг талд зүгээр л нэгэн шөнө энгэр зөрүүлчих хүүхэн хайсан залуус. Нөгөө талд суугсдынх нь дунд ч эр нөхөр хайсан бүсгүй байсангүй.

Хүүхнүүдийн инээд чангарч, залуусын яриа задгайрч, зэргэлдээх ширээнээс мөн л чанга чанга үгс бидний яриа руу ирж холилдоод, хэн ч хэнийг ч анхааралтай сонсохоо больчихсон үед гэнэтхэн:

-Дурлал зохион бүтээгч! гэх содон танилцуулга чих дэлсэв.

-Бас тийм ажил байдаг юм уу?

-Байхгүй ажил гэж бас байна уу?

-Тэгээд яаж зохион бүтээдэг хэрэг вэ дээ? хэмээн хүүхэн хүний аальгүйтэн инээх асуултад, царай нь надад харагдаагүй нэгэн эр даруухан мөртлөө итгэлтэй дуугаар:

-Чиний хойноос нэг залуу гүйлээ гэж бодъё. Чи түүнийг нэг нүдээрээ ч тоож хардаггүй байжээ. Хэрэв нөгөө залуу дурлал зохион бүтээгчийг танихгүй бол, тэгээд л дуусаа. Харин дурлал зохион бүтээгчтэй уулзах аз тэр залууд таарах юм бол, чи шууд л мөнөөх хөөрхийлөлтэй залуугийнхаа хойноос унаж тусан гүйх болно гэж хариуллаа.

-За арай ч дээ. Хүний сэтгэлийг шууд засварлачих юм биз дээ? гээд хүүхэн тас тас хөхрөв. Ийн хөхрөнгөө лав ийш тийш сэмхэн харж байгаа даа.

Намайг эргэн харахад үнэхээр л тэр бүсгүйн нүд тогтворгүйхнээр эрвэлзэж байсан бөгөөд над руу бүр тэгэхээс тэгэх гэсэн шиг манартал ширтсэнээ инээмсэглэв. Халамцаж хөхиүн болсон би өөрийн эрхгүй дагаад инээчихэв. Яг үүнийг анаж байсан юм шиг л бүсгүйн харц цочирхон ширвээд, намайг алгасч одлоо. Дурлал зохион бүтээгч гэж өөрийгөө өргөмжилсөн эрхэм нь харин биднээс лавтайяа арваад насаар ахмад, хаа очиж нүдэнд дулаахан нэгэн байх агаад өмнөө улаан лоолийн шүүстэй өндөр шилэн аяга тавьжээ.

“Хэрэв энэ нөхрийн яриад байгаа шиг, дурлал зохион бүтээх ид шидтэнтэй таарвал ч, хажууд нь суугаа энэ сээхэлзүүр амьтныг өөртөө дурлуулаад, над руу ийм дорд үзэнгүй шоолж ширтсэнийх нь төлөө бүх насаар нь аз жаргалгүй болгоод хөсөр хаячих юм сан” гэж согтуурхан бодож сууснаа л санаж байна. Амьдралынхаа гурван тэнэглэлийн хоёрыг нь бид согтуудаа хийдэг. Бие засах газар мөнөөх эртэй танилцаад, нэрийн хуудсыг нь аваад ч байл уу?

Надад цочирхон аз таарч, хорин хэдтэй залуусын хэзээ ч олохооргүй их мөнгө гарт минь тэмтрэгдсэн тэр үеэс л би ийм найзуудтай болчихсон юм. Гурван жилийн өмнө тэд гарынхаа салаагаар элс шиг асгаж буй мөнгөнөөс минь үрэлцэхээр цуглаж билээ. Гурван жилийн өмнө ганц ч найз нөхөргүй явсан залуу ийнхүү гэнэтхэн л өдөр шөнөгүй хамт явдаг сүрэгтэй болов. Амьхандаа тэд намайг мэхэлж, ашиглаж байна л гэж бодоцгоодог асан биз. Надад бол тэд юу бодох нь хамаагүй, хэн нэгэнтэй дарвиж баясах хүсэл төрөхөд миний түрийвчний сүүдэрт чамгүй хөгжилтэй залуус сууцгааж байх нь л чухал байсан юм. Миний доторхи тэр хүү өөрийгөө мэхлүүлж, залилуулж, ашиглуулсан ч мэхлүүлчихлээ, зальдуулчихлаа гэж ер бодоогүй. Тийм л хүчирхэг байжээ, тэр гэнэхэн хөвгүүн. Хүн гэж арьсныхаа өнгийг сольдог амьтан шиг л хувирамтгай байх юм даа. Ердөө гуравхан жилийн өмнө дотор минь инээмсэглэн сууж асан, хүн бүхэнд итгэдэг, цайлган цагаан сэтгэлтэй жаалхүү энэ залуустай найзалдаг болсноос хойш л харин намайг орхиод алга болчихсоныг би яг тэр үдэш мэдэрсэн байв.

Амьдрал сонирхолтой л байх ёстой гэж би боддог байсан юм. Сонирхолтой байлгахын тулд өчүүхэн зүйлс дээр ч болов чармайж, жишээ нь, шүдний оог л гэхэд, шинэ шинэ амт мэдэрч байя гэсэндээ ямагт жижиг савлагаатай, өөр өөр нэр төрлийнхийг хольж авдаг байлаа. Найз нөхөд ч бас зугаа. Гэхдээ надад арай өөр зугаа хэрэгтэй санагдаад болдоггүй. Тэр үед би анхны компьютерээ худалдаж аваад, интернетийн учрыг олох гэж хорхойсч эхлээд байв. Хэн нэгний бодож олсон, хар тамхи шиг энэ ертөнцөөсөө буцаж ирэх бүртээ нөгөө л архичин нөхдөө цуглуулна. Гэвч эдгээр хөлчүү наргиан ч сонирхол татахаа улам бүр больсоор буйг харж суугаад сонссон үг болохоор тийм содон, ер бусын дуулдсан ч байж мэднэ.

“Дурлал зохион бүтээгч”.

Яриагаа товчлоё доо. Бичихэд залхуутай зүйлийг уншихаасаа залхуурцгааж л таарна.

Хачин нэрийн хуудасны эзэнтэй холбоо барьж, намайг дорд үзэн ширвэ татсан нөгөө хүүхэнтэй орооцолдуулаад өгөөч гэж хүслээ.

-Эхлээд та хоёрыг танилцуулъя. Чамайг анхаарч харах нь уу, сонжицгооё. Анхнаасаа чамд талтай байвал миний туслалцаагүйгээр учраа ололцчих ч юм бил үү? гэж Дурлал бүтээгч хэмээн өөрийгөө өргөмжилсөн үл таних эр сүрхий найр тавьснаас хойш хоёр хоногийн дараа бид уушны газар “санаандгүй” тааралдав. Яриа овоо жигдрээд ирэхийн хэрд дурлалын мэргэжилтэнд чухал ажил гарч, намайг нөгөө бүсгүйтэй орхиод явахаас өөр аргагүй болсондоо өршөөл эрлээ.

Хүүхэн анхнаасаа л намайг сонирхсонгүй.

Дараа нь би түүнийг хоёр ч удаа тансаг зоогийн газарт уриад ердөө татгалзсан хариу л дуулсан юм.

-Үгүй л дээ. Би чөлөөтэй хүн. Харамсалтай нь, чи миний сонирхдог залуу биш!

Энэ үгийг сонссоныхоо дараа би хүсч тэмүүлсэндээ гэхээсээ илүү, шаралхаж хонзогносондоо Дурлал бүтээгч рүүгээ дахин очив. Зорьж очсон хүн минь:

-Харахад аальгүй хэрнээ муу санааны туйл болсон хүүхэн дээ. Хялбар ан биш. Тиймээс нэлээд өвөрмөц арга хэрэглэе. Цаадхи чинь ойрын хэдэн шөнө чамайг зүүдэлбэл ямар вэ? Одоохондоо би өөр юу ч хийж чадахгүй. Энэ бүтэлгүйтвэл аяндаа өөр нэг санаа төрөх биз гэсэн сэн.

“Ээ хөөрхий, байдаг л нэг луйварчинтайгаа таарчихжээ” гэж харуусан бодсон ч, би аль болохуйц балчир царайлж,

-Юу гэнэ ээ? Үнэхээр тэр намайг зүүдэлнэ гэж үү? хэмээн асуулаа.

-Нэлээд хэдэн өглөө сэрэхдээ хачирхаж эвгүйцэх байх даа…

-Яагаад эвгүйцнэ гэж?

-Үгүй, тэгэлгүй яадаг юм бэ? Чамайг огт тоохгүй, бүр нэг нүдээрээ ч харахгүй байна гээ биз? Гэтэл нүдэнд нь огт тордоггүй хархүү шөнө бүр зүүдэнд нь хүрч ирээд л, хамаг биеийг нь шархиртал энхрийлж, аль л нууц газруудад нь хүрээд, өглөө сэрэхэд нөгөө зүүд нь яг болсон явдал шиг, түүнээс болж зүрх нь долгисч чичрээд байвал балмагдаж эвгүйцэж л таарна шүү дээ.

-Шөнө бүр ээ?

-За, үүр шөнийн заагаар л гэх үү дээ. Нэлээд хэдэн шөнийн турш…

-Бурхан минь, үнэхээр тийм зүйл болдог сон бол ч…

Би ийм гэнэн зүйл хэлчихсэндээ ичээд хэлээ хазах үес,

-За, тэгвэл мөнгөө төл! гэж дурлал бүтээгч хүйтнээр сануулав.

Эмэгтэй хүнд тоогдоогүйдээ хорссон хонзонгийн минь төлбөр шаггүй юм гээч. Их мөнгө нэхэж байгаагаа:

-Амьдрал бол хэзээ ч дуусчихаж болох зүйл. Чамд үргэлж хангалттай цаг байгаа гэж найдах ямар ч шалтгаан үгүй. Тиймээс биеэ үнэлэгч авлаа ч, арай илүү үнэтэй, илүү царайлагийг нь сонгох хэрэгтэй! гэсэн сургамжийн үгээр зөвтгөхөд нь дотроо би “Чи тэр хүүхэнтэйгээ хуйвалдсан л байж таарна. Яахав ээ, тэр хэзээ ч дуусчихаж мэдэх зүйлийг чинь сонирхолтой болгочих зүйл л надад хэрэгтэй” хэмээн бодож суув. Тэгж бодохоос ч өөрцгүй, мань эр өөртөө маш итгэлтэй байсан юм. Би бүр арай ч хөнгөн хялбар хүүхэн онилчихов уу даа гэж харамсахад хүрснийг яана.

Дурлал зохион бүтээгч мөнгөө авахаар хүлээзнэх зуураа:

-Маргаашаас эхлээд тэр чамайг байнга зүүдэлнэ гэж намайг зальдах ажлаа үргэлжлүүлсээр байв.

“Тэр намайг байнга зүүдэлнэ. Намайг нэг нүдээрээ ч харахгүй байгаа тэр хямсгар амьтныг би зүүдэнд нь эзэмдэнэ!” Үнэмшилгүй хэдий ч сонирхолтой санаа биш гэж үү? Ийм гэнэхэн зүйлээр хуурчихаж болмоор өрөвдөлтэй амьтан харагддаг гэдгээ олж мэдэхэд надад бас сонин байлаа. “Цаад хүүхэн нь над руу утасдаад, -Би чамайг зүүдлээд болдоггүй ээ! Галзуурах нь! гэж хэлэх байх даа, бодвол. Харилцуураа тавиад тэд намайг шоолж хөхрөлдөнө. Гэвч иймэрхүү үгсээ хүүхэн яг яаж хэлэх бол?” гэхчлэн төсөөлж, сэм догдолсондоо үл мэдэг чичирхийлсэн гараар мөнгө тоолж өгөхдөө “Би лав галзуурсан байх аа” гэж бодлоо.

-Гэхдээ чамд тэр зүүдлэгдэхгүй. Чи л түүний зүүдэнд орно. Яг л байгаагаараа, чармай нүцгэнээрээ… Аа, тийм, хэрэв энд тэнд чинь мэнгэ шивээс байгаа бол тэр чинь ч түүнд харагдана шүү дээ. Зүгээр үү?

-Үгүй ээ, би ч бас түүний зүүдийг хармаар байна. Түүнд яаж зүүдлэгдэхээ хармаар байна!


-Та чинь боломжгүйг бүтээгч биз дээ?

Луйварчинтай халз ширтэлцэнэ гэдэг хэн бүхний чадах ажил биш. Юутай ч би энэ хэсгийг овоо нэр төртэйхөн даваад гарчихав. Тэр ам нээхгүй байсан тул:

-Түүнд зүүдлэгдэх нь биш, түүнийг зүүдлэх нь л надад чухал. Хэрвээ зүүдэнд минь тэр жинхэнээсээ харагдаж, бүр жинхэнээсээ миний энхрийлэлд автаж, тэр минийх байх юм бол, түүнийг нь би мэдрэхгүй өнгөрнө гэдэг хайран байна. Амьдрал дээр тийм явдал хэзээ ч огт болохгүй өнгөрсөн ч хамаагүй, түүнд зүүдлэгдэж байгаа тэр зүүдэн дотроо л би орж үзмээр байна. Магадгүй, миний амьдралын хамгийн чухал зүйл тэр ч байж мэднэ гэж хэлэхдээ би Ромеогийн дүрдээ аль хэдийнэ итгээд эхэлчихсэн байсан юм.

Дурлал зохион бүтээгч хүйтнээр сонжин ширтсэнээ:

-Үнэтэй шүү дээ! гэж билээ.

Маргааш өглөө нь амттай зүүдний гор – бохирдсон хөнжлөөсөө сэжиглэсэндээ би ухасхийн босов. “Би өөрөө л буруутай. Би угаасаа л луйврын хялбархан олз болчихоор сэтгэлзүйтэй амьтан юм байна” гэж бодохдоо ч барьц алдсан хэвээр л байлаа.

Тэр аальгүй мөртлөө биеэ тоосон, ихэмсэг хүүхнийг долоон шөнө дараалж зүүдэлснийхээ дараа би энэ бүхнээс баясал таашаал биш, айдас түгшүүр амсч байгаагаа мэдрэв. “Гэнэн тэнэг Ромео минь, чи чөтгөртэй уулзчихаж!!!”

Чөтгөр ганц биш ч байж магадгүйг ургуулан бодоход, зугтахаас өөр юм толгойд орж ирсэнгүй. Уг нь би нэлээд дориухан ажилд хувь хамтрагчаар оролцож хүлэгдчихээд байсан ч,

-Том хөдөлнө өө, хэдүүлээ. Маш их мөнгө хаяж байж л тэр хэрээрээ маш ихийг олно шүү дээ гэж хэлсэн нэг хамтрагчаа:

-Хаях, олох хоёр нь адилхан л маш их юм бол, ямар ч ашиггүй юм биш үү? гэсхийн мадлаад л түншүүдийнхээ урмыг хугалж чөлөөлөгдөв. Тэгээд хилийн чинад гурван сар, дараа нь Архангайн баруун хойд захын суманд хоёр жил гаруй бүглээ. Амьдралыг минь огт сонирхолтой болгоогүй, үгүй ядахнаа ямар нэгэн зүйл ухаарч ойлгоход минь ч нэмэр тус үзүүлээгүй, ердийн л шимэгч нөхдөөсөө ийнхүү бүрмөсөн салж амрав. Гэвч зүүднээс зугтаж болдоггүй юм билээ.

Хотдоо буцан харьж, энэ зуур хоцрогдож гүйцсэн гар утсаа асаамагц л зурвас ирлээ. Дурлал зохион бүтээгч л намайг хайгаа болов уу гэж бодоод нээтэл, нөгөө бүсгүйн дугаар байв. Одоо л энэ ад мөрийн ховсоос ангижрах цаг. Түүнтэй уулзаж, бүгдийг асуух ёстой!

Хүүхэн огтхон ч өөрчлөгдсөнгүй. Харин намайг “Хөдөөний царайтай болчихжээ” гэж тодорхойлов. Яриаг нөгөө сэдэв рүү яаж хандуулснаа би санахгүй байна. Бид хоёрт хэн хэнд маань жаахан архи хэрэгтэй болсон л доо.

-Тийм ээ, би тэгж зүүдэлсэн. Тэгээд юу гэж? гээд хүүхэн ууртай хялалзав.

-Тэр зүүд биш байсан.

-Юу гэх гээд байна?

-Бид үнэхээр ойртсон. Чиний биеийн гүнд миний мэдээлэл үлдсэн. Үүрд арилахгүй. Бидний зүүд бол жинхэнэ явдал байсан.

-Чи солиорчээ дээ?

-Хамаагүй ээ, солиорсон байх. Гэхдээ чиний дотроос миний мэдээлэл хэзээ ч арилахгүй. Хожим чиний тухай бүх мэдээллийг хаа нэгтээх дэлгэц дээр хэн нэгэн шүүж үзэх үе ирлээ гэхэд, миний эд эс чамаас илрэх болно.

-Арай үнэмшилтэй юм ярьж болсонгүй юу?

-Энэ бол үнэн. Яг л нөгөө хэлээ мартаад сэрсэн залуу шиг.

-Юу ч ойлгосонгүй.

-Архангайд нэг залуу нэг л өглөө сэрээд ээжтэйгээ шууд харь хэлээр яриад эхэлсэн. Гадаад хэл ер үзэж байгаагүй мөртлөө шүү. Анхандаа хэн ч түүнд итгээгүй. Гэвч нарийн нягт шалгаж үзэхэд, тэр өмнө нь нэг ч үгийг нь цээжилж байгаагүй испани хэлнээс өөр ямар ч хэлээр ойлголцох чадваргүй нь тогтоогдсон юм.

-Наад үлгэрт чинь би бас итгэх ёстой болж байна уу?

-Чи хөл нүцгэн зогсохдоо миний яг эрүүгээр татдаг. Би чамайг тийм жижигхэн гэж бодоогүй тул их гайхсан. Чиний хэл ямар амттайг би хэзээ ч мартахгүй. Чи намайг өөр рүүгээ оруулахдаа дандаа инээмсэглэдэг. Бид хоёулаа нүд нүд рүүгээ халз ширтэлцэж байгаад тэр зүйлийг хийдэг. Чи инээмсэглэж, бас миний нурууг чимхдэг. Хамгийн анхны удаад “Уучлаарай” гэж хэлснийг минь санаж байна уу? Яагаад тэгж хэлсэн гэж бодож байна? Ингэхэд чи яагаад дандаа тэгж инээмсэглэдэг юм бэ? Яагаад чи нүдээ аньдаггүй юм бэ?…

-Амаа тат! хэмээхдээ бүсгүй яг л нөгөө “Ахиад! Бүр хүчтэй!” гэж дуу алддаг шигээ зандрангуй, сандрангуй, чичирхийлсэн хоолойтой болжээ.

Зүүднээс байнга сонсогддог учиргүй танил тэр дуу хоолой амьд хүнийх гэдгийг мэдэх надад сайхан байлаа. Миний хүссэн зүйл ердөө л энэ ч юм шиг.

Бид удтал таг дуугүй сууцгаасны эцэст,

-Алив, тэр сорвийг чинь үзье! гэж бүсгүй гэнэт хэллээ.

-Энд үү?

-Үгүй ээ. Хэрэв тэр зүүд үнэн л юм бол, тэр зүүднийхээ газар руу очъё.

“Хаана болсон юм бол оо? Тийм тодорхой газар байл уу?” гэж эргэлзэн, түгшин бодонгоо мартахын аргагүй мөнөөх зовлонтой зүүд нь бүсгүйн хувьд бас тийм ч тодорхой биш болохыг анзаарав.

-Санахгүй байгаа юм уу? гэж бүсгүй хоржоонтой лавлалаа.

–Хэзээ ч мартахгүй гээгүй бил үү?

-Чи надад итгээгүй хэвээрээ л байна гэж үү? Ядаж өөрийнхөө зүүдэнд итгэж байгаа биз дээ? Чи бид яг ижилхэн зүүдийг зэрэг зүүдэлсэн болж таарах уу? Миний бодоход, чи ч бас яг л над шиг маш олон удаа тэр зүүдэн дотор байсан юм шиг байна… Энэ бол зүүд биш, ойлгож байна уу?

-Зүгээр л тэнэг зүүд. Тэгээд л гүйцээ! гэж бүсгүй шазруухан хэлээд үтэр зугтах мэт босов.

Би юуг нь мэдэхгүй нэгэн зүйлийг ойлгочих шиг, гэнэтхэн л тайтгарчихсан. Тийм дээ. Дурлал хэмээн хүмүүсийн нэрлэдэг мөнөөх гайхалтай ид шид гээч нь яг үнэндээ ердийн л тэнэг зүүд ч юм бил үү? Араас нь гарахад бүсгүй гудамж уруудаад хурдан хурдан алхаж байлаа. Тэгснээ таксинд гар өргөөд, шурхийн ирж зогссон саарал өнгийн машинд суугаад явчихсан сан.

“Энэ бүхний эцэст ч тэр минийх болохгүй нь”.

Ингээд утсан дээрээ сануулсан мөнөөх аальгүй харагддаг мөртлөө хүйтэн, ихэмсэг, гоо бүсгүйн дугаарыг устгаж орхисон доо. Хайран л байв. Гэвч өөр яалтай билээ?

Зүүд минь эргээд хэвэндээ орсны дараа би нөгөө чөтгөр шиг увдистай эрийг хайж гэрт нь очсон юм. Бид есөн шидийн архи дарс хольж уулаа. Дурлал зохион бүтээгч эхнэртэй, том болсон нэг хүүтэй аж.

-Тэр намайг хүүхэд төрүүлж өгөөч гэж хэзээ ч гуйж байгаагүй. Тиймээс л бид хүүхэдгүй юм гэж эхнэр нь хэлэв.

-Та хоёр хүүтэй гээгүй бил үү?

-Нөхрийн минь хүүхэд биш л дээ. Гэхдээ нөхөр минь үүнийг огт хүлээн зөвшөөрдөггүй юм. Тиймээс хүү маань аавынхаа төрсөн хүү биш гэдгээ огт мэдэхгүй. “Хүүд энэ тухай ам ангайх л юм бол, чамаас сална шүү” гэж энэ намайг айлгадаг болохоор би ерөөсөө хэлээгүй…

Дурлал зохион бүтээгч ам нь халсан эхнэр рүүгээ чимээгүй инээмсэглэв. Сүүлд нь эхнэрээ унтахаар явсан хойно:

-Чи түрүүний яриаг юу гэж бодож байна? гэлээ.

-Аль яриаг?

-Бидний хүү миний төрсөн хүү биш гэдгийг.

-Юу бодох вэ дээ? Ийм амьдрал зөндөөн шүү дээ.

-Үгүй ээ. Яагаад би хүүхэдтэй болохыг хүсээгүй вэ гэдгийг ойлгож байна уу?

-Та хоёрын хэн нэгэнд асуудал байсан юм уу?

-Ямар ч асуудал байхгүй. Би хүссэн л бол, бид хэдэн ч хүүхэд төрүүлж болох байсан.

-Та хүүхдэд дургүй байх нь.

-Тийм биш ээ. Би хүүхдэд маш их хайртай. Гэрлэхээсээ өмнө би есөн хүүхэдтэй болно, есөн эрдэнийн нэр өгнө гэж мөрөөддөг байлаа.

Тэр ямар нэгэн, сэтгэл зовиурлам, ер бусын зүйл хэлэх нь гэж би хүлээв.

-Хүү маань намайг төрсөн эцгээ л гэж боддог. Энэ нь ч надад сайхан байдаг юм. Өөр хүн эцэг нь гэдгийг тэр мэднэ гэхээр надад дэндүү том цохилт болно. Тэгвэл миний амьдрал амьдрал биш болчих юм шиг надад санагддаг. Тэгээд л би өөрийнхөө хүүхдээс татгалзсан юм. Миний хүүхэд төрвөл би түүний жинхэнэ эцэг биш гэдэг нь илэрхий батлагдана. Манайхны талын ямар нэгэн зүйл маш тод илэрч харагдана аа даа? Дүүгээ хараад л, өөртэйгөө харьцуулаад л, тэр нэг л өдөр намайг эцэг нь биш гэдгийг ойлгох болно. Би үүнийг хүсээгүй юм хэмээн тэр үгээ зөөн байж ярилаа.

-Тэгээд есөн эрдэнийн нэрээ золиослочихсон хэрэг үү?

-Олон хүүхэдтэй болох хүсэл бол ердөө л нэг төрлийн гэнэн шунал юм даа, хөөрхий гээд тэр дуугүй болов.

Өрөөнд нам гүм, гадаа ч машин тэрэг явахаа больчихож. Тэсвэрлэшгүй энэ анир чимээгүйн дарамтанд бас өөрийгөө нэмэрлэж удтал дуугүй суухгүйн тулд:

-Та эхнэртээ үнэхээр хайртай юм байна гэхэд минь, тэр:

-Хайр дурлал ч бас бүхий л зугаатай юмсын нэгэн адил тэнэг зүйл шүү дээ гэсэн сэн.

Тэднийхээс гарахад нүд рүү минь намрын салхи мансуурам сайхнаар үлээж, нулимс ивлэв. Сэтгэл зүрхийг маань ховсдох учиртай хэн нэгний тухай төсөөлөлтэйгөө бид анхнаасаа л хамт төрдөг мэт. Тэр төсөөлөл балчир наснаас эхлэн ухаан санаанд маань биежиж, бидэнтэй цуг өсч торнисоор, нас биед хүрэхийн цагт зүрхийг маань дотроос нь түрж дэлбэ татахаар заналхийлдэг. Тэгээд л бид хэн нэгэнгүйгээр амьд явж чадахгүй мэт зөн совинд автсандаа, ухаан санаагаа гээчихдэг. Гээж байгаа ч юм биш ээ. Гээгдэх учиртайгаар анхнаасаа заяагдсан үйл л тэр. Ингээд бид мөнөөх хэн нэгнийхээ эрэлд хатдаг. Төсөөлөлтэй маань огт төсгүй хүн тааралдавч, бид түүнийг зөвхөн өөрөө л харж чадах тийм нүдээрээ өөрчлөн хардаг. Амьдрал дээр олдсон тэр хүн маань төсөөлөлд анхнаасаа л төрсөн хэн нэгэнтэй хичнээн олон талаар адил төстэй байна, бид тэр чинээгээр аз жаргалыг мэдэрдэг. Харин төсөөллөөс маань зөрчихвөл, хэтэрхий хол зөрүү байгааг гэнэт олж харвал, бид ухаан сууж, тэр хэрээрээ жаргалгүй болдог.

Илбэ, увдис, ховсын тухайд гэвэл… Яриад ч хэрэггүй биз дээ. Биднийг бусад хүмүүс биш, бид өөрсдөө л илбэддэг. Яг үнэндээ бол хүссэн илбэ ховсоо бид өөрсдөө л бий болгож, биднээс илүү ухаантай хүмүүс тэр сул талыг маань ашиглан тохуурхдаг.

Тохуутай, ойлгомжгүй луйварчин маань яг үнэндээ зохиолч юм шиг байна билээ л дээ.

Хэвлээд тавьсан зузаан хуудас бичвэр ширээн дээр хэвтсэн бөгөөд нэг удаа босох зуур нь би тийш өнгийгөөд хамгийн дээд хуудаснаас:

“-Гажиг, бүтэлгүй, дурламтгай, бусдад дандаа дээрэлхүүлж, мэхлүүлж явдаг тэр залууг Сахиусан тэнгэр гэж хочилсон бол, бид элгээ хөштөл инээлдэх байсан даа.


Тэгээд л тэр. Мөнөөх залуу дөнгөж сая далавчаа дэлгээд нисчихлээ…
гэсэн хэсгийг хальт уншиж амжсан билээ.

Тэгээд л, намайг (ганц намайг ч биш) тэгтлээ зовоож үймрүүлсэн амтат зүүднүүдийнхээ тухай л асуух гэж би тэднийд очсон хэрнээ, амьдралдаа тохиолдсон хамгийн хачин зүйлийн учрыг олох ямар ч оролдлого хийлгүйгээр тэр айлаас гарсан юм даа.


Translator’s Statement:

“The Love Designer” was the first story I had ever read of Gun-Aajav, and the collection this short belonged to almost changed my decision to be an English writer.

I grew up as a self-professed anglophile, and I strove to read books in English, almost exclusively. But here was this short story collection in my mother tongue, with characters so relatable and prose so strong I felt its metaphors, cadence, and verisimilitude hit me like bullets to my brain and wash over me as warm visions. I was ashamed of not having read more fiction in my mother tongue.

Fast forward to last winter, and I finally had enough time on my hands to rectify this injustice of our prolific author not having (almost) any presence in the English-speaking world. I know no translation, especially none of mine, will ever be a perfect conduit of the original work, but I hope the story’s nuance comes through in enough amounts. Although the way the narrator holds grudges (at not just the woman) is alarming, his rationalization belies a self-indulgent naïveté, which makes his experience with the love designer truly transformative. The love designer subverts the trope of “deal with the devil” because, in my opinion, he gives the narrator a soul.


Narantsogt “Natso” Baatarkhuu is a writer and translator from Mongolia. He holds a BA in English philology from Tomas Bata University and an MFA in creative writing from Temple University that he completed on Fulbright scholarship. His work can be found in Cracked, The UB Post, and SoWhyMongolia. He lives with his wife and two kids in the capital Ulaanbaatar, which is an iamb and a trochee, not two iambs. You can follow him on Twitter at @natsopersonal for more translation/fiction on Mongolia.


Ayurzana Gun-Aajav is an author of ten novels, eight books of poetry, and numerous nonfiction and translations. Born in 1970 in Bayankhongor province of Mongolia, he holds a BA degree from Maxim Gorky Literature Institute in Moscow, and he has been a Writer-In-Residence at the University of Iowa’s International Writing Program. His novels Durlalgui Yertontsiin Blues (The Blues of a World Without Love) and Ilbe Zereglee (The Magic Mirage) have won Mongolia’s National Literary Award Altan Oed (Golden Feather). You can learn more about his work at or follow him on

The Toad

[translated poetry]

What do we know? Who then understands the depths of things?
The sunset glowed in the rose-hued clouds.
It was the end of a day of storms, and the west
Set the showers aflame in a ferocious blaze.
Near a ditch, at the edge of a rain puddle,
A toad looked at the sky, dazzled creature.
In solemn contemplation, horror considered the splendor.
(Oh! Why is there suffering and why is there ugliness?
Alas! The Roman Empire is littered with petty Augustuses
Tyrannous Caesars, as the toad is with pustules,
As the meadow with flowers and the sky with sunshine.)
The leaves were purpling in the vermillion trees.
The water glinted, twined with the grass in the ditch.
The evening unfurled as a banner.
The bird lowered its voice in the weakening day.
All softened, in the air, on the horizon; and, full of forgotten dreams,
The toad, without fear, without shame, without anger,
Gentle, watched the enormous solar aureole.
Maybe the damned one felt blessed.
There’s no creature who cannot see a reflection of the infinite.
No eye so abject and vile that it does not touch
The light above, sometimes tender, sometimes shy;
No cringing monster, bleary, louche, impure,
Who does not have the heavens’ immensity in its eyes.
A man passing by saw the hideous creature,
And shuddering, stepped on the toad’s head.
It was a priest with a book he was reading.
Then a woman, with a flower on her lapel,
Came and poked out the toad’s eye with her umbrella.
And the priest was old, and the woman was beautiful.
Then came four schoolboys, serene as the heavens.
—I was a child, I was young, I was cruel—
All men on earth, where their subjugated souls wander,
Can start the story of their lives this way.
We have game, inebriated by the dawn in our eyes.
We have our mothers. We are joyous schoolboys.
Gay little men, breathing the air,
Filling our lungs, loved, free, and happy. What to do;
If not torture a pathetic being?
The toad crawled along in the bottom of a rut.
It was the hour when the far fields turn azure.
Wild creature, the toad longed for night. The children saw him.
They cried out, “Kill the disgusting animal. And he’s so ugly, let’s hurt him a lot.”
And each one of them, laughing—children laugh when they kill—
Began to stab at him with a pointed stick.
Enlarging the hole where his eye had been, wounding
His wounds, thrilled, applauded by the passersby;
Because the passersby laughed. And the sepulchral shadow
Covered the dark martyr who could not even moan.
And the blood, the atrocious blood, flowed from everywhere
On the poor creature, whose crime was to be ugly.
He fled. He had one leg torn off.
A child struck him with a broken trowel,
And every blow skimmed the beleaguered beast
Who, even on a day that smiled upon him,
Even beneath an immense sky, lurked at the bottom of a cave.
And the children said: “Is he mean! He drools!”
His forehead bled, his eye hung out; in the scrub
And brush, hideous to see, he made his way.
We might have said that he had escaped a terrible embrace.
Oh! The sorry act! To worsen misery!
To add horror to deformity!
Dislocated, he stumbled from stone to stone.
The toad still had breath, without shelter, without asylum.
He crawled. We might have said that death
Found him too ugly and refused to take him.
The children wanted to tie him in a shoelace,
But he escaped them, slipping beside a hedge.
The rut gaped. He dragged his wounds
And dived in, bloodied, broken, his skull open,
Feeling the bit of freshness in the green swamp,
Washing the human cruelty in the mud.
And the children, with spring on their cheeks,
Blonde, charming, had never had such fun.
They all talked at once, from the big to the little
Crying out: “Come see! C’mon Alfred, c’mon Peter
Let’s finish him off with a big stone!”
All together, they fixed their gaze upon the being
Beset by chance. And the despairing creature
Watched as their terrible faces hunched over him.
—Alas! Let’s have ideals; let’s not have targets.
When we set our sights on humanity’s horizon,
Let us hold life, and not death, in our hands—
All eyes followed the toad in the mud.
It was a furor and it was an ecstasy.
One of the children returned with a brick.
Heavy, but for its evil purpose easily carried.
He said: “We’ll see how this will be done.”
But, in the same moment, on this very spot of earth
Chance delivered a heavy cart
Pulled by an old, lame donkey, skin and bones and deaf.
This exhausted donkey, limping and appalling,
Was close to the stable after a day of walking.
He pulled the cart and carried a saddlebag.
Every step he took, as if his next to last.
The beast walked, beaten, extenuated.
The blows enveloped him like a clouded mist.
His eyes were veiled with a vapor
Of that stupidity, which is perhaps stupor.
And the rut was deep, and so full of mud,
And a slope so sharp that every turn of the wheel
Was like a dismal and hoarse tearing.
And the donkey went on, moaning, and the master cursed.
The road descended and pushed the pack animal
The donkey retreated into his thoughts, passive beneath the whip, beneath the flog;
Sunk to a depth where no human can go.

The children, hearing the wheel and the clop
Turned noisily and saw the cart.
“Don’t drop the brick on the toad. Stop!”
They cried. “Do you see, the cart will come down
And crush him as it passes. That will be so much more amusing.”

All watched.

Then, advancing in the rut,
Where the monster awaited his final torture,
The donkey saw the toad. And, sad—alas! Bent
Upon one sadder still—heavy, broken, mournful and scabrous,
He seemed to sniff with his head low.
This enslaved one, this damned one, this patient one, granted grace.
He gathered all his spent strength. And, stiffening
His chain and harness on his bloodied muscles,
Resisting his master who cried: “Go on!”
Taking the full measure of the terrible burden of his complicity,
In his weariness, accepting the fight;
He pulled the cart and lifted the saddle.
Haggard, he turned the inexorable wheel,
Leaving behind him the miserable toad to live.
Then, under the blow of the whip, he continued on his way.

So, letting the stone drop from his hand,
One of the children—the one who tells this story—
Under the infinite arched expanse that is at once blue and black,
Heard a voice that said to him: “Be good.”

Goodness of the fool! Diamond in coal!
Blessed enigma! Glorious light of the shadows!
The heavenly ones are no better than the doomed,
If the doomed, though blind and punished,
Think, and having no joy, yet have pity.
O sacred spectacle! The shadow saves the shadow.
The lost soul rescues the dark soul.
The stupid, moved to compassion, bends toward the hideous.
The good damned one awakens the chosen wicked one’s dreams.
The beast advances where the man recoils
In the serenity of the pale twilight.
The brute by turns thinks and feels she is sister
Of the mysterious and profound sweetness.
It is enough for a flash of grace to shine in her,
For her to equal the eternal star.
The beast of burden who, returning in the evening, weighed down, weary,
Dying, feeling its flat hooves bleed,
Takes a few extra steps, moves away and disrupts its course
To avoid crushing a toad in the mire.
This abject donkey, dirty, bludgeoned beneath the stick,
Is more holy than Socrates and greater than Plato.
You search, philosopher? O great thinker, you meditate?
Do you want to find what is real beneath our cursed fogs?
Believe, cry, lose yourself inside an immense love!
Whoever is good sees clear at the obscured crossroads.
Whoever is good inhabits a corner of heaven. O wise one,
The kindness, which in the world lights up a face;
The kindness, that gaze of the sweet morning;
The kindness, pure ray that warms the stranger;
The instinct that in the night and in suffering loves;
Is the ineffable and supreme link
That joins, in the gloom, alas!
The great innocent, the donkey, to God, the great sage.

Le Crapaud

Que savons-nous ? qui donc connaît le fond des choses ?
Le couchant rayonnait dans les nuages roses ;
C’était la fin d’un jour d’orage, et l’occident
Changeait l’ondée en flamme en son brasier ardent ;
Près d’une ornière, au bord d’une flaque de pluie,
Un crapaud regardait le ciel, bête éblouie ;
Grave, il songeait ; l’horreur contemplait la splendeur.
(Oh ! pourquoi la souffrance et pourquoi la laideur ?
Hélas ! le bas-empire est couvert d’Augustules,
Les Césars de forfaits, les crapauds de pustules,
Comme le pré de fleurs et le ciel de soleils !)
Les feuilles s’empourpraient dans les arbres vermeils ;
L’eau miroitait, mêlée à l’herbe, dans l’ornière ;
Le soir se déployait ainsi qu’une bannière ;
L’oiseau baissait la voix dans le jour affaibli ;
Tout s’apaisait, dans l’air, sur l’onde ; et, plein d’oubli,
Le crapaud, sans effroi, sans honte, sans colère,
Doux, regardait la grande auréole solaire ;
Peut-être le maudit se sentait-il béni,
Pas de bête qui n’ait un reflet d’infini ;
Pas de prunelle abjecte et vile que ne touche
L’éclair d’en haut, parfois tendre et parfois farouche ;
Pas de monstre chétif, louche, impur, chassieux,
Qui n’ait l’immensité des astres dans les yeux.
Un homme qui passait vit la hideuse bête,
Et, frémissant, lui mit son talon sur la tête ;
C’était un prêtre ayant un livre qu’il lisait ;
Puis une femme, avec une fleur au corset,
Vint et lui creva l’œil du bout de son ombrelle ;
Et le prêtre était vieux, et la femme était belle.
Vinrent quatre écoliers, sereins comme le ciel.
– J’étais enfant, j’étais petit, j’étais cruel ; –
Tout homme sur la terre, où l’âme erre asservie,
Peut commencer ainsi le récit de sa vie.
On a le jeu, l’ivresse et l’aube dans les yeux,
On a sa mère, on est des écoliers joyeux,
De petits hommes gais, respirant l’atmosphère
À pleins poumons, aimés, libres, contents ; que faire
Sinon de torturer quelque être malheureux ?
Le crapaud se traînait au fond du chemin creux.
C’était l’heure où des champs les profondeurs s’azurent ;
Fauve, il cherchait la nuit ; les enfants l’aperçurent
Et crièrent : « Tuons ce vilain animal,
Et, puisqu’il est si laid, faisons-lui bien du mal ! »
Et chacun d’eux, riant, – l’enfant rit quand il tue, –
Se mit à le piquer d’une branche pointue,
Élargissant le trou de l’œil crevé, blessant
Les blessures, ravis, applaudis du passant ;
Car les passants riaient ; et l’ombre sépulcrale
Couvrait ce noir martyr qui n’a pas même un râle,
Et le sang, sang affreux, de toutes parts coulait
Sur ce pauvre être ayant pour crime d’être laid ;
Il fuyait ; il avait une patte arrachée ;
Un enfant le frappait d’une pelle ébréchée ;
Et chaque coup faisait écumer ce proscrit
Qui, même quand le jour sur sa tête sourit,
Même sous le grand ciel, rampe au fond d’une cave ;
Et les enfants disaient : « Est-il méchant ! il bave ! »
Son front saignait ; son œil pendait ; dans le genêt
Et la ronce, effroyable à voir, il cheminait ;
On eût dit qu’il sortait de quelque affreuse serre ;
Oh ! la sombre action, empirer la misère !
Ajouter de l’horreur à la difformité !
Disloqué, de cailloux en cailloux cahoté,
Il respirait toujours ; sans abri, sans asile,
Il rampait ; on eût dit que la mort, difficile,
Le trouvait si hideux qu’elle le refusait ;
Les enfants le voulaient saisir dans un lacet,
Mais il leur échappa, glissant le long des haies ;
L’ornière était béante, il y traîna ses plaies
Et s’y plongea, sanglant, brisé, le crâne ouvert,
Sentant quelque fraîcheur dans ce cloaque vert,
Lavant la cruauté de l’homme en cette boue ;
Et les enfants, avec le printemps sur la joue,
Blonds, charmants, ne s’étaient jamais tant divertis ;
Tous parlaient à la fois et les grands aux petits
Criaient : «Viens voir! dis donc, Adolphe, dis donc, Pierre,
Allons pour l’achever prendre une grosse pierre ! »
Tous ensemble, sur l’être au hasard exécré,
Ils fixaient leurs regards, et le désespéré
Regardait s’incliner sur lui ces fronts horribles.
– Hélas ! ayons des buts, mais n’ayons pas de cibles ;
Quand nous visons un point de l’horizon humain,
Ayons la vie, et non la mort, dans notre main. –
Tous les yeux poursuivaient le crapaud dans la vase ;
C’était de la fureur et c’était de l’extase ;
Un des enfants revint, apportant un pavé,
Pesant, mais pour le mal aisément soulevé,
Et dit : « Nous allons voir comment cela va faire. »
Or, en ce même instant, juste à ce point de terre,
Le hasard amenait un chariot très lourd
Traîné par un vieux âne éclopé, maigre et sourd ;
Cet âne harassé, boiteux et lamentable,
Après un jour de marche approchait de l’étable ;
Il roulait la charrette et portait un panier ;
Chaque pas qu’il faisait semblait l’avant-dernier ;
Cette bête marchait, battue, exténuée ;
Les coups l’enveloppaient ainsi qu’une nuée ;
Il avait dans ses yeux voilés d’une vapeur
Cette stupidité qui peut-être est stupeur ;
Et l’ornière était creuse, et si pleine de boue
Et d’un versant si dur que chaque tour de roue
Était comme un lugubre et rauque arrachement ;
Et l’âne allait geignant et l’ânier blasphémant ;
La route descendait et poussait la bourrique ;
L’âne songeait, passif, sous le fouet, sous la trique,
Dans une profondeur où l’homme ne va pas.

Les enfants entendant cette roue et ce pas,
Se tournèrent bruyants et virent la charrette :
« Ne mets pas le pavé sur le crapaud. Arrête ! »
Crièrent-ils. « Vois-tu, la voiture descend
Et va passer dessus, c’est bien plus amusant. »

Tous regardaient.

Soudain, avançant dans l’ornière
Où le monstre attendait sa torture dernière,
L’âne vit le crapaud, et, triste, – hélas ! penché
Sur un plus triste, – lourd, rompu, morne, écorché,
Il sembla le flairer avec sa tête basse ;
Ce forçat, ce damné, ce patient, fit grâce ;
Il rassembla sa force éteinte, et, roidissant
Sa chaîne et son licou sur ses muscles en sang,
Résistant à l’ânier qui lui criait : Avance !
Maîtrisant du fardeau l’affreuse connivence,
Avec sa lassitude acceptant le combat,
Tirant le chariot et soulevant le bât,
Hagard, il détourna la roue inexorable,
Laissant derrière lui vivre ce misérable ;
Puis, sous un coup de fouet, il reprit son chemin.

Alors, lâchant la pierre échappée à sa main,
Un des enfants – celui qui conte cette histoire, –
Sous la voûte infinie à la fois bleue et noire,
Entendit une voix qui lui disait : Sois bon !

Bonté de l’idiot ! diamant du charbon !
Sainte énigme ! lumière auguste des ténèbres !
Les célestes n’ont rien de plus que les funèbres
Si les funèbres, groupe aveugle et châtié,
Songent, et, n’ayant pas la joie, ont la pitié.
Ô spectacle sacré ! l’ombre secourant l’ombre,
L’âme obscure venant en aide à l’âme sombre,
Le stupide, attendri, sur l’affreux se penchant,
Le damné bon faisant rêver l’élu méchant !
L’animal avançant lorsque l’homme recule !
Dans la sérénité du pâle crépuscule,
La brute par moments pense et sent qu’elle est sœur
De la mystérieuse et profonde douceur ;
Il suffit qu’un éclair de grâce brille en elle
Pour qu’elle soit égale à l’étoile éternelle ;
Le baudet qui, rentrant le soir, surchargé, las,
Mourant, sentant saigner ses pauvres sabots plats,
Fait quelques pas de plus, s’écarte et se dérange
Pour ne pas écraser un crapaud dans la fange,
Cet âne abject, souillé, meurtri sous le bâton,
Est plus saint que Socrate et plus grand que Platon.
Tu cherches, philosophe ? Ô penseur, tu médites ?
Veux-tu trouver le vrai sous nos brumes maudites ?
Crois, pleure, abîme-toi dans l’insondable amour !
Quiconque est bon voit clair dans l’obscur carrefour ;
Quiconque est bon habite un coin du ciel. Ô sage,
La bonté, qui du monde éclaire le visage,
La bonté, ce regard du matin ingénu,
La bonté, pur rayon qui chauffe l’inconnu,
Instinct qui, dans la nuit et dans la souffrance, aime,
Est le trait d’union ineffable et suprême
Qui joint, dans l’ombre, hélas ! si lugubre souvent,
Le grand innocent, l’âne, à Dieu le grand savant.

Translator Note

My translation process is unique. I began my study of the text in French from a performance perspective. Working with a theatre professional in Paris (in person when I am there and via Skype when I am in the US), I honed the performance of the text in its original language. The result is an embodied approach to understanding the deep roots of the text and its emotional resonance in the body. Once I have fully explored the text from this angle, only then do I begin to translate. My aim is to preserve the old world flavor of the texts, while at the same time bringing the message forward for our times, so that it is immediate and relevant. So I am working with the words on the page and the felt experience of the text in the body.

The texts I am translating have long been in the public domain. In the case of Victor Hugo’s long poem, “The Toad,” it is a poem which has only ever been translated once before in the 19th century, in a translation which is no longer available. Yet the poem’s exploration of casual cruelty and innocence is as urgent today as it was when Hugo wrote the piece.


Mina Samuels is a writer, playwright, and performer. Her books include, Run Like A Girl 365 Days: A Practical, Personal, Inspirational Guide for Women Athletes, Run Like a Girl: How Strong Women Make Happy Lives, and a novel, The Queen of Cups. She’s created and performed two award-winning solo shows and her ensemble play, Because I Am Your Queen, was produced at the Krannert Center for the Performing Arts. She also posts weekly translations of Jean de La Fontaine’s 17th century French fables with contemporary commentary.

Victor Marie Hugo (26 February 1802 – 22 May 1885) was a French poet, novelist, and dramatist of the Romantic movement. Hugo is considered to be one of the greatest and best-known French writers. Outside of France, his most famous works are the novels Les Misérables, 1862, and The Hunchback of Notre-Dame, 1831.

We Were the New Era

[translated fiction]

Right at the beginning, at that very first meeting in the park, there were twelve of us, half of which I didn’t even know.

There, upon that gentle slope behind the house, you could hear the fountains splashing and the trams squealing down Kastanienallee. It was the end of June and rather hot. I’d already decided I was going to keep a low profile. If it had been up to me, we would have semi-legally occupied a couple of flats dotted around several blocks in Prenzlauer Berg in the former Soviet sector. I already had the key to one of them: the flat next door to Frank Wohlgemut, who everyone just called “Pebbles” because he came from a coastal town in East Germany. He’d been in two of my courses since the start of the semester. The Wall had fallen, Pebbles was able to study in the West and we were on the verge of becoming friends. One day, he brought me the key. His neighbours had fled via Hungary in mid ’89, less than nine months ago. “You just put your name on the door and transfer three months rent, three times 46 marks. Then you go to the housing authority with the bank receipt and they’ll give you the lease.” I’d already been out drinking with Pebbles in his neighbourhood a couple of nights and he’d shown me the best bars, not just the ones on Kollwitzplatz that everyone knew, but also the ones beyond Dimtroffstraße that the Wessis never found.

The flat that Pebbles had sorted for me was huge; two large rooms separated by the kitchen with the loo on the lower landing. And anyway, the remaining neighbours would be glad if someone moved in. Just as I was telling the others in the park about this flat with the high ceilings and describing the sound the floorboards made when you trod on them, Rachel butted in and said, “Well, I was thinking of something a bit different. Just two rooms separated by the kitchen. You couldn’t even put up a long table.”

Rachel always cut a fine figure when she spoke at meetings and I reckon that all the boys secretly fancied her. Anyway, nobody contradicted her. And strangely enough, the women generally agreed on certain points. My suggestion of several inconspicuous quasi-legal flats in Pebbles’s artists’ district was off the table immediately. Kerstin grumbled a bit but remained seated.

Then a guy wearing large, garish glasses got up and told us of a complete house in Friedrichshain, just behind Mainzer Straße where nine houses had been occupied for months. There was so much space for making music: in the basement, in the attic or in the yard. For years, he had been forced to stagger from sub-let to sub-sub-let in West-Berlin and until now he’d only ever been able to dream of practice space for his band, a band that admittedly was yet to be formed. However, we would have to be quick; the building was in a good location, not too far from Frankfurter Tor. The whole rear house was empty with space for ten to twenty people, maybe even more.

I thought that sounded good, even if I wasn’t exactly sure where it was. But then Nele got up, “No way! Everyone will think we’re in league with the Mainzer Straße lot. And we need to get along with our neighbours, right from the beginning.”

Kerstin agreed with her. “We just need to be as far away as possible from Mainzer Straße.” And so, that was also no longer an option.

“We’ll just have to see what we can find around here,” Rachel was now saying, “From Rosenthaler Platz it’s just a fifteen-minute underground ride to Kreuzberg 36.”

The two autonomists from Kreuzberg thought that was way too far and that we might as well just move to Wedding. They muttered something about the “arse end of nowhere” and left without saying goodbye. The wannabe musician with the garish glasses ran after them, and the group would have broken up if Rachel hadn’t spoken up again. “As it happens, we saw a house that would actually be quite good for us. Pretty close to here, and there’s really enough space for everyone.”

It was only later that I understood later how big our house actually was. At first, we only wanted one of the rear houses. To enter, we passed through two hallways. On the right-hand side of the first courtyard there was an abandoned cinema. A remnant from when people still went out on Rosenthaler Platz, but now empty, vacant and dismal.

“People still live in the front house,” said Nele as we crept in, and that still doesn’t appear the least bit strange to me. The second house was dark and empty while the second courtyard revealed a shed where carriages had once been kept and whose external walls were still adorned with iron rings used to tether cows and horses.

It was a strange feeling going up the stairs for the first time. Wenzel had brought a box of tools with him so he drilled out the lock and inserted a new cylinder before we even looked to see if the rooms were suitable. Then we wandered wide-eyed through the rooms, which looked as if their occupants has only popped out. The gas ovens in the kitchen still had bits of food burnt on them and towels had been placed in front of draughty windows. The doors bore the names of people who were now living elsewhere but were maybe still here in their old homes in their dreams. The floorboards were painted a dark blood red and earth-coloured paper covered the walls. We could feel where its edges had been pasted over each other and ancient newspapers with out-dated advertisements had been used as underlay. Wenzel went through the rooms holding a voltage tester to the exposed cables and the plugs beside the doors. It flashed briefly, just for a second, and then extinguished again. “That’s residual current. Leakage current,” he said knowledgeably and headed into the next room.

Now, it was important that no one else got in ahead of us. So the same afternoon, we submitted an official letter to the porter of Berlin’s municipal authority and got a stamp to confirm its receipt.

“…we hereby inform you that we, the Collective for Renewal, have actively taken the rear house building of No. 5 Badstübnerstraße into our care. We have begun establishing a centre for communication and culture, and have begun remedying the worst damage using our own means…Respectfully yours.”

Johnny, who handled our correspondence from the very first day, wanted to sign off with, with socialist greetings. However, Kerstin, the only one of us from East Germany and who’d only come to West Berlin with her mother in the early eighties, thought it was pure nonsense that only a clueless West German could think up. “The pretentious language gives you guys away as Wessis straight away,” she said and added that in East Germany only the authorities sent socialist greetings and then only in printed letters, and since the Wall had come down, they no longer sent any such greetings at all.

Someone had to sign it with their real name and give an address in East Germany. As none of us were able to, Johnny did it. His grandparents had a house in Buckow, Brandenburg. Although his part of the family were no longer on speaking terms with the branch who’d defected in the sixties and Johnny had never seen the house before, not even a photo, the surname at least could be checked: Johannes Elder, Buckow/Mark.

It didn’t worry us, not even for a second, that on paper our house belonged to someone else. Not just our house, but the whole of East Germany, lay before us as if someone had just discarded it. Ownerless belongings were strewn everywhere. At the border crossing on Chausseestraße, a full building had been abandoned and in the following weeks, we and the other squatters plundered the sinks, the windows, the water pipes, the plugs, the door handles and even the doors, all under the noses of the border guards who waved the cars through on Chauseestraße. Checks were only carried out for the sake of appearance and the guards pretended they didn’t see us. There was something defiant in their disregard: the cold anger that they were no longer feared and that all efforts to put up this border and to keep it closed amounted to nothing. The old rules were obsolete and the new ones were not yet in force.

On the first night, we all slept in sleeping bags on our camping mats in flat at the top of the house on the fourth floor. When it eventually got dark, we lit candles, drew in even closer together and told stories of our many travels. Rachel had been to Portugal where she had eaten cod in oily tomato sauce every day, Kerstin had been in the South of France during the grape harvest and Wenzel had even been to Indonesia. In El Salvador I had watched rats balance over me on wooden beams and Nele had found meteorites on a long desert walk through Algeria. After darkness fell, we could see the stars between the neighbouring houses, and even though we had secretly already chosen our rooms, on this first night we all stayed together in one room. Some of us had brought camping stoves with us. We couldn’t have guessed that the ovens in the kitchens would work and all you had to do was to turn on the gas tap. We made powdered soup from a packet, softened white bread in it and ate it all from tinware and enamel plates, washing it down with some East German beer out of green bottles, which Wenzel had brought with him.

We spoke in hushed voices, watched the bats flying round the corners of the yard at breakneck speed and stayed up until four in the morning, when the trams could be heard creaking over Rosenthaler Platz, always stalling in the same spot and then continuing with a loud whirr. As we were eventually dropping off to sleep, Rachel lay noticeably close to me and ensured that there was enough distance to Kerstin’s sleeping bag that she’d positioned across the door to the staircase.



Wir waren die neue Zeit

Ganz am Anfang, beim ersten Treffen im Park, waren wir zwölf, und ich kannte nicht mal die Hälfte der Leute.
Da war der sanfte Hügel hinterm Haus, die Wasserspiele rauschten, auf der Kastanienallee quietschten die Straßenbahnen, es war Ende Juni und ziemlich heiß. Ich war ganz entschieden dafür, unauffällig zu bleiben. Wenn es nach mir gegangen wäre, hätten wir im Prenzlauer Berg ein paar Schwarzwohnungen besetzt, verteilt auf mehrere Häuser. Zu einer hatte ich den Schlüssel, die Nachbarwohnung von Frank Wohlgemut, den alle nur Küste nannten, weil er aus Rostock war, und der seit dem Semesteranfang in zweien meiner Kurse saß. Die Mauer war weg, Küste konnte im Westen studieren, und wir waren gerade dabei, Freunde zu werden. Eines Tages hatte er mir den Schlüssel mitgebracht, seine Nachbarn waren Mitte 89 über Ungarn raus, keine neun Monate war das her. «Du klebst deinen Namen an die Tür und überweist drei Monatsmieten, drei mal 46 Mark. Mit dem Beleg gehst du zum Amt, die geben dir den Vertrag.» Ich hatte ein paar Abende mit Küste in seinem Viertel gesoffen, und er hatte mir die wichtigen Kneipen gezeigt, nicht nur die eine am Kollwitzplatz, die alle kannten, sondern auch die in den Straßen jenseits der Dimitroff, die die Wessis niemals fanden.
Die Wohnung, die Küste mir klargemacht hatte, war riesig. Zwei große Zimmer, die Küche dazwischen, das Klo eine halbe Treppe tiefer, und die übrig gebliebenen Nachbarn waren froh, wenn einer reinging. Gerade als ich dabei war, den anderen im Park den Stuck unter den hohen Decken zu beschreiben und das Geräusch, das entstand, wenn man auf den Dielen hin und her lief, fiel Rachel mir ins Wort und sagte: «Also das habe ich mir anders vorgestellt. Zwei Zimmer nur, und die Küche dazwischen, da kann man ja nicht mal einen langen Tisch aufstellen.»
Rachel machte eine ziemlich gute Figur, wenn sie vor Versammlungen sprach, und ich vermute, dass die Jungs alle heimlich in sie verknallt waren, es hat ihr jedenfalls keiner widersprochen. Und die Frauen schienen sich über bestimmte Punkte rätselhaft einig zu sein. Mein Vorschlag mit den vielen unauffälligen Schwarzwohnungen im Künstlerkiez hatte sich sofort erledigt. Kerstin maulte noch ein bisschen rum, blieb aber sitzen.
Dann stand ein Typ mit großer bunter Brille auf und erzählte von einem ganzen Haus im Friedrichshain, gleich hinter der Mainzer Straße, in der seit Monaten neun Häuser besetzt waren, und wie viel Platz dort sei, um Musik zu machen, in den Kellern, auf dem Dachboden oder im Hof. Seit Jahren sei er gezwungen, in Westberlin von Untermietvertrag zu Unter-Untermietvertrag zu hopsen, und von einem Proberaum für seine Band könne er bisher nur träumen, für eine Band, die freilich noch zu gründen sei; und wir müssten schnell sein, das Haus sei gut gelegen, nicht allzu weit entfernt vom Frankfurter Tor. Das ganze Hinterhaus sei frei, Platz für zehn bis zwanzig Leute, vielleicht mehr.
Für mich klang das gut, auch wenn ich nicht wusste, wo genau das sein sollte, dann aber stand Nele auf und sagte: «Auf keinen Fall. Da geraten wir gleich in Verdacht, mit den Leuten aus der Mainzer Straße unter einer Decke zu stecken. Und wir sollten uns von Anfang an mit den Nachbarn gutstellen.»
Kerstin stimmte ihr zu. «Bloß möglichst weit weg von der Mainzer Straße.» Und damit war auch das keine Option mehr.
«Wir müssen hier in der Gegend suchen», sagte nun Rachel, «vom U-Bahnhof Rosenthaler Platz aus sind wir in fünfzehn Minuten in 36.»
Zwei Autonome vom Heinrichplatz fanden das entschieden zu weit, moserten irgendwas von «Arsch der Welt» und dass man dann ja gleich in den Wedding ziehen könne, und gingen, ohne sich zu verabschieden. Der Musiker mit der bunten Brille lief ihnen hinterher, und die Versammlung hätte sich fast aufgelöst, als Rachel noch einmal laut wurde. «Wir haben ganz zufällig ein Haus gesehen, das gar nicht so schlecht wäre für uns», rief sie. «Ziemlich nah von hier, und es gibt wirklich Platz für alle.»
Wie groß unser Haus wirklich war, habe ich erst viel später verstanden. Zuerst ging es ja nur um eins der Hinterhäuser. Wir mussten durch zwei Toreinfahrten laufen. Im ersten Hof auf der rechten Seite war ein verlassenes Kino aus der Zeit, als man am Rosenthaler Platz noch ausging, jetzt leer und hohl und düster.

«Das Vorderhaus ist noch bewohnt», sagte Nele, als wir uns reinschlichen, und mir ist das noch nicht im Geringsten komisch vorgekommen, das Querhaus dunkel und leer, im zweiten Hof die Remise, in der früher die Fuhrwerke abgestellt wurden, mit Eisenringen an den Außenwänden, um Kühe und Pferde anzubinden.
Es war ein komisches Gefühl, zum ersten Mal die Treppe raufzugehen. Wenzel hatte den Werkzeugkasten mitgebracht und bohrte das Schloss auf, er setzte gleich einen neuen Zylinder ein, bevor wir überhaupt schauten, ob die Zimmer zu gebrauchen waren. Dann liefen wir staunend durch die Räume, die aussahen, als seien sie gerade erst verlassen worden. Da waren angebrannte Ränder an den Gasherden in den Küchen, und zugige Fenster, vor die Frottéhandtücher gelegt worden waren. An den Türen standen die Namen von Menschen, die jetzt an anderen Orten wohnten und die in ihren Träumen vielleicht noch hier waren, in ihrem alten Zuhause. Auf den Dielen der stierblutrote Lack, erdfarbene Tapeten an den Wänden, wir konnten fühlen, wo die Kanten übereinandergeklebt worden waren, unter der untersten Schicht Zeitungspapier mit Anzeigen in Fraktur. Wenzel lief durch die Räume und hielt einen Phasenprüfer an die offenen Leitungen und in die Steckdosen neben den Türen, der kurz, für eine Sekunde nur, aufflackerte und dann wieder erlosch. «Das sind Restströme», sagte er fachkundig, «Kriechströme», und ging in den nächsten Raum.
Jetzt war es wichtig, dass uns keiner mehr zuvorkam. Deshalb gaben wir noch am selben Nachmittag die offizielle Inobhutnahme, so hieß das, beim Pförtner des Magistrats von Berlin ab und ließen uns den Empfang per Stempel bestätigen.
… teilen wir Ihnen mit, dass wir, das Kollektiv zur Erneuerung, die Gebäude im Hinterhaus der Badstübnerstraße 5 aktiv in Obhut genommen haben. Wir haben begonnen, ein Kommunikations- und Kulturzentrum aufzubauen und die ersten groben Schäden mit Eigenmitteln zu beseitigen … Hochachtungsvoll!
Johnny, der vom ersten Tag an die Schreibarbeiten übernahm, wollte erst mit sozialistischem Gruß unterzeichnen, Kerstin aber, die als Einzige aus der DDR kam und erst seit den frühen Achtzigern mit ihrer Mutter in Westberlin lebte, hielt das für blanken Unsinn und für eine Idee, auf die nur ahnungslose Wessis kommen konnten. «Dass ihr aus dem Westen seid, das merkt man sofort an der gekünstelten Sprache», sagte sie. Und in der DDR hätten nur die Behörden den sozialistischen Gruß verwendet, und auch nur in Vordrucken, und seit der Wende gar nicht mehr.
Eine Person musste unterzeichnen, mit Klarnamen und Adresse in der DDR. Weil das keiner von uns konnte, tat es Johnny, dessen Großeltern noch ein Haus in Buckow hatten. Sie waren zwar tief zerstritten und sprachen nicht mehr mit dem Teil der Familie, der in den Sechzigern die Seiten gewechselt hatte, aber zumindest der Nachname war überprüfbar, Johannes Elder, Buckow/Mark, auch wenn Johnny das Haus seiner Großeltern nicht mal von Fotos kannte.
Dass unser Haus auf dem Papier andere Besitzer hatte, hat uns nicht eine Sekunde lang beschäftigt. Nicht nur das Haus, der ganze Osten lag ja da, als hätte ihn jemand einfach so liegengelassen. Überall Sachen, die keinem gehörten, am Grenzübergang an der Chausseestraße stand ein ganzes Haus leer, das wir und die anderen Besetzer in den Wochen darauf plünderten, die Waschbecken, die Fenster, die Wasserrohre, die Steckdosen, die Türklinken, ganze Türen, alles unter den Augen der Grenztruppen, die auf der Chausseestraße die Autos durchwinkten, es wurde ja pro forma noch kontrolliert. Sie taten so, als sähen sie uns nicht, und in ihrer Nichtbeachtung lag etwas Trotziges, die kalte Wut darüber, dass sie nicht mehr gefürchtet wurden und dass alle Anstrengungen, diese Grenze aufzurichten und dichtzuhalten, umsonst gewesen waren. Die alten Spielregeln galten nicht mehr, und die neuen waren noch nicht in Kraft.
In der ersten Nacht legten wir uns alle in die oberste Wohnung im Vierten, auf mitgebrachte Isomatten und in Schlafsäcke, und als es endlich dunkel war, stellten wir Kerzen auf und rückten noch näher zusammen und erzählten von den vielen Reisen, die wir gemacht hatten. Rachel war in Portugal gewesen, wo sie jeden Tag Kabeljau in öliger Tomatensoße gegessen hatte, und Kerstin war zur Weinlese in Südfrankreich, Wenzel sogar in Indonesien gewesen. Ich hatte in El Salvador zugesehen, wie Ratten auf den Holzbalken über mir balancierten, und Nele hatte auf einer langen Wüstentour durch Algerien Meteoriten im Sand gefunden. Als es dunkel geworden war, konnten wir zwischen den Nachbarhäusern die Sterne sehen, und obwohl wir uns insgeheim schon Zimmer ausgesucht hatten, blieben wir in dieser ersten Nacht zusammen in einem
Raum. Einige hatten Campingkocher mitgebracht, wir konnten ja nicht ahnen, dass die Herde in den Küchen funktionierten, man musste nur den Gashahn aufdrehen, und wir kochten Tütensuppen und weichten Weißbrot darin ein und aßen das Ganze aus Blechgeschirren und emaillierten Tellern, dazu tranken wir Ostbier aus grünen Flaschen, das Wenzel mitgebracht hatte.
Und wir redeten leise, wir beobachteten die Fledermäuse, die halsbrecherische Kurven durch den Hof flogen, blieben auf, bis morgens um vier die Straßenbahn zu hören war, wie sie über den Rosenthaler Platz quietschte, immer an der gleichen Stelle stotterte und dann laut surrend weiterfuhr. Als wir so langsam endlich einschliefen, legte sich Rachel auffällig nah zu mir und achtete darauf, dass genügend Abstand blieb zu Kerstins Schlafsack, den die quer vor die Eingangstür zum Treppenhaus gelegt hatte.


Translator’s Statement:

Berlin, summer 1990: the Wall has fallen, thousands of East Germans have fled to the West leaving complete apartment blocks and sometimes even whole streets abandoned while new inhabitants start to arrive in East Berlin; they are the squatters. Primarily from West Germany, the squatters set up their own communities to pursue their own political ideals, be that veganism or feminism. They reject the city council, which is struggling to form a government for reunified Berlin; they dispute the authority of the police and have established their own assembly to administer the occupied houses of East Berlin. The squatters themselves follow left-leaning ideologies and dispense self-administered justice should a Neo-Nazi, or even worse, an informant, cross their path.

This is the setting of Andreas Baum’s semi-autobiographic novel, “Wir waren die neue Zeit” (We were the new era). In this excerpt, we see the group, mainly consisting of students, take the decision to become squatters and go exploring in what appears to be the endless possibilities of empty East Berlin.

The topic and characters are slightly different to the majority of German books dealing with the post-Wall period for it does not examine how former citizens of the GDR came to terms with life in the capitalist society, but rather concentrates on a group of people who moved into the power-vacuum in order to create their own society. However, this group is no less important for the German squatters of this time were politically motivated and were not simply interested in living rent free. Some of their legacy is still present today.


Catherine Venner studied German and European studies at the University of Durham (England) and the European University Viadrina in Frankfurt an der Oder (Germany). She has worked as a translator, primarily in the legal and commercial sector, for over eight years. She lived, studied, and worked in Berlin for seven years and has now returned to her hometown of Durham. Her translations have appeared in World Literature Today, No Man’s Land, and Brixton Review of Books.

Andreas Baum, born in 1967, grew up in Nairobi and Hesse, in Germany. He studied journalism and Latin-American Studies in Berlin and has written as a journalist for German newspapers, such as taz, Freitag, Lettre International, Deutschlandfunk, Neue Zürcher Zeitung, and Frankfurter Rundschau. Since 2013, he is the culture editor and an author at Deutschlandradio Kultur. Wir waren die neue Zeit (We were the new era) is his first novel. He is currently working on a collection of short stories and another novel. He has received writing grants from two German cultural organisations.

Excuse Us & The Dead People of Mogadishu

[translated poetry]

Excuse Us

Excuse us for fleeing
the wars that you fed
with your own arms

Excuse us for getting poisoned
with the toxic waste buried
by your powerful industries

Excuse us if you’ve bled
out our land, depriving us
of any possible resource

Excuse our poverty
daughter of your richness
of your neo-colonialisms

Excuse us for being massacred
and for disturbing your vacation
with our invisible blood

Excuse us for occupying
your detention centers
with our filthy bodies

Excuse us for breaking our
backs in your tomato fields
slaves without any right

Excuse us for living in
your tin huts
stacked like beasts

Excuse us for our presence
that causes each of your crisis
and doesn’t make you live well

Excuse us if your laws
aren’t strict enough
and many of you would love the gallows

Excuse us for existing,
for breathing, for eating
even for daring to dream

Excuse us if we didn’t die at sea
and if we did, excuse us again
the impudence of informing you.


The Dead People of Mogadishu

Are unlike those in Las Vegas
killed by an American armed to
the teeth by his own government
the dead people of Mogadishu are shadows

figures told to be forgotten
as a teleshopping of pain
to the global rhythm of a remote control
the dead people of Mogadishu are shadows

no keyboards cry pity for them
no painted flags bloom for them
on faces flaunting fake tears
the dead people of Mogadishu are shadows

invisible ruins to indignation
nobody sings their torn apart spoils
or tells their stories, we know
the dead people of Mogadishu are shadows.



Scusate se siamo fuggiti
dalle guerre che voi nutrite
con le vostre stesse armi

Scusate se ci siamo avvelenati
con i rifiuti tossici sotterrati
dalle vostre potenti industrie

Scusate se avete dissanguato
la nostra terra, deprivandoci
di ogni possibile risorsa

Scusate la nostra povertà
figlia della vostra ricchezza
dei vostri neo-colonialismi

Scusate se veniamo massacrati
e disturbiamo le vostre vacanze
col nostro sangue invisibile

Scusate se occupiamo
coi nostri sudici corpi
i vostri centri di detenzione

Scusate se ci spezziamo la schiena
nei vostri campi di pomodoro
schiavi senza alcun diritto

Scusate se viviamo nelle
vostre baracche di lamiera
ammucchiati come bestie

Scusate per la nostra presenza
che causa ogni vostra crisi
e non vi fa vivere bene

Scusate se le vostre leggi
non sono abbastanza severe
e molti di voi vorrebbero la forca

Scusate se esistiamo
se respiriamo, se mangiamo
persino se osiamo sognare

Scusate se non siamo morti in mare
e se invece lo siamo, scusate ancora
l’impudenza d’avervelo fatto sapere.


I morti di Mogadiscio

Non sono come quelli di Las Vegas
ammazzati da un americano armato
fino ai denti dal suo stesso governo
i morti di Mogadiscio sono ombre

numeri detti per essere dimenticati
come una televendita del dolore
al ritmo globale del telecomando
i morti di Mogadiscio sono ombre

per loro le tastiere non dicono pietà
non fioriscono di bandiere dipinte
su volti che ostentano finte lacrime
i morti di Mogadiscio sono ombre

macerie invisibili all’indignazione
nessuno ne canta le spoglie straziate
o racconta le loro storie, lo sappiamo
i morti di Mogadiscio sono ombre.


Translator’s Statement:

Marco Cinque is a major Italian activist poet and his poems explore themes dealing with human, civil, and environmental rights. His poetical world centers on the perspective of the “last ones” of any rank and latitude.

Cinque is a funambulist of the word and layers of meaning lie deep in each of his lines. Translating his poetry is a sort of tightrope walking exercise, moving along the rope of analogy, striving to say exactly the same thing. But, above all, I have tried to be as faithful as possible to Cinque’s voice that is the bearer of a deep, poignant message and the real core of his poems.

“Excuse Us” is a powerful poem on migrants—a topic that is very dear to Cinque—and the subject of one of his most touching books Mari e muri (Waves and Walls). The Mediterranean Sea has become over the past few years the deadliest migration route in the world and Cinque highlights the devastating reasons behind this perilous choice. His irony is clearly directed to the reader, disguised through the sense of guilt of the migrants who must excuse themselves for having fled their homeland for a variety of reasons, including to escape persecution, conflict, famines, droughts, economic instability, and lack of opportunity. The repetition of the words “Excuse us” makes the reader more and more aware of how cynic the world we live in is: victims are forced to feel guilty whereas Westerners have clearly lost their sense of humanity and pleas for help leave them indifferent and undisturbed.

“The Dead People of Mogadishu” deals with victims of terrorist attacks and how, again, Westerners react differently whether such attack takes place in Africa or in the Western world. If we cry: “The horror! The horror!” for people who have died in Las Vegas, we hardly raise our voice for the people killed in Mogadishu. These are indeed, as Cinque writes “figures told to be forgotten / as a teleshopping of pain / to the global rhythm of a remote control.”


Alessandra Bava is a poet and a translator from Rome. Her translations from and into English have appeared in Italian and American journals such as Waxwing and Patria Letteratura. She has edited and translated A New Anthology of American Poets (2015) and most recently Anthology of Contemporary American Women Poets (2018), which includes work by Nikky Finney, Joy Harjo, Patricia Smith, Natalie Diaz, Diane Seuss, as well as others. She is currently writing the biography of a contemporary American poet.

Marco Cinque is a poet, a photographer, a performer as well as a musician from Rome. His work has appeared in many publications both in Italy and in the States. He has been defined by San Francisco Poet Emeritus Jack Hirschman as “a social poet whose every breath is grounded in the revolutionary turning of the pages to the new tide of revelation.”

The Rapids

[translated fiction]



“You think the river’s gone up?”

“Definitely, the snowmelt’s really letting loose down the sierra, bursting like you
wouldn’t believe.”

“Will the cows go into the woods?”

“I couldn’t hold them back even if I tried.”

“But be careful on the way back, son, the river’s treacherous.”

“The river won’t get me, mother.”

The boy had just untied the animals and was bravely driving them down a rocky path along the riverbank.

The sun had come up in the sky, lighting its radiant fire on the dense mountain snow, illuminating the whiteness of the distant fantastic landscape with its blinding morning rays. Already by the day before, the valley was clear of snow, which, now taking refuge in a few depressions along the uneven land, added a few strokes of white along the way.

The cattle, imprisoned in their pen during many days of severe weather, were diligently walking towards the fording place, longing for their tender and fragrant grazing grounds, the lush soil of the Ansar, the forested river island. Martín walked joyfully, his chest puffed out in pride next to his smooth-skinned but tick-infested cows, the most striking ones in the village. One of them, with the dappled-white coat of a foreign breed, was straggling behind the others and walking slowly. At the pebbly edge of the river, some fishermen commented on the animal’s arrogance in their usual exaggerating way, and the boy, affectionately patting its flank, said a few times, proudly, “Go on, Pinta!”

“She going to heave it soon?” they asked.

“Yes, before the full moon. Her calf is about ready to come out any minute now. . . . ”

The cows stepped into the ford, which was higher and noisier now, more turbulent from the melting ice, and the fishermen said to Martín the same thing his mother had told him: “Careful on the way back—the snow’s coming down at full speed from up there.”

The boy smiled self-confidently. “I know, I know.” And he climbed up the riverbank, at the top of which was a large plank thrown over the river, forming a makeshift bridge to the Ansar on the other side. Halfway across the teetering plank, the boy stopped to take in the majesty of that Cantabrian view with eyes that were greedy for beauty. The current, swollen and magnificent, roared out its tragic, devastating song; and the woods, turning green with glorious spring growth, gave the landscape a serene note of trust and sweetness, its smooth lawn standing out towards the wild foam and its flowered trees swaying back and forth over the furious rapids. In the distance, on the other side of the Ansar, hemming in that natural orchard was another branch of the river sparkling in the sun.

Martín didn’t want to admit how light-headed that marvelous and terrible vision made him feel, and, mockingly, smiling, he murmured as he closed his eyes over the dizzying waters, “Uf . . . what a racket you’re making!”

Then in one leap, he made it to the other bank, where the little hanging bridge known as “the alder bridge” was fixed to an alder tree. After that, the boy, somewhat shaky, turned his head to the river, and spit at it defiantly, as if to ridicule it. And, still chastising the river, he said, “Go ahead, scream, scream, show off!” And he went into the woods after his cows.

Martín was a handsome, young, agile, and strong cowherd; he was hard-working and determined. He often took the cattle out to pasture; the cattle were the pride and glory of the area, although they didn’t belong to his father outright since he was a sharecropper. From the mountains to the flatlands, Martín knew those easy roads like no one else did; he knew where the rich pastures were and where the clean watering places for the animals were. He knew that the family’s prosperity was dependent on these cows thriving, and living with the threat of poverty hanging over his tender heart, the boy kept vigilant watch over these beasts, with deep interest, at the bottom of which, by the way, was the pride of a fledgling cattle breeder and the greed of a campesino. But these sentiments were still weak in eleven-year-old Martín, and were eclipsed in that healthy little soul by a sweet fondness towards the animals, very characteristic of a good nature and a generous will.

*     *     *

The voracious cows grazed wholeheartedly, and with every bob of their heads, their cowbells added a musical note in the serenity of the woods. Martín sat on a downed tree trunk and smiled, gratified by the gentle tinkling that was the marcha real of this pastoral royalty. He entertained himself during the afternoon crafting wooden flutes, which he made by cutting young, willow stems free of knots and patiently hollowing them out. To peel off the juicy bark, it was necessary—according to the rules for Cantabrian children’s games—to accompany his methodical tapping on the flute with this tune: Squeeze out, squeeze out, crude willow stick; the crazy mule gave a big kick; the more you squeeze, the more you sing.

Martín repeated that magic spell an infinite number of times, and in his pack where he carried his meager daily meal, he now had quite a collection of sonorous flutes. He looked up at the sun and figured it must be around five. The cows were overjoyed and had had their fill; they were chewing their cud in pleasant abandon, drooling sleepily over the daisies, the graceful heralds of spring in the fields of Cantabria.

Halfway through the day now, the Witch’s Wind, which had begun at dawn with lukewarm puffs, began picking up steam. In the first days of March, only this southern wind had such strength. The river’s fearsome screaming was becoming louder, and reached all the way to the back of the woods now, where it was just a solemn whirring sound. Martín thought it was time to go back to the village; it would take the lazy cattle at least an hour to get there, and if they left now, they would arrive just before nightfall.

The boy stood up, and his high little voice interrupted the afternoon stillness and the river’s lullaby. “Let’s go, Princesa, Galana, go on, get up . . . Pinta . . . Lora, let’s go!” The animals began panting heavily, and the bells rang loudly as he tugged at their collars. The six cows began walking ahead of the boy.

After fifteen minutes of walking, Martín started to get worried; the river was roaring like a beast, much louder than in the morning. And as the boy made his way out of the dense woods, he looked at the mountaintops with terror and saw that not one tuft of snow was left from the recent storms; the sun’s fire and the stirring of the Southern Wind had done their magic.

The river must be making its bad-talk, Martín said to himself, The water is probably almost to the bridge by now, and maybe the cows will be scared to wade across. . . .

Impatient, he prodded the animals and quickened the pace. Soon, he was able to see the waters overflowing to the edge of the woods. He dashed for the bridge that would save him to see if it was still in place . . . yes, there it was! He calmed down. . . . Now it was just a matter of the cows wading across as usual. He pushed them forward; they were a little hesitant; they turned their noble heads to the boy, and in their big tired eyes, there seemed to be a flash of uncertainty. A few of them lowed questioningly.

The boy, anxious, prodded them more and more, and soon one of them went into the river determinedly. The others followed her in, meek but with confidence, all except Pinta, who, always straggling, hadn’t taken a step.

Martín pushed her forward, petting her on her back. “Go, stupid girl!”

The cow didn’t move.

The boy began pushing her insistently, but she lowed, obstinate and resisting, until finally, shaking him off with her solid frame, with an abrupt ringing of bells, she turned around and ran past the boy into the woods.

Martín was speechless and dismayed. But he didn’t hesitate for a moment—his duty was to save Pinta from this formidable flood, which would quickly inundate the entire area between the two branches of the colossal river.

The other five cows were more amenable; they were used to that route and valiantly finished wading to the other side. Martín, screaming and gesturing to them from the shore, saw them walking slowly towards the village. Then he ran in search of the stray animal, the best one of the herd, the apple of his family’s eye.

The cowbell tinkled melodically, its song as peaceful as an eclogue in the thick, dreamy woods, and, guided by the sound, the boy found the beast panting and stunned before the second torrent of the river, which was also overflowing into the woods. He tied a rope to her collar, which he had taken off his waist. He berated the beast, very annoyed, and forced her onto the right path.

Pinta did not resist—judging by the meek way she looked at her cowherd as he scolded her, maybe she regretted her insubordination.

“Can’t you see, stupid,”—he was upset but still reasonable—“we’re on an island, as they call it. Can’t you see that all this is going to be underwater any minute now? And if you drown, my father will lose at least forty duros. . . . I should have known you wouldn’t want to cross . . . you’re the fattest one of them!”

The boy’s incessant talking and the soft sound of the cowbell added a brassy note to the deep orchestra of the waters. The wind had died down; it was surely sleeping in some enormous crook of the blue mountains, under the pure, trembling evening star and the red cloud cover.

Martín’s ferocious little heart thumped every time he thought about that flimsy alder bridge.

In the time he lost chasing after Pinta, the river had widened terribly; now the foamy,
bubbling ford would not calm down.

The boy was agitated seeing that night was falling, seeing that tremendous onslaught of water. He tied the cow to a tree and climbed up to check on the bridge. But the bridge. . . . It was gone!

Stunned, Martín stood for a few minutes with his mouth open, completely dumbstruck before that irremediable, terrifying catastrophe. A veil of tears came over his innocent eyes. What was he going to do? He felt a terrifying need to scream for help, but the ominous solitude of the place and the thundering waters got the better of him as he panicked silently, overwhelmed. Automatically, he looked up to the sky, and the sudden hope of a miracle caressed his soul with a light graze, like a kiss. Maybe an angel would come and put the bridge back in its place! And the cowherd tried a few vague prayers, confusingly split between Our Lady of Mount Carmel and Saint Anthony.

But the angel would not come; the river was still growing, and night was falling, undaunted and serene, in spite of his misfortune.

Then, grasping at his only chance for salvation, Martín went to Pinta, untied her, and caressing and caressing her with his trembling little hands, he spoke to her deliriously, begging her to wade across the river and save him. Slowly, very carefully, as he spoke, he mounted her back, gripping the rope he had used to tie her.

Martín began believing in miracles, because the obedient, obliging beast went into the water without hesitating, carrying him on its back. And the terrible incident came to its horrible, frightful climax. The animal sank in the foamy, roaring waters, and slipped and howled in a fit of fear, while the boy, with his arms around the solid mass of flesh, kissed it, sobbing, whimpering a few tremulous words, which were as much directed to God as to Pinta.

The thundering voice of the river overwhelmed that humble, crystalline little voice, when once again the cowherd’s innocent soul felt the kiss of a miracle. Rising above the noise of the water, some voices called to him insistently—there were definitely people on the other side. His parents, his neighbors had come for him. . . .

Martín knew he was saved now. He raised his head in the darkness in a movement of crazy joy, but when his arm let go of Pinta, a rush of water threw him off her and he rolled into the foamy rapids.

Still for a moment, Martín was vaguely holding on to the hope that he would live—he still had the rope in his hand that was tied to the cow’s neck. The current, with a barbaric strength, was pulling the boy down, to the abyss, to his death; and the massive cow, with the brute eloquence of its exertion and its howling, was pulling him to the shore . . . But the rapids were stronger, and now the animal was being dragged behind the boy!

Then the boy, brave and generous in that supreme moment, let go of the rope, and said with a strange, hoarse voice, “Go on, Pinta!”

And still he yelled, “Mother!” He opened his arms, opened his eyes, his mouth, and thought the whole turbid, bitter river was rushing into it; he felt how the screaming current, which had been harassing him all day, was now stridently laughing in his ears, cold and mocking like a threat that has been fulfilled; and finally, he saw how the peaceful evening star twinkled in the sky among red clouds….The rapids swallowed him instantly, helpless and defeated, that poor flower of sacrifice and humility. . . .

Pinta, finally reaching the coveted shore, looked with stupefied, gentle eyes at a group of people surrounding her, and a sad woman, who had heard Martín’s final words in the pit of her stomach, wailed in tragic reply, “I’m coming! I’m coming!”

And the poor woman ran down along the riverbank, sank into the flooded pastures, lost herself in the blackness of the night, and the depths of her pain. . . .




—¿Habrá crecida?

—Habrála, que desnevó en la sierra y bajan las calceras triscando de agua, reventonas y desmelenadas como qué…

—¿Pasarán las vacas al bosque?

—Pasan tan «perenes».

—Pero ten cuidado a la vuelta, hijo, que el río es muy traidor.

—A mí no me la da el río, madre.

El muchacho acabó de soltar las reses y las arreó, bizarro, por una cambera pedregosa que bajaba la ribera.

Había madrugado el sol a encender su hoguera rutilante encima de la nieve densa de los montes y deslumbraba la blancura del paisaje, lueñe y fantástico, a la luz cegadora de la mañana. Ya la víspera quedó el valle limpio de nieve, que, sólo guarecida en oquedades del quebrado terreno, ponía algunas blancas pinceladas en los caminos.

El ganado, preso en la corte durante muchos días de recio temporal, andaba diligente hacia el vado conocido, instigado por la querencia del pasto tierno y fragante, mantillo lozano del «ansar» ribereño.

Martín iba gozoso, ufanándose al lado de sus vacas, resnadas y lucias, las más aparentes de la aldea; una, moteada de blanco, con marchamo de raza extranjera, se retrasaba lenta, rezagada de las otras. Llegando al pedriscal del río, unos pescadores comentaron ponderativos la arrogancia del animal, mientras el muchacho, palmoteándola cariñoso, repitió con orgullo:

—¡Arre, Pinta!

—¿Cuándo «geda», tú?—preguntaron ellos.

—Pronto; en llenando esta luna, porque ya está cumplida…

Las vacas se metieron en el vado, crecido y bullicioso, turbio por el deshielo, y los
pescadores le dijeron a Martín lo mismo que su madre le había dicho:

—Cuidado al retorno, que la nieve de allá arriba va por la posta.
El niño sonrió jactancioso:

—Ya lo sé, ya.

Y trepó a un ribazo desde cuya punta se tendía un tablón sobre el río, comunicando con el «ansar» a guisa de puente. A la mitad del tablón oscilante, el muchacho se detuvo a dominar con una mirada avara de belleza la majestad del cuadro montañés; la corriente, hinchada y soberbia, rugía una trágica canción devastadora, y el bosque, verdegueante con los brotes gloriosos de la primavera, daba al paisaje una nota serena de confianza y de dulzura tendiendo su césped suave hacia las espumas bravas y meciendo sobre el rabión furioso los árboles floridos. Lejano, en la opuesta orilla del bosque, el río hacía brillar al sol otro de sus brazos que aprisionaba el vergel.

Quiso Martín ocultarse a sí mismo el desvanecimiento que le causaba aquella visión maravillosa y terrible de la riada, y burlón, sonriente, murmuró cerrando los ojos ante las aguas mareantes:

—¡Uf!… ¡cómo «rutien»!…

Luego, de un salto, ganó la otra ribera, en uno de cuyos alisos estribaba el colgante puentecillo, conocido por «el puente del alisal». Entonces el niño, un poco trémulo, volvió la cara hacia el río, le escupió, retador, con aire de mofa, y aun le increpó:

—«Rutie», «rutie», ¡fachendoso!…

Después, internóse en el bosque, al encuentro de sus vacas.

Era Martín un lindo zagal, ágil y firme, hacendoso y resuelto; pastoreaba con frecuencia los ganados que su padre llevaba en aparcería, que eran el ejemplo y la admiración de los ganaderos del contorno. Del monte y del llano, Martín conocía como nadie los fáciles caminos; los ricos pastos y las fuentes limpias para regalo de sus vacas. El pastor sabía que sobre la existencia próspera de aquellos animales constituía la familia su bienestar, y viviendo ya el niño con el desasosiego de la pobreza encima del tierno corazón, guardaba para sus bestias una vigilante solicitud, un interés profundo, en cuyo fondo apuntaban, acaso, el orgullo del ganadero en ciernes y la codicia del campesino. Pero inseguros estos sentimientos en los once años de Martín, aparecíanse en aquella almita sana cubiertos de simpática afición hacia los animales, muy propia de una buena índole y de una generosa voluntad.

*     *     *

Aplicadas habían pastado las muy golosas, y en cada cabeceo codicioso mecieron las esquilas en la serenidad del bosque una nota musical, mientras Martín sonreía, halagado por aquel manso tintineo que era la marcha real de su realeza pastoril; sentado en un tronco muerto, iba entreteniendo la tarde en la menuda fabricación de unos pitos, que obtenía ahuecando, paciente, tallos nuevos de sauce, cortados sin nudos. Para conseguir el desprendimiento de la corteza jugosa, era necesario,—según código de infantiles juegos montañeses—acompañar el metódico golpeteo encima del pito, con la cantinela: Suda, suda, cáscara ruda; tira coces una mula; si más sudara, más chiflara…

Martín había repetido infinitas veces este conjuro milagrero, y tenía ya en la alforjita que fué portadora de su frugal pitanza una buena colección de silbatos sonoros. Miró al sol y calculó que serían las cinco. Las vacas estaban llenas y refociladas; rumiaban tendidas en gustoso abandono, babeando soñolientas sobre las margaritas, gentiles heraldos de la primavera en los campos de la montaña.

Al mediar el día, había saltado el Sur, ya iniciado desde el amanecer en hálitos tibios, que sólo el ábrego puede levantar en los días primerizos de Marzo; iba creciendo el temeroso vocear del río y llegaba al fondo del «ansar», apagado en un runruneo solemne. Martín pensó volverse a la aldea; al paso perezoso del ganado tardaría una hora lo menos; el tiempo justo para no llegar de noche.

Se levantó el muchacho y su vocecilla aguda rompió el sosiego de la tarde, arrullada por el río.

—¡Vamos… PrincesaGalana, arre…; arriba, Pinta…; Lora, vamos…!

Hubo un rápido jadear de carne, con sendas sacudidas de collaradas y sonoro repique de campanillas; y los seis animales se pusieron en marcha delante del zagal.

Al cuarto de hora de camino, Martín empezó a inquietarse; el río bramaba como una fiera, mucho más que por la mañana. Y cuando el muchacho se fué libertando de la espesura intrincada del «ansar», vió con terror que no quedaba en las altas cimas de la cordillera ni un solo cendal blanco de la reciente nevisca; la hoguera del sol y los revuelos del ábrego realizaron el prodigio.

—Irá el río echando pestes—decíase Martín;—habrá llegado punto menos que al puentecillo, y tal vez el ganado tema vadear…

Impaciente, arreó vivo y apretó el paso; y a poco, alcanzó a ver el desbordamiento de las aguas en los linderos del bosque. Dió una corrida para asegurarse de si estaba firme su puente salvador… ¡estaba! Respiró tranquilo… Ahora todo consistía en que las reses vadearan tan campantes como de costumbre. Las incitó: estaban un poco indecisas; volvían hacia el muchacho sus cabezas nobles, en cuyos ojazos mortecinos parecía brillar una chispa de incertidumbre… Hubo unos mugidos interrogantes.

Ansioso el niño, las excitó más y más, y de pronto, una entró resuelta, río adelante; las otras la siguieron, mansas y seguras, menos la Pinta que, rezagada siempre, no había dado un paso.

Martín la arreó, acariciándola:

—¡Anda, tonta, tontona!…

La vaca no se movía.

El zagal, imperioso, la empujó; pero ella mugía, obstinada y resistente, hasta que, sacudiendo su corpazo macizo, con brusco soniqueo de campanillas, dió media vuelta alrededor del muchacho y se lanzó a correr hacia el bosque.

Quedóse Martín consternado y atónito. Pero no tuvo ni un momento de vacilación: su deber era salvar a la Pinta de la riada formidable que, sin tardar mucho, inundaría por completo el «ansar» mecido entre los dos brazos del coloso.

Las otras cinco vacas, dóciles a la costumbre de aquella ruta, acababan de vadear el río con denuedo, y Martín, hostigándolas desde la orilla con gritos y ademanes, las vió andar lentamente camino de la aldea. Entonces corrió en busca de la compañera descarriada, la mejor de su rebaño,
aquella en que la familia toda se miraba como en un espejo.

Sonaba el tintineo melódico de la esquila, con placidez de égloga, en la espesura del bosque soñero; y, guiado por aquel son, el niño halló a la bestia jadeante y asombrada delante del segundo torrente que el río derramaba en el «ansar». Le amarró el pastor al collar una cuerda que desciñó de la cintura y, riñéndola, muy incomodado, la obligó a tornar a la senda conveniente.

La Pinta no opuso resistencia: tal vez estaba arrepentida de su insubordinación, a juzgar por las miradas de mansedumbre con que respondía a las amonestaciones severas de Martín.

—¿No ves, bruta—decíale, afligido y razonable,—que estamos, como quien dice, en una ínsula?… ¿No ves que todo esto se va a volver un mar, mismamente, y que si te ahogas pierde mi padre lo menos cuarenta duros?… ¡Pues tendría que ver que no quisieras pasar!… ¡Sería esa más gorda que otro tanto!…

La charla afanosa del rapaz y el blando soniquete del esquilón daban una nota argentina a la orquesta grave de la riada. Habíase encalmado el viento; dormía, sin duda, en algún enorme repliegue de las montañas azules, sobre las cuales temblaba puro el lucero vespertino, arrebolado de nubes rojas.

El bravo corazoncillo de Martín golpeaba fuerte cada vez que el niño pensaba en el puente liviano del alisal.

Había ensanchado el río atrozmente sus márgenes en el tiempo que el zagal perdiera con la fuga de la Pinta; ahora, el vado espumoso y borbollante no remansaba.

Angustiado el niño, viendo crecer la noche en aquel asedio terrible del agua, amarró la vaca a un árbol y trepó a cerciorarse del estado del puente.

Pero el puente… ¡había desaparecido!

Martín, anonadado, estuvo unos minutos abriendo la boca, en el colmo del estupor, delante de aquella catástrofe irremediable y espantosa. Un velo de lágrimas cayó sobre sus ojos cándidos: ¿Qué hacer?… Sintió una necesidad espantosa de pedir socorro a voces; de llorar a gritos; pero la soledad medrosa del paraje y el estruendo de las aguas, le dominaron en un pánico mudo, aniquilador. Alzó maquinalmente la mirada al cielo, y la súbita esperanza de un milagro acarició su alma con un roce suave, como de beso; ¡si viniera un ángel a colocar otra vez el puente en su sitio!… Y ensayó el pastor unas vagas oraciones, repartidas, confusamente, entre la Virgen del Carmen y San Antonio.

Pero ¡el ángel no venía; el río seguía creciendo, y la noche cayó, impávida y serena, encima de aquella desventura!

Asiéndose entonces a la única posibilidad de salvación, Martín se llegó hasta la Pinta, la desamarró y, acariciándola mucho, mucho, con las manitas temblorosas, la echó un delirante discurso, rogándola que vadease el río y que le salvara. Despacio, con grandes precauciones, según le hablaba, se subió a sus lomos, asiendo siempre la soga con que la había apresado.

Martín empezó a creer en la realización del prodigio, porque la bestia, sumisa y complaciente, entró sin vacilar en el agua, llevándole encima. Y llegó a su apogeo el tremendo lance lleno de temeridad y de horror.

Hundíase el animal en el río espumoso y rugiente, y resbalaba y mugía, en el paroxismo del espanto, mientras que el niño, abrazándose a la recia carnaza vacilante, la besaba sollozando, gimiendo unas trémulas palabras, que tan pronto iban dirigidas a Dios como a la Pinta.

La tonante voz del río empapaba aquella humilde vocecilla de cristal, cuando el alma candorosa del pastor sintió otra vez el beso del milagro. Dominando el estrépito de la riada, unas voces le llamaban con insistencia: había gente, sin duda, en la otra orilla; le buscaban sus padres, sus vecinos…

Martín se creyó salvado. Alzó la frente en las tinieblas con un movimiento de alegría loca, y al soltarse del brazo que daba a la Pinta, un golpe de agua le echó a rodar en las espumas del rabión.

Todavía, por un instante, tuvo Martín asida una tenue esperanza de vivir: conservaba en su mano la cuerda que la vaca tenía atada al collar. La corriente, de una bárbara fuerza, tiraba del niño hacia abajo; hacia el abismo; hacia la muerte. La vacona, con la elocuencia brutal de esfuerzos y berridos, tiraba de él hacia la orilla… Pero, ¡podía más el rabión, que ya iba arrastrando al animal detrás del niño!

Entonces él, bravo y generoso en aquel instante supremo, soltó la cuerda, y dijo con una voz ronca y extraña:

—¡Arre, Pinta!

Aún gritó: ¡madre! Abrió los brazos, abrió los ojos, abrió la boca, creyó que todo el río se le entraba por ella, turbio y amargo; sintió cómo el vocerío de la corriente, que todo el día le estuvo persiguiendo, le metía ahora por los oídos una estridente carcajada, fría y burlona, como una amenaza que se cumple; y vió, por fin, cómo temblaba en el cielo, entre nubes rojas, el lucero apacible de la tarde… El rabión se le tragó en seguida, inerme y vencido, pobre flor de sacrificio y humildad…

La Pinta, dueña de la codiciada margen, miraba con ojos atónitos y mansos a un grupo de gente que la rodeaba, y a una triste mujer que, habiendo recibido en mitad del corazón la postrera palabra de Martín, en trágica respuesta, contestaba a grito herido:

—¡Allá voy, allá voy!…

Y corría la infeliz, ribera abajo, a la par del río, hundiéndose en los yerbazales inundados, perdida en las negruras de la noche, y en la sima de su dolor…


Translator’s Statement:

One of the things that makes Concha Espina’s writing so challenging to read is that, while she writes in Spanish, she intersperses her stories with certain Cantabrian words that would be unknown to the average Spanish speaker. The northern region where she is from, also known as La Montaña, is very different from the rest of Spain in terms of climate and vegetation, and it was also one of the only regions of Spain never to have been conquered by the Moors. Today, Cantabrian is classified as an endangered language.

Many of the Cantabrian words she uses have to do with rural life, and these words are very vivid. For example, ansar is the word for island. Towards the end of the story, the boy says to his cow, “We’re on an island, as they call it.” Here he uses the Spanish word.

But another, more difficult example is when the boy meets the fishermen. They say to him, in reference to one of his cows, “¿Cuándo «geda», tú?” which I somewhat unsatisfyingly translated as “She going to heave it soon?” “Gedar” means to calve in Cantabrian and “una geda” is a cow that has recently calved. This fisherman’s question in Spanish is five syllables (but the sounds can blend together so that it almost sounds like four). My translation, however, is seven syllables (or six if you say “gonna” in your head). It also doesn’t quite have that same staccato sound produced by the letters c, g, and t in “¿Cuándo «geda», tú?

The way these fisherman speak is very much connected to who they are—poor fisherman in rural Cantabria. They are “men of few words.” I see them as having that rugged, masculine quality that we also associate with the countryside in the United States.

In English, the question is not quite clear. Without any context, “heave” could mean any number of things here. But most Spanish speakers would also not know what “geda” means right away. The question is made clear by the boy’s answer.


Slava Faybysh was born in Ukraine and grew up in the United States. He translates from both Spanish and Russian. He is just starting out in the field of literary translation and has several manuscripts for which he is currently searching for publishers. His translations have appeared on Asymptote and Palabras Errantes.

Concha Espina (1869–1955) was a prolific author of poetry, plays, novels, and novellas. She was the first woman in Spain to be able to make her living exclusively from writing. Though she was a contemporary of the Generation of ’98 writers in Spain, her work is somewhat different from other writers of the period. Her main influences were Realism and Romanticism. Concha Espina was deeply Catholic, and although she did not identify as a feminist, much of her work does have certain feminist themes. Early in her career, she was mainly apolitical. She slowly drifted to the left by the 1920s, writing a book in support of miners. But by the time of the Spanish Civil War, she came to support the fascist Franco government. Concha Espina was a finalist for the Nobel Prize three times in the 1920s, and several of her novels were made into movies during the 1950s. “The Rapids” was one of her earliest works to be published in 1907.

The Fourth Astral Plane & We Have Arrived

[translated poetry]

The Fourth Astral Plane

We bolted from empty stores,
Army bullies,
Nagorno-Karabakh and
Happy drunkards euthanized in the snow.
We were afraid that tomorrow another curtain would fall,
And the pogrom-happy Czar would return, or the dictator, or the
So amidst the hot Brooklyn spring we came
To the Hasidim dressed in all black,
And to those, who stay black no matter the clothes,
We walked knee-deep in the snow
Circled the Jewish cemetery starving as if for prey
Arguing in hoarse voices about Berdyaev and Shestov,
And we ran away from dull rabbis,
Matronly priests,
And Buddhists, annoying as flies in their complacency,
But terrorists caught up with us like Karma
And we choked coughing,
And covered our mouth
When New York swelled with asbestos dust
From the rotting twin corpses.
And in the snow desert by Chicago
We listened to the howling Tom Waits
And were mocked by the everlasting
And golden San Francisco fall.
We couldn’t bear it and ripped
The shirts off our backs.
And spending our last money
We ripped across the ocean, back to the East.
In a London bar we listened
To the joking oligarch, “I drink only beer,
Where I can see the polonium better.”
And in the Berlin “USSR” bar
We opened the bathroom door
Decorated with a stolen authentic sign
“Embassy of the Soviet Union.”
I wanted to steal it back.
And when we landed in Sheremetyevo,
Boryspil and Pulkovo
At the stores pregnant with merchandise
On Nevsky, Arbat or Khreshchatyk,
We were met by frozen drunkards with hardened, happy eyes
Who welcomed us.
And the Kiev salesgirl pretended
That she knew no Russian,
And the cops frisked us for money
At the Novoslobodskaya metro
And we kissed our sleeping bride on the forehead,
Sure that we would never see her again,
And early morning we left the cozy place
On Bolshoi Karetny.
Played hide-and-seek with armored troop-carriers,
And the OMON lines
Waiting in ambush for marchers,
And when the taxi driver asked, “Where to?”
We lingered, muttering,
“To the Fourth Astral Plane.”


We Have Arrived

There was no one there
to meet my mother and I
at JFK airport.

2 weeks before us
my uncle came to america
and got lost on the way.

He did not know english.

In the middle of the terminal
I stood with my mother
with a fountain of bags
and no money. Our own language
not enough currency or food

to be

in the lost world.


Мы уезжали от пустых прилавков,
Нагорного Карабаха и
Счастливых алкашей храпящих в сугробах,
Боясь, что завтра захлопнется
Приоткрывшаяся дверь
И вернётся Царь, диктатор или террористы
И мы приехали в жаркую бруклинскую весну
К одетым во все чёрное хасидам,
И к тем кто и без одежды полностью черный
И мы ходили по колену в снегу
Вокруг еврейского кладбища
Споря до хрипоты о Бердяеве и Шестове
И мы убежали от тоскливых ребе
Заботливых батюшек
И надоедливых как мух буддистов
И террористы настигли нас здесь
И мы захлёбывались кашлем,
Закрывая рот платком
Когда Нью-Йорк окутала асбестовая пыль
От гниющих трупов Близнецов,
И в снежной пустыне под Чикаго
Мы слушали завывания Тома Вэйтса
И нас раздражало вечная
Золотая осень Сан-Франциско
И мы не выдержали и рванули
На себе рубаху
И рванули тратя последние деньги
Назад на Восток
И слушали как в Лондоне
Олигарх в баре шутил
«Я пью только пиво.
В нем заметней полоний»
И в Берлине в баре «СССР»
Мы открыли дверь в туалет
Украшенной украденной реальной табличкой
«Посольство Советского Союза»
И когда мы приземлились в Шереметьево,
Борисполе и Пулково,
К заваленным магазинам,
На Невском, Арбате или Хрещатике
То нас встретили те же
Счастливые алкаши давно замёрзшие в сугробах
С округлившимися глазами,
Киевская продавщица сделала вид, что не понимает по-русски
Менты обыскали и забрали деньги у метро «Новослободская»
И мы поцеловали в лобик спящую невесту
Зная, что никогда её больше не увидим
И вышли рано утром из уютного дворика
На Большом Каретном,
Посмотрели на затаившийся бронетранспортёр
И роты ОМОНа
Ожидающих в засаде демонстрантов
И когда таксист спросил
«Куда шеф?»
Замедлили и сказали
«В Четвёртый Астрал»


Мы Прибыли Сюда Жить

Когда я с матерью прилетел в Нью Йорк
Нас никто не встретил в аэропорту
Мой дядя приехавший в Америку
За две недели до нас
Сам не зная английского
Заблудился по дороге.
Я стоял с мамой посередине
Огромного терминала с
Кучей чемоданов
Не зная языка, без денег
Потерянные в потерянном мире.


Collaboration Statement:

Alex wrote the original poems and rough versions of translations which were probably unreadable. Stella (“Fourth Astral Plane”) and Thomas (“We Have Arrived”), both American poets, then helped Alex polish up the poems under his guidance.


Poet, social worker, mama, and—perhaps by the time you are reading this—ex-wife, are among the identities of Stella Padnos. Stella’s debut book of poems and subsequently released chapbook—brightly titled In My Absence and Next to Nothing—have been published by Winter Goose Press since 2016. Stella enjoys writing about ambivalence, attraction, and general emotional discomfort.

Thomas Fucaloro is the author of two books of poetry published by Three Rooms Press, most recently It Starts from the Belly and Blooms, which received rave reviews. The winner of a performance grant from the Staten Island Council of the Arts and the NYC Department of Cultural Affairs, he has been on six national slam teams. He holds an MFA in creative writing from the New School and is a co-founding editor of Great Weather for Media and NYSAI press. He is an adjunct professor at Wagner College where he teaches world literature and advanced creative writing. He is a writing coordinator at the Harlem Children’s Zone and lives in Staten Island.

Alex Galper was born in Kiev, Ukraine, in 1971. He came to America in 1990 escaping draft to the Soviet Army. Alex graduated from Brooklyn College majoring in creative writing in 1996. He still writes in Russian and is well-known in Moscow and Saint Petersburg. Alex’s short stories about living in New York appear regularly in major Russian periodicals. He works for New York Department of Social Services and does acting part-time. Alex had a small part in HBO miniseries Show Me a Hero. His poems and short stories were translated into English, Swedish, German, and Georgian.

Tights & Buttons

[translated poetry]


She likes the taste of her knee. In the summer, she’ll eat it straight from the skin. In the winter, she’ll do so until all the cotton hair has shed on her tongue. In her head stuck on the knee, the child puts together the things she knows.

An ant rubbed between fingers smells of vinegar. A butterfly has powder. A mole has a tailcoat. You can roll gray dirt on your skin. Old people smell of beetroot soup. There’s butter under your fingernails where splinters get in. People can be hunchbacked and crazy but not dogs or birds. When sucking on the salty knee, the child knows: the only thing that separates human from the world is the skin. It prevents you from soaking into the immensity of things.



Grandma keeps her mother in a room with half a door. (She chopped the other half off to see what the old one is up to. She kept the remaining half locked.)

Grandma turns the key, then slides it behind her bra. She won’t give it to anyone. They might let that plague out into the rest of the house.

Last week she lost sight of her for one moment: great-grandma slashed the curtains and put a bag of sugar in the fire. She thought it was coal—both hard. She gutted the closet: she was looking for her uniform because she was going to school. She’s ninety years old, she doesn’t remember her own name but she certainly remembers the school uniform with the cross back. If you don’t lock her up, she’ll turn everything upside down.

“You seem a little too quiet there, Mommy,” grandma calls to the doorframe.

“I shit myself,” a head springs above the thick line of the chopped-off door.

“You’ll have to wait, then.”

Grandma will not drop her work. She won’t burn the meat. When you live under the same roof as madness, everything else must be normal. A good meal is part of that everything else.

A sweater lands in the kitchen. It’s followed by a skirt, a slip, and a bra.

“Excuse me, ma’am, can you call my daughter for me? Because I’m standing here naked.”

“I’ll be right there. I’m your daughter.”

“That’s not true. My daughter has dark hair and is slim like a stalk. Like that,” two fingers appear above the door, grabbing a half-inch of air in pincers. “You’re gray and fat.”

Grandma is changing her mother’s diaper. Velcro closures crunch on her hips.

“I’ll die if you pay me well,” says the old infant.

Grandma brings a bag of sheet buttons. She empties it on the floor.


“How should I know? I need to count them.”

I’m sitting with great-grandma on the floor. We’re counting the buttons with our hands.

“Have you ever seen so much money?” she asks.

When she’s not looking, I put them in my shoes, I pop them down my shirt, I swallow them. Let there be fewer of them. Too few to die.




Lubi smak kolana. Latem wyjada go prosto ze skóry, zimą przez rajtuzy, aż wylinieje na język bawełniana sierść. W głowie zatkniętej na kolano dziecko układa rzeczy, które zna.

Mrówka roztarta w palcach pachnie octem. Motyl ma puder. Kret frak. Po skórze da się toczyć szare wałki brudu. Starych ludzi czuć barszczem. Za paznokciami jest masło, w które wchodzą drzazgi. Są garbaci i szaleni ludzie, ale nie psy i ptaki. Ssąc słone kolano, dziecko wie: jedyną rzeczą, która oddziela człowieka od świata, jest skóra. Dzięki niej nie wsiąka się w bezmiar rzeczy.



Babka hoduje swoją matkę w pokoju z połową drzwi. Połowę urżnęła, żeby widzieć, co stara wyczynia. Połowę z zamkiem zostawiła. Przekręca w nim klucz, wrzuca za stanik. Nie da nikomu. Jeszcze by wypuścił tę plagę na dom.

W zeszłym tygodniu na moment spuściła ją z oka: prababka pocięła zasłony, wsadziła torbę cukru w ogień. Myślała, że węgiel – jedno i drugie twarde. Rozbebeszyła szafę: szukała fartuszka, bo idzie do szkoły. Ma dziewięćdziesiąt lat, nie pamięta własnego nazwiska, ale fartuch, co się zapinał na krzyż na plecach, owszem. Jak się jej nie zamknie, wywróci wszystko do góry nogami.

– Coś mi tam za cicho jesteś, mamusiu – woła babka do dziury w futrynie.

– Zesrałam się – nad krechę uciętych drzwi wyskakuje głowa.

– To poczekasz.

Babka nie rzuci roboty. Nie przypali mięsa. Kiedy ma się pod dachem wariactwo, reszta ma być normalna. Porządny obiad należy do reszty.

Do kuchni wpada sweter. Za nim lecą: spódnica, halka, stanik.

– Przepraszam, czy może pani zawołać moją córkę? Bo ja tu stoję goła.

– Zaraz przyjdę, jestem twoją córką.

– Nieprawda. Moja córka ma czarne włosy i jest szczupła jak łodyga. O, taka – nad drzwiami pokazują się palce, które biorą w kleszcze centymetr powietrza. – Ty jesteś siwa i tłusta.

Babka przewija swoją matkę. Rzepy pieluchy trzeszczą na biodrach.

– Umrę, jak mi dobrze zapłacisz – mówi stare niemowlę.

Babka przynosi worek pościelowych guzików. Wysypuje na podłogę.

– Wystarczy?

– Bo ja wiem? Muszę policzyć.

Siedzę z prababką na ziemi. Liczymy na palcach guziki.

– Widziałaś kiedyś tyle pieniędzy? – pyta.

Kiedy nie patrzy, wsadzam je do butów, wrzucam za koszulę, połykam. Niech będzie ich mniej. Za mało na śmierć.


Translator’s Statement:

It is hard to say whether the main characters in Bronka Nowicka’s prose poems are objects or people. If we consider what she wrote in her poem titled “Tights:” “the only thing that separates human from the world is the skin,” which “prevents you from soaking into the immensity of things,” we can conclude that, indeed, the border between the human world and the world of objects is constantly questioned in Nowicka’s writing, just the like the limits of the material and the immaterial. The universe in Nakarmić kamień is that of things the child desires to learn and experience through her senses. In addition, objects are essential in our lives because they preserve the memory of our loved ones.

Nowicka’s use of language in Nakarmić kamień is striking: words are combined in unusual configurations, producing condensed sentences which are yet full of imagery and symbolism. As a reader, I often found the beautifully odd images familiar, such as tasting one’s knee through the sheer membrane of tights, feeling the hands of dead people as if they were made of wax, listening to old people talk about the War. As a translator, I realized how challenging it would be (and was) to reproduce this dense cocktail of senses and symbols into English. One of the reasons for my struggle was the form of the pieces, that is, prose poetry. In his Introduction to the first volume of The Prose Poem: An International Journal, Peter Johnson defined the prose poem as a piece of writing that “plants one foot in prose, the other in poetry, both heels resting precariously on banana peels” (6). In a similar way, I found myself jumping constantly from one side to another: on the one hand, I was often tempted to add words such as “because” or “since” to allow for the sentences to flow, as if in prose. On the other hand, I did not want to interfere with the staccato rhythm of the sentences which read like individual lines of a poem. I think that this tension between prose and poetry is visible in Nowicka’s work, and I wanted to recreate this complicated marriage between the two forms of writing in my translations.

Johnson, Peter, editor. “Introduction.” The Prose Poem: An International Journal, vol. 1,
Providence, Providence College Press, 1992.

Nowicka, Bronka. Nakarmić kamień [Feeding the Stone]. Biuro Literackie, Stronie Śląskie,
Wrocław, 2015.


Agnieszka Gabor da Silva graduated from the University of Massachusetts, Amherst, where she studied Lusophone literatures and cultures. Her Master’s thesis involved translating Clarice Lispector into Polish. She also holds a Master of Arts in English from Adam Mickiewicz University in Poznań, Poland. Her research interests include modernist and contemporary Brazilian literature, translation, and Luso-African literature. She is also committed to promoting Polish literature in the US and Brazil through translation.

Bronka Nowicka was born in 1974. She is a film director, screenwriter, and poet. She graduated from the Polish National Film School in Łódź and the Academy of Fine Arts in Kraków. The fields of her inspiration, exploration, and creation include Intermedia, Language, Image in motion. In 2016, she received the Nike Literary Award, one of the most prestigious awards for Polish literature, for her prose poetry volume titled Nakarmić kamień [Feeding the Stone, published by Biuro Literackie, 2015].

Given in Measurement

[translated poetry]


Given in measurement. Play seasons.
Beneath bushes of fog, face blades,

get knotty, all the while be back, pelvis,
exchange of oxygen and photosynthesis.

Lust as shears. Slight air supply, then:
Breathe, raise arms shoulder-high,

a beelined shoot axis. Put up
defense with leaves (thorns, bugs, spiderwebs),

evaporation of the slightest.
The measurements knot in detail:

prune yourself.


Breed petals above petals
eye-angering colors.

Feed compound eyes.
Let snouts suck,

an agreement between sugar and scent.
How bees grapple with knotnotes.

Mechanisms of pressure and tilt, slight
explosions, here and there.

Dust on invisible hooks
seduces legs and chest.


Waver, carry. New fruits
spin, thin seeds

ringed with pollen dust.
Fruit flesh, fine white china.

The swarm closes in,
swirls, trembles, holds out, humming.

Spills, swept sunlight asunder
the queen’s decree.

Another cilia-haired,
self-whelped people

settling in the next knothole.
A restless black eye.


A thicket spanned by hunter bees.
The world of petals falls in autumn.

When work is finished: a battle
of drones against the swarm.

Small, truncated bodies, dethorned,
enfeebled by their own power,

starved under dews, the hole of flight
only a pinch away.


Dance circles seek the utmost distance
between the people and feeding grounds.

The swarm prunes itself, dabs
when juice seeps in honeycombs.

Hardly self-sufficient—as if it were all
for geometrical perfection.

Freely, the stacks quiet
by worker bees’ to-and-fro.

Scooting closer in ever-shifting
positions. Warm by trembling.

To care for progeny:
exchange of secretions.

Carry, dry-out, blanket
the future with wax.

Glue the smallest gaps with resin:
dream of an equally skittering winter.



Vorhanden in Vermessung


In Vermessung vorhanden. Jahreszeiten spielen.
Unter Nebelbüschen sich Klingen stellen,

verästelt warden, dabei Rücken sein, Becken,
Austausch von Sauerstoff und Fotosynthese.

Lust als Schere. Leichte Luftzufuhr, dann
atmend die Arme bis zur Schulter heben,

schnurstracks Sprossachse warden. Mit Blättern
Gegenwehr leisten (Dornen, Käfern, Spinnweben),

der Verflüchtigun noch von Geringstem.
Die Vermessung binden an ein Detail,

sich beschneiden.


Blüten über Blüten ausbilden,
Die Augen empörende Farben.

Futterquelle warden unterm Gitterblick.
Rüssel an sich asaugen lassen,

Verständigung über Zucker und Duft.
Wie die Biene sich über Fruchtknoten hermachen.

Druck- und Klappmechanismen,
hier und da kleine Explosionen.

Staub an unsichtbaren Haken
verführt Beine und Brust.


Schwingen, tragen. Neue Früchte
warden gezirkelt, hauchdünne Samen,

darum Ringe aus Pollenstaub.
Fruchtfleisch, weißes und feines Porzellan.

Der Schwarm schließt dichter,
wirbelt, vibriert, verharrt summend.

Fällt, von Sonne durchweht,
ein Entscheid der Königin.

Ein weiteres, filmmerhaariges
von sich selbst verjüngtes Volk,

das die nächste Baumachsel besidelt.
Ruheloses schwarzes Auge.


Dickicht, durquert von Spurbienen.
Die Welt der Blätter fällt in den Herbst.

Nach getaner Arbeit: Schlacht
der Drohnen gegen den Schwarm.

Kleine, verkürzte Körper, entstachelt,
geschwächt von der eigenen Macht,

verhungert unter Tau,
Zentimeter vor dem Flugloch.


Tanzkreise auf der Suche nach dem größten Abstand
zwischen Futterplatz und Volk.

Der Schwarm beschneidet sich selbst,
schabt sich aus, wenn Saft sickert in Waben.

Kaum Eigenversorgung, als geschähe all dies
zur Vervollkommnung von Geometrie.

Freiwillig stiller im Magazin
die Gänge der Arbeitsbienen.

Näherrücken in standing wechselnden
Positionen. Wärme durch Zittern.

Fürsorge für den Nachwuchs:
Austausch von Sekreten.

Umtragen, Trocknen, Zukunft
verdeckeln mit Wachs.

Verkleben kleinster Öffnungen mit Harz:
Traum von einem gleichgültig dahinjagenden Winter.


Patty Nash is a poet and translator from Germany and Oregon. Her poems and translations have appeared or are forthcoming in The CollagistInter | rupturePreludethe Offing, and elsewhere. She is currently completing her MFA in poetry at the Iowa Writers’ Workshop and tweets at @pattynashdj.

Karla Reimert is a German poet. Her first book, Picknick mit Schwarzen Bienen (Picknick with Black Bees), was published in 2014 and won the Berlin Literaturwerkstatt’s Prize for Best Debut. Reimert has won the Würth Poetry Prize, the Rheinsberg Author Forum Prize, and the Essay Prize for the Japanese Consulate.

De roses et d’épines: English, French, & Portuguese

[self-translated poetry]

Roses and spines

The widow’s shaven head
Welcomes the knights of the apocalypse

Arrows of the day
The husband’s soul
Escapes from the body

The widow’s shaven head
Welcomes the knights of the apocalypse



He was handsome but ”la fille de Joie” [1]
did not let herself go.

Love is a virus with which we inoculate
Ourselves when we have sold the antidote

to the enemy



Tchimpadou [2] !
I do not know!

I do not know the accents of my mother tongue
The scattered vocabulary of a language in the twilight of its time.

I do not know the name of the ancestors
From the father of Ngoumini [3] , to the brother of Tchilongo [4] , counter clerks of
the tombs
I do not know the dance steps of millet ears
Of a field yellowed with doubt
Counsel to tales, stories to legends
I do not know the ritual of the widow’s midnight bath
Even less the initiatory direction of the ballet of the circumcised.
I do not know how to interpret dreams
The limits of my culture!
Ah! This girl in agony
I do not know, I do not know yet
How to dialogue with the dead
These heroes pace the corridors of darkness when night has fallen
When the bitter song of a beaten cur rises.


Diwangou coffee

My ambition remains imposing.
It is from this that I learn how to cherish
The ground of men with sides lacerated
by the spiteful wires which trample this ground
which has already given all without complaint.



With naked madwomen,
The clothed men
On the market square,
Take off the last garments of honour.

Strange wish,
Incipient happiness is stretched
In the plain.

Sing your sorrow.
The son in mourning venerates
The reflection of the moon.

The bad spirit
Communicates with its double,
The Ju ju man

The valley hops
In the throats of Diosso
The squirrel becomes wise.

Dance until death
Cry out when we can speak no more,
My language dies.

The day will be born on the hill.
The volcano will be quiet forever.



De roses et d’épines

Le crâne rasé de la veuve
Accueille les chevaliers de l’apocalypse

Rayons de soleil
Flèches du jour
L’âme de l’époux
S’échappe du corps

Le crâne rasé de la veuve
Accueille les chevaliers de l’apocalypse.



Il était beau mais la fille de joie
Ne s’est pas laissée allée.

L’amour est un virus que l’on s’inocule
A soi même quand on a vendu l’antidote
A l’ennemi.



Tchimpadou [5]  !
Je ne connais pas

Je ne connais pas les accents de ma langue maternelle
Le vocabulaire épars d’une langue au crépuscule de son temps.

Je ne connais pas le nom des ancêtres
Du père de Ngoumini [6] , du frère de Tchilongo [7] , guichetiers des tombes

Je ne connais pas le pas de la danse du mil
Epis d’un champ jauni au doute
Des conseils aux contes, des histoires aux légendes
Je ne connais pas le rituel du bain de minuit de la veuve
Encore moins la direction initiatique du ballet du circoncis.
Je ne connais pas interpréter les rêves
Les bornes de ma culture ! Ah ! Cette fille a l’agonie
Je ne connais pas, je ne connais pas encore
Dialoguer avec les défunts
Ces héros arpentant les couloirs des ténèbres la nuit tombée
Quand s’élève le chant amer d’une chienne battue.


Diwangou café

Mon ambition demeure grandiose.
C’est d’elle que j’apprends à chérir
la terre des hommes au flanc lacéré
par les fils ingrats qui piétinent ce sol
qui a déjà tout donner sans plaintes.



Aux folles nues,
Les hommes vêtus, sur la place du marché,
Otent les derniers haillons d’honneur.

Etrange souhait,
Le bonheur naissant s’étire
Dans la plaine.

Chante ta peine.
Le fils en deuil vénère
Le reflet de la lune.

Le mauvais esprit
Communique avec son double,
Le féticheur.

La vallée sautille
Dans les gorges de Diosso
L’écureuil devient sage.

Danser à pâlir
Pousser des cris pour parler,
Mon langage meurt.

Le jour naîtra sur la colline.
Le volcan sera silencieux à jamais.



Rosas e espinhos

A cabeça rapada da viúva
Dá as boas-vindas aos cavaleiros do apocalipse

Raios de sol
Flechas do dia
A alma do marido
A abandonar o corpo

A cabeça rapada da viúva
Dá as boas-vindas aos cavaleiros do apocalypse



Ele era jeitoso mas ”la fille de Joie” [8]
Não se deixou levar.

O amor é um vírus com o qual nos inoculamos
Depois de vendermos o antídoto
ao inimigo



Tchimpadou [9] !
Não sei!

Não conheço os sotaques da minha língua materna
O vocabulário disperso de uma língua no limiar do seu tempo.

Não conheço o nome dos antepassados
Do pai de Ngoumini [10] , ao irmão do Tchilongo [11] , amanuenses
das tumbas
Não conheço os passos de dança das espigas de milho-miúdo
De um campo amarelecido com a dúvida
Conselhos para contos, histórias para lendas
Não conheço o ritual do banho da meia-noite da viúva
Ainda menos o sentido iniciático do ballet dos circuncidados.
Não sei como interpretar sonhos
Os limites da minha cultura!
Ah! Esta moça em agonia
Não sei, ainda não sei
Como dialogar com os mortos
Estes heróis percorrem os corredores das trevas quando a noite cai
Quando se levanta o latido pungente de um cachorro maltratado.


O café de Diwangou

A minha ambição mantém-se imponente.
É dela que eu aprendo a guardar no meu íntimo
O chão de homens com flancos lacerados
pelos arames rancorosos que esmagam este chão
que já deu tudo sem se queixar.



Com malucas nuas,
O homem vestido
No largo do mercado,
Despe-se das últimas roupagens da honra.

Estranho desejo,
Felicidade incipiente estende-se
Na planície.

Canta as tuas mágoas.
O filho enlutado venera
O reflexo da lua.

O espírito mau
Comunica com o seu duplo,
O homem enfeitiçado

O vale salta
Nas gargantas de Diosso
O esquilo torna-se sábio.

Dança até à morte
Chora quando já não podemos falar,
A minha língua morre.

O dia vai nascer na colina.
O vulcão calar-se-á para sempre.


Author’s note:

[1] Prostitute

[2] Female head of the soko clan. Tribe from the dense forest of Central Africa which inherited 1000 words at the start of life. Everyone who dies takes 30 words to go and speak to the dead. Each newborn arrives with one word. The Soko people will only find speech again when the original 1000 words are reunited.

[3] Ancestor

[4] Ancestor

[5] Femme chef du clan Soko. Une tribu de la forêt dense d’Afrique Centrale qui a reçu en héritage mille mots au début du monde. Chaque mort emporte trente mots pour communiquer avec les morts. Chaque nouveau né arrive au monde avec un mot. Le people Soko retrouve la parole seulement quand les mille mots d’origine sont réunis.

[6] Ancêtre

[7] Ancêtre

[8] Prostituta

[9] Mulher chefe do clã Soko. Tribo da densa floresta da África Central que herdou 1000 palavras no princípio do tempo. Cada pessoa que morre leva consigo 30 palavras para falar com os mortos. Cada recém-nascido chega com uma palavra. O povo Soko só voltará a encontrar o discurso quando as 1000 palavras originais forem reunidas.

[10] Antepassado

[11] Antepassado


Landa wo is a poet from Angola, Cabinda, and France. His work has previously appeared in Cultura – Jornal Angolano de Artes e Letras, Blackmail Press, Boyne Berries, Cyphers, Nashville Review, Scrivener Creative Review, Star 82 Review, Raleigh Review, Poetry New Zealand, The Cape Rock, and Weyfarers, among others. Landa wo has won a number of awards including first prize in Metro Eireann writing competition 2007, Eist poetry competition 2006, and Feile Filiochta international poetry competition 2005.


5 Poems by Feng Na

[translated poetry]

Chinese Fable

When I was small my father’s coworker ran off
coming back with one of those briefcases full of money
close, smutty talk filled our town
about what he’d done to get it
he smiled and disappeared again
Next we heard
he’d been sentenced to death for drug trafficking
a family member claimed the ashes, but the box was stolen in the metro
—It obsesses me, this box
like a fable or something
Other people are like me
they want to know its whereabouts
like standing at the exit
searching for this story’s entrance


Searching for Cranes

Cattle hidden in the prairie shadows
Bayinbuluke     I have met a rearer of cranes
his beaked neck
his broken-winged brogue
Cranes dip into the water’s surface
for nine inverted suns
He makes me feel the prairie
misses something of itself

The evening indulges itself in vastness
I wait for cranes to burst from his sleeves
I wish another would drop from the sky
narrow-faced, thin-ankled     myself
loved by the rearer of cranes, spurned
and fatuously clinging
Four cornered wildness
She has a hundred and eight ways to hide
to find her, he needs only one:
at night in Bayinbuluke
the cranes he’s touched     must all return to roost



-After listening to Masi Cong’s “Homesick”

That is no bow
but a tree not yet carved into bow
All my life a river, running low
with fever, has          drawn itself
across my body


In Memory of my Uncle He Daoqing

Camellia growing on Xiaowanzi,
forgive a lame man his leg
his timing was poor
he hauled away for half his life
before he found the branch you grew on


The Spring Wind Blows

What drab mercy    is this noontime pool
a bird flies to the other bank
felled sugar cane disrupts the mist

By the peach tree is a windswept grave
bees busy themselves long-shoring
this season what is sweet     is hard to come by
no birds fly above
to open a vigil keeper’s chest
the earth hums
unknowing of the glories carved into the rocks
the sorrows passed down
as heirlooms



I’ve memorized the order: open the breech, load powder and bullets,
close the breech.
Shut my left eye, pretend to be a hunter taking aim.
A bird falls, the trees shudder and descend into deeper quiet.
The metallic cold gives off a living stench.
Since growing up I’ve often smelled it in crowds.
I know the trigger pull and the instant of fire.
I’m glad to live in a country where guns are not for sale.







巴音布鲁克 我遇见一个养鹤的人

她有狭窄的脸庞 瘦细的脚踝
与养鹤人相爱 厌弃 痴缠
四野茫茫 她有一百零八种躲藏的途径
被他抚摸过的鹤 都必将在夜里归巢



始终在我身上 慢慢拉






正午的水泽 是一处黯淡的慈悲

蜜蜂来回搬运着 时令里不可多得的甜蜜





Translator’s Statement

Here are five poems by Chinese poet, Feng Na. Feng writes about transit, migration, yearning, the great fight for recognition, and the pain of it being denied us. Each poem, I think, offers a window into contemporary China, yet explodes narrow notions of Chinese poets as mere dissidents, or noble savages—as though their poems were good as pamphlets, or expressions of their “authentic, ethnic selves,” but nothing else.

Feng’s poem, “Rifle,” ends with these chilling words: “I’m glad to live in a country where guns are not for sale.” They ought to strike a nerve deep in the American psyche, troubled by school shootings and upsurges in white terrorism, and terrified that America has lost its moral mandate in geopolitics—lost the right to say, in other words, See how barbaric things are in China? Yet the poem eludes this single reading: it is also about sublimation—wanting to harm someone, but transforming this hate into poetry.

“Chinese Fable,” on the other hand, could easily be about the massive economic developments sweeping China in the last several decades, bringing it from one of the poorest and most egalitarian countries, to one of the wealthiest and most unequal. As Chinese markets liberalized some folks were willing to do anything to prosper—thus the man in this fable who is put to death for “drug trafficking.” Yet the speaker of the poem herself cannot monopolize its meaning, which is why she says that it is like a fable. We might say, just as convincingly, that this is a poem about the surplus meaning that escapes even the most airtight analyses, just like the man’s ashes, “stolen at the metro.”

The richness in Feng’s poems complicates our ideas of a China “over there.” Reading her, we realize that we cannot define ourselves against her—we are imbricated with her, just as, halfway across the world, whether she means to or not, her words give us pause.


Henry Zhang is a master’s student at Beijing Normal University. His writing and translations have appeared in Drunken Boat, Los Angeles Review of Books, Music and Literature Magazine, and Leap. He is the recipient of the 2017 Henry Luce Translation Fellowship, and his translations have been nominated for the Pushcart Prize.


Feng Na was born in Lijiang, Yunnan province, China. She is ethnically Bai. Feng works in her alma mater, Sun Yat-sen University, and is a member of the China Writers Association. Her collections include Chosen Night, Numberless Lights, Searching for Cranes, and Tibet in a Season. Her poems have been translated into English and Russian, and have won her numerous awards, including the Lu Xun Literary Award for Guangdong Province, as well as a nomination for the Pushcart Prize. She was the 12th poet-in-residence at Capital Normal University.


[translated poetry]


Words in the head, restaurant nearby
Clouds have amassed in the month of Asharh reminding of
Distressed days—streets are bumpy all over.
Who knows when they’ll be cleared of mud-heaps!

In these hours he has to find a way out.
Poetry and coffee are waiting for him.
Suddenly rain starts, with thunderbolts.
The poet falls down slipping.

His whole body gets smudged with mud.
Should he still go now?
He stands motionless passing hours.
Yet, does love stop its course?
It continues to stay even in distress.

Though streets are slippery, clothes muddy,
Walk, keep walking, don’t delay.
However frantic or antagonistic time is—
Don’t stop flow of poetry.

Is poetry to remain static?
After a storm, take a notebook in hand.
Coffee and light from the restaurant beckon,
Milk is replaced by memories, black coffee and words.

Flowers in the vase dispensing rain-soaked smell
Create illusion in the restaurant at night.
Whose unfurled hair falls on the lonesome chest?
The crazy Padma devours land during Asharh.

Fire flares up, wants to jump straight—
It’s not easy to forget burning.
The poet went to stars, not the past
That day he knew the heavenly touch.

Now flowers and hair smell the same.
Now it’s only smell, only darkness.

The smell of steaming coffee. Two flowers drawn in a plate
Have hugged each other in two long stalks.
The poet came to the restaurant many times
And endured pangs
Of separation alone. This Asharh it rained a lot.

The notebook to write poetry is nearby.
Alone in the restaurant, the poet continues
Sipping coffee.
Vast is the world, everything can be
A subject matter of poetry.
But today there’s nothing except a
Sole face.

The first light of dawn falls on the face every day.
Love continues—but coffee ends
As he keeps sipping.

She’s gone, but the poet is still in the restaurant.
He slowly pours black coffee in a white plate.
This is that chair, this is that table.
Still blue, window curtains rustle.
Loneliness is white, death deep black.
What made life meaningful was lost in an instant.

Flowers and ashtrays are still on the table.
Only she’s no more. Ash in the ashtray flies
In despondent air as a reminiscence today.
The flowers still smell in the restaurant.
Light goes out in a river of memory.
The fountain pen has water instead of ink.



Leaving you behind
Can I go anywhere?
You’re my flag, the delta of agriculture.

Dream of my palms, you’re the smell of aman rice
Brush of my artwork.
Rhythm of poetry, you’re my words,
The very first utterance of a child.

Thirteen hundred milk rivers flow within you.
I descend from hills to the plains

Like a new strip of land, your cheeks are wakeful
You’re mine—in love, I’m yours.

You shine forth all around so gracefully
Wherever I go, I see you, only you.
Even in the dark, I feel you in my breath,
You also exist in the first light of dawn!



নিঃসঙ্গ কবি, নির্জন রেস্তোরাঁ

মাথার ভেতরে লেখা। অদূরে রেস্তোরাঁ।
আষাঢ় সেজেছে খুব মেঘে মেঘে-মনে সে করাবে
বিরহ বিপন্ন দিন-রাস্তাঘাট আদ্যোপান্ত খোঁড়া।
মাটির পাহাড়গুলো কতদিনে কে জানে সরাবে!

এরই মধ্যে পথ করে নিতে হবে আজ।
অপেক্ষায় কবিতা ও কফি।
হঠাৎ বৃষ্টির শুরু, ধমকাল বাজ।
পিছলে পা পড়ে গেল কবি।

সমস্ত শরীরে কাদা। এভাবে কি যাওয়া যেতে পারে?
বিমূঢ় দাঁড়িয়ে থেকে কেটে যায় কাল।
তবুও কি প্রেম কিছু ছাড়ে?
বিরহেও রয়েছে বহাল!

যদিও পিছল পথ, জামা কাদা লেপা।
হেঁটে চলো,হেঁটে চলো,দাঁড়িয়ে থেকো না।
সময় যতই হোক বিরুদ্ধ বা খেপা-
কবিতাকে ঠেকিয়ে রেখো না।

কবিতা কি থেমে থাকবার!
দুর্গতির একশেষ, খাতা তবু শক্ত হাতে ধরা।
হাতছানি দেয় কফি, আলো রেস্তোরাঁর,
দুধের বদলে স্মৃতি, কালো কফি, শব্দের শর্করা

বৃষ্টিভেজা গন্ধ ছড়ায় ফুলদানিতে ফুল।
ঘটিয়ে দেয় ইন্দ্রজাল রাতের রেস্তোরাঁয়।
একলা বুকে আছড়ে পড়ে ও কার খোলা চুল।
আষাঢ় এলে পদ্মা পাগল-পেলেই ভূমি খায়!

আগুন ওঠে দপদপিয়ে, লাফাতে চায় খাড়া-
ভোলা তো খুব সহজ নয় চিরে ফেলার ধাঁচ।
অতীতও নয় গেছেন কবি নক্ষত্রের পাড়া,
সেদিন কবি জেনেছিলেন স্বর্গীয় তার আঁচ।

ফুলের সাথে চুলের গন্ধ এখন একাকার।
এখন শুধু গন্ধটুকুই-এবং অন্ধকার ু

কফির গরম গন্ধ। পেয়ালায় আঁকা দুটি ফুল
দীর্ঘ দুটি বৃন্তে তারা পরস্পর জড়িয়ে রয়েছে।
কত দীর্ঘদিন কবি রেস্তোরাঁয় এসেছে ও
একাকী সহেছে
বিরহ বিচ্ছেদ তার। আষাঢ়ের বৃষ্টিপাত হয়েছে তুমুল।

কবিতার খাতাটি পাশেই।
রেস্তোরাঁয় একা কবি চুমুকে চুমুকে
পান করে চলে কফি।
পৃথিবী বিপুল আর লেখার বিষয় তার
হতে পারে সবই।
কিন্তু আজ সেই মুখ-একটি সে মুখ ছাড়া
আর কিছু নেই।

ভোরের প্রথম আলো প্রতি ভোরে পড়ে সেই মুখে।
ফুরোয় না ভালোবাসা-কফি শেষ হয়ে যায়
চুমুকে চুমুকে

সে নেই,তবুও কবি আসে রেস্তোরাঁয়।
ধীরে কালো কফি ঢালে শাদা পেয়ালায়।
এই সে চেয়ার আর এই সে টেবিল।
জানালার পর্দা ওড়ে এখনো তো নীল।
শূন্যতার রং শাদা, মৃত্যু ঘন কালো।
যা ছিল জীবনব্যাপী-মুহূর্তে মিলাল।

এখনো টেবিলে ফুল-ছাইদান পড়ে।
কেবল সে নেই আর। স্মৃতি হয়ে ওড়ে
ছাইদানে ছাই আজ করুণ বাতাসে।
রেস্তোরাঁয় সেদিনের ফুলগন্ধ ভাসে।
স্মৃতির নদীতে নেভা আলোর বিকন।
কালির কলমে লেখা জলের লিখন


তুমিই শুধু তুমি

আমি কি আর তোমাকে ছেড়ে
কোথাও যেতে পারি?
তুমি আমার পতাকা, আমার কৃষির বদ্বীপ।

করতলের স্বপ্ন-আমন ধানের গন্ধ তুমি
তুমি আমার চিত্রকলার তুলি।
পদ্য লেখার ছন্দ তুমি সকল শব্দভুমি।
সন্তানের মুখে প্রথম বুলি।

বুকে তোমার দুধের নদী সংখ্যা তেরো শত।
পাহাড় থেকে সমতলে যে নামি

নতুন চরের মতো তোমার চিবুক জাগ্রত
তুমি আমার, প্রেমে তোমার আমি।

এমন তুমি রেখেছ ঘিরে এমন করে সব
যেদিকে যাই তুমিই শুধু তুমি!
অন্ধকারেও নিঃশ্বাসে পাই তোমার অনুভব,
ভোরের প্রথম আলোতেও তো তুমি!


Translator’s Statement:

Syed Shamsul Haq, one of the leading poets and writers of Bengali literature, is best known as an ambidextrous author—his work is powerful both in content and style. Bengali speaking people around the world read and praise his poems and novels. His dramas, mostly written in verse, are also popular, and they are staged for a wider audience around the country. His work is also critically acclaimed, and he received all the great and prestigious national prizes for his outstanding contributions to literature. Haq deals with a wide range of themes, including Bangladeshi reality, love, human suffering, conflict, and so on. A major portion of his work features the Liberation War of Bangladesh that took place in 1971, resulting in the emergence of Bangladesh, though at the cost of millions of lives. A valuable poetic voice, Haq deserves to be translated into English for a wider audience.

As an enthusiast of poetry, I love reading poems, both Bengali and English, by various poets in Bangladesh and around the world. Besides writing poetry in English, I translate from Bengali, my mother tongue, into English. Bengali literature is very rich and needs to reach global readership through extensive translation. With that note, I would like to state that I feel inspired to translate major poets and fiction writers of Bengali literature into English.

Haq is one of my favorite poets, but it is distressing that he has not drawn widespread attention for translation, though a few works by him have appeared in English translation recently. After translating a few of his short stories, I have attempted to carry across his poems into English. It would be my distinct pleasure to translate a book-length work of the poet, and I look forward to the project. Translation, to me, is inevitable, because without translation we cannot imagine the contemporary world or build bridges between nations. Literary translation connects countries and continents, widening scopes for cultural collaborations.

“Lonely Poet, Quiet Restaurant” and “Only You” are among Haq’s important poems. While translating, I cast emphasis, in general, on the intended meaning of the original text. Instead of being more faithful to the original, I attempt to concentrate on flow and readability in the target language. The same is true about these two poems—I have attempted to keep the intended meaning of the original intact in the translation. Both poems are charged with deep emotion, so I have endeavored to render the romantic atmosphere for the target audience. Without hinging upon the original, I have carried across the poet’s “mind’s speech.” Literary translation, no doubt, is my area of interest and passion, and translating Bengali poetry for international readers is always special for me. Translating Haq’s work into English, thus, gives me immense pleasure.


Mohammad Shafiqul Islam is author of three books: Wings of Winds (Poetry, 2015), Humayun Ahmed: Selected Short Stories (Translation, 2016), and Aphorisms of Humayun Azad (Translation, 2017). In February 2017, he was a poet-in-residence at the Anuvad Arts Festival, India, and his poetry and translation have appeared in Critical Survey, Journal of Postcolonial Writing, Poem, SNReviewReckoning, Dibur, Armarolla, Light, Bengal Lights, and elsewhere. His work has been anthologized in a number of books, including The Book of Dhaka: A City in Short Fiction. He is a PhD candidate in the Department of English, Assam University, India, and teaches English at Shahjalal University of Science and Technology, Sylhet, Bangladesh.

Syed Shamsul Haq (1935-2016), a leading Bangladeshi poet, is also widely known as an ambidextrous writer and a renowned playwright. Haq chose writing as the sole profession for his livelihood, an example which is rare in the history of Bengali literature. He enriches Bengali literature by contributing a wide range of poetry, fiction, and drama. His work features Bangladeshi reality along with universal themes of literature. He received prestigious literary prizes, including Ekushey Padak, Bangla Academy Award, and Independence Award. His notable works include Payer Awaj Pawa Jai, Nuruldiner Sara Jibon,Khelaram Khele Ja, Duratwa, Neel Dongshan, Nishiddho Loban, and Boishekhe Rochito Ponktimala.



[translated poetry]

He had said, My woman, come to the lamppost when the coldest night arrives There will
be a rock / Sit on it Or at least set your heart on it / The fog will envelop you from all
sides On this canvas of fog, your breath will be visible like sweeps of a paintbrush Even
in that coldest night you’ll remove your gloves / With your cold hands touch your belly /
Near your navel you’ll find images of my caresses those you’ll try reading in braille

A shiver will pass through the icy land of your nose

The coldest night comes only once in a year
Our coldest night will come once in our life


With my eyes closed I stand here
As promised under the lamppost
Sweeping with my hand a piece of fog
Trying to peer far across

My clothes fight the cold The damp that descends on them is an experienced fellow /
Says in its slippery wet voice Go home, girl… Go back home There will be nights colder
than this The warmth is presently away on loan

I do not know which night that will be
So I stand here from the first day of winter
My body becomes a thermometer

I hear the sound of someone coming
Whoever is coming is only fog

Whoever is coming will only be fog

My woman,
You’ve gone far away from me
Disappeared even from the sight of my
That I cannot recognise your face now

That I cannot remember you
Just by one face

Things that reminded me of you
Came into being
When you left
This is how I’m bound to our past

Only an outline remains of a cold morning:
A shape filled with dots
Today is an eye
Yesterday gone by, a scene
A hazy h hangs between the two—

The niqab of fog looks good on you



नूरी बिल्गे जेलान की फिल्मों के लिए

मेरी स्‍त्री, जब सबसे ठंडी रात आएगी, तुम इस लैंपपोस्ट के नीचे आ जाना / यहां एक पत्थर है, तुम
इस पर बैठ जाना / न भी बैठना, तो भी अपने मन को यहां ज़रूर बिठाले रखना / चारों ओर कोहरा
होगा / तुम्हारी सांसें कोहरे के कैनवास पर ब्रश के स्ट्रोक्स की तरह होंगी / सबसे ठंडी रात में भी तुम
अपने दस्ताने उतारोगी और अपने ठंडे हाथों से अपने पेट का स्पर्श करोगी / तुम्हारी नाभि के पास मेरी
छुअन से बनी पेंटिंग्स होंगी / मेरे स्पर्श के चित्र को तुम ब्रेल लिपि में पढ़ोगी

तुम्हारे नाक की हिमभूमि पर सिहरन होगी

सबसे ठंडी रात साल में एक बार आएगी
हमारे जीवन की सबसे ठंडी रात जीवन में सिर्फ़ एक बार आएगी


मैं तब से अपनी आंखें मूंदे यहां खड़ी हूं
वादे के मुताबिक़ एक लैंपपोस्ट के नीचे
कोहरे के टुकड़े को हाथों से हटाकर
दूर तक देखने की कोशिश करती हुई

मेरे कपड़े ठंड से लड़ रहे हैं / उन पर जमा हो रहा गीलापन बेहद अनुभवी है / वह गीलापन एक गीली
आवाज़ में ही कहता है / मेरी मानो, घर लौट जाओ / अभी इससे भी ठंडी कई रातें आएंगी / गर्मास
अभी क़र्ज़े पर चढ़ी हुई रहेगी

मुझे नहीं पता, वह कौन-सी रात होगी
मैं सर्दियों की शुरुआत में ही यहां खड़ी हो जाती हूं
मेरी देह तापमान मापने वाला यंत्र बन जाती है

ऐसा लगता है, कोई इस तरफ़ आ रहा है
जो आ रहा है, वह भी कोहरा ही है

मेरी स्‍त्री,
तुम इतनी दूर पहुंच चुकी हो,
स्मृति की दृष्टि से भी ओझल
कि अब तुम्हारा चेहरा नहीं पहचान सकता

तुम्हें सिर्फ़ एक चेहरे से याद भी नहीं कर सकता

इस तरह बनता है अतीत से हमारा रिश्ता
कि जिन चीज़ों को देख तुम्हारी याद आती है
वे चीज़ें तुम्हारे चले जाने के बाद
वजूद में आई थीं

बस एक रेखाचित्र है सर्द सुबह का
एक आकृति है बिंदुओं से बनी हुई
आज एक आंख है
बीता हुआ कल एक दृश्य
दोनों के बीच एक धुंधला-सा ध है—

कोहरे का नक़ाब तुम पर फबता है


Translator’s Statement:

The poem “For the Films of Nuri Bilge Ceylan,” part of Geet Chaturvedi’s World Cinema series, appears in his poetry book Nyoonatam Main. It is a fine example of Chaturvedi being more a Borgesian writer who loves to play with intertextuality. He wrote his poems on Cinema after watching and meditating on various master filmmakers’ works. The poem is a delicious smorgasbord of impressions—a kind of conversation or poetic ‘jugalbandi’ held by the poet with the filmmaker—scenes from particular movies enmeshed with the improvised general mood created by the whole cinematic body of the master filmmaker. The poet’s voice keeps changing, at one level talking with the filmmaker, at the other talking with his lover, and at a much deeper level with the system. Fine experiments in incoherent form, the lines of the poem are like characters of a movie. They come as incomplete sentences and tell their incomplete stories. The completeness is derived from the many small incomplete instances that coalesce into one cohesive unit of cinematic beauty.


Anita Gopalan is a PEN/Heim Translation Fund Grant recipient. Her translated poetry chapbook, an Anomalous Press winner, is forthcoming in 2018. Her work has appeared in Poetry International, Words without Borders, Two Lines JournalWorld Literature Today, Asymptote, PEN America, Drunken BoatModern Poetry in Translation, Rhino, and elsewhere.

Geet Chaturvedi (b. 1977) is a writer of contemporary Hindi literature. He has authored seven books, including the highly acclaimed two collections of novellas, and two collections of poetry. His poems have been translated into seventeen languages. He was awarded Bharat Bhushan Agrawal Award for poetry, Krishna Pratap Award for fiction, and named one of “Ten Best Writers” of India by the reputed English Daily Indian Express. After spending sixteen years in journalism as the editor of Dainik Bhaskar, Chaturvedi spends much of his time now working on his novels Kavipriya and Ranikhet Xpress. He lives in Bhopal, India.