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Poetry

Poetry

Jonathan Chan – Three Poems

Jonathan Chan is a writer, editor, and graduate of the University of Cambridge. Born in New York to a Malaysian father and South Korean mother, he was raised in Singapore, where he is presently based. He is interested in questions of faith, identity, and creative expression. He has recently been moved by the writing of Tse Hao Guang, Rodrigo Dela Peña Jr., and Balli Kaur Jaswal.

 

overnight

 

unwrapping a thin conclusion, as porous as

mulberry paper around a styrofoam wedge,

 

stained with the depth of wine, hanja and

hangul vanishing with geometric distance,

 

the same tremble at the edge of swallowed

disarray, darknesses as dreaded as they are

 

familiar, clocked around a cone of warm,

jaundiced light, circle stark on a cragged

 

floor, and the mind callous for the touch

of an old face, found in the frisk of a

 

barely lucid afterthought, fingers firm to

frost at the hem of my pants, eyes slow

 

to bear the witness of morning light, thin

soreness and early vision, a formal feeling

 

and then the letting go –

 

~

 

roadways 

 

up the ascent of the overpass, there

is a sunset. the taxi driver gestures

for you to take a picture. his hands

are held by the wheel. a phone camera

snatches only the overlay of blues, greys,

oranges, brushed over in thick swathes.

the light shimmers over the emptied

roads. it bounces between the grilles

and beams around the workers sprawled

like cargo. an N95 dangles above the

dashboard. circuitous concrete makes for

fruitless gazing. somewhere a wish is

displaced beneath the wheels. the strain

of a load is and isn’t a metaphor. the slosh

of coffee in a flask makes for a taut

afternoon churn. hiroshima pulses

against the windows. high beams make

themselves invisible. if you wait long

enough you might see immanence and

glimmers. even if you bear some hurt

today.

 

~

 

routines

 

at most, condensed in the

passage of domestic life, the

few fistfuls of need, of essence

distilled in the rotary of sunrise

and dusk – the first intake of

conscious breath, the first

stream of water down the

gullet, the first sight of light-

dappled trees, the first thin

flip of ingestible verse, the

first note eased into the ears,

the first waft of coffee in a

firmly-gripped thermos, the

first moment of silence,

drawn back into calm, the

source from which all shall

return and proceed.

 

 

 

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Poetry, Translation

Chen Liwei – Five Poems (translated by Susie Gordon)

Chen Liwei is a member of the Chinese Writers Association, and Vice Chair of the Tianjin Writers Association. He is one of the five leaders of the Tianjin Publicity and Culture System, and was Editor-in-Chief and Senior Editor of a special edition on Chinese New Economic Literature for Bincheng Times. Chen is the author of the novels People of the Development Zone《开发区人》and Tianjin Love《天津爱情》as well as a monograph on literary theory titled ‘An Introduction to Chinese New Economic Literature’. He has published the contemporary poetry collections ‘Cuckoo in the City’《城市里的布谷鸟》, ‘The Crazy Tower’《疯塔》, ‘Dreaming About Red Lips’《梦里红唇》, ‘Life is Beautiful《本命芳菲》, and ‘Remote Sounds of Xiao’ 《箫声悠悠》, a volume of classical verse titled ‘The House on Zhen River’, and the prose collection ‘Watering Dried Flowers’《给枯干的花浇水》. In March 2016, a seminar on his work was held at the China Museum of Modern Literature.

 

Frog Sounds

 

Frog sounds – a liquid that’s deeper than a river,

blending into one as they rise and fall.

 

We all remember the suffocation of childhood.

For me, it was the umbrella of the moon on a summer night.

 

Open it when you want to hear; close it when you don’t.

Tonight I’m walking through the rugged foreign land of middle age.

 

I hear the sound of laughing frogs from the water,

like passing someone in another country with an accent that’s familiar.

 

Ask me how far away my youth is; ask me how far away my hometown is.

Ask me how far away my lover is; ask me how far is the other shore.

 

I have tried to answer with several books’ worth of words.

Suddenly, I realize what I’ve got in return for my efforts:

 

a frog jumping into the water with a plop;

frog sounds, like night. The years are as long as ever.

 

蛙声

 

蛙声是比河水要深远的液体

当它们汪洋成一片,此起彼伏

 

整个世界都感到童年没顶的窒息

小时候,它是夏夜月光的伞

 

想听时就打开,不想听时就合上

今夜我走在异乡崎岖的中年

 

所有水面都传来谈笑般的蛙声

像在他乡遇到的口音相似的路人

 

问我青春多远,问我故乡多远

问我爱人多远,问我彼岸多远

 

我曾尝试用几部书的文字努力回答

忽然发现,自己的努力,换来的

 

不过一只青蛙跃水的一声“扑通”

接下来,蛙声如夜,岁月如旧

 

~

 

Willow Flute

 

Playing it takes me back to childhood; I travel back to ancient times.

The wilderness strikes up a symphony of spring.

 

Birds lead the song; the river is the chorus; the sea is an echo.

The mountains, trees, and flowers dance together.

 

The sound is green, with tender buds

like golden light dancing between the conductor’s fingers.

 

The whole world is illuminated! The present, the past,

the world of youth, old age, and a blurred middle age.

 

As long as it is spring, as long as there are willows,

just a hint of long, shiny hair is enough.

柳笛

 

吹一声就穿越到童年,穿越回古代

整个原野马上奏响春天的交响乐

 

鸟儿领唱,河水合唱,大海回声

群山和所有的树木、花朵一起伴舞

 

这声音是绿色的,是带着嫩芽的

像是指挥家指间舞动的那一道道金光

 

整个世界被照亮!现在的,过去的

青年、老年、以及模糊的中年的世界

 

只要是春天,只要是柳树,只要

油亮的一丝丝长发,就足够了

 

~

 

Thinking About the Afterlife

 

However many people you meet, you will forget them all.

However many cities you visit, you will leave them all.

 

What most people want is a regular life, not positions of power;

generations have fought for it – a fight without swords.

 

Plant a flower and let it bloom as it should;

write a word, and make it clear,

 

for in the long afterlife, with no end in sight

you won’t necessarily plant or write

 

So if you get to know just a few people, you’ll remember the ones you meet;

If you visit just a few cities, you’ll fall in love with their streets.

 

想到来生

 

认识多少人,就要忘记多少人

走过几座城,就要告别几座城

 

人生的座位比龙椅还要抢手

一代代的争夺根本用不着刀兵

 

种一朵花,就让它开得干干净净

写一个字,就把它写得清清楚楚

 

因为在漫长的没有终点的来生

你不一定找到种花、写字的工作

 

因此认识几个人,就记住几个人

走过几座城,也就爱上几座城

 

~

 

Falling Leaves

 

You take a step and a leaf falls.

Each step you take is a gust of autumn wind.

 

The spring that you walked through that year has disappeared;

I went back several times but couldn’t find it.

The autumn mountain that I asked you about that year has grown old;

The inscriptions on the cliff walls have long since been stained and weathered.

 

From ancient times to the present, leaves have fallen all over the world –

sometimes as fast as a gust of wind;

sometimes as slow as a drop of spring water.

 

I came on a leaf of emerald;

I left on a leaf of gold.

 

落叶

 

你一步一片落叶

你一步一片秋风

 

那年走过的春天已经消失

好几次回去也没有找到

那年问过的秋山已经老去

丹崖绝壁的刻字早斑驳风化

 

从古至今,整个世界有落叶在飞

有时像一阵狂风那样急促

有时像一滴泉水那样缓慢

 

我乘一片翡翠的叶子而来

我乘一片黄金的叶子离去

 

~

 

Ironing

 

If you don’t iron your clothes, they’ll be full of mountains and rivers.

There are no such mountains on mine.

 

When I first bought this garment, it was like a newly built city:

the houses were in order, the streets were straight and clean.

 

Not even in the field, when it was still a skein of cotton,

did it look so pure in the autumn wind.

 

When do the wrinkles appear? When you’re stuck in traffic,

with the passage of time, or tangling and jostling in the washing machine…

 

Sometimes, with just a single glance back,

the old city collapses, taking everything with it.

 

With the heat of the iron, with the comfort of the steam,

the wrinkles are forced to give themselves up, or forget themselves.

 

Ironed clothes are smooth on the body; the mountains and rivers are flat.

The invisible bumps, only it knows.

 

熨衣

 

不熨,衣服上的山川就不平

可衣服上本来没有这些山川

 

刚买回时没有,那时它像一座新建的城池

房舍错落有序,街道笔直井井有条

 

在田野时也没有,那时它只是几朵棉花

在秋天的风中一不留神暴露了纯洁

 

皱褶出现在什么时候呢?路途的拥挤

时光的积压,洗衣机里纠缠、扭打……

 

有时,仅仅是一回眸的瞬间

曾经的城池就坍塌了,连同一切

 

在熨斗的高温下,在水雾的安慰下

皱褶被迫放弃自己,或主动忘却自己

 

熨后的衣服穿在身上山川平整

那看不见的坎坷,只有它自己知道

 

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Poetry, Translation

Chen Liwei – Four Poems (translated by Susie Gordon)

Chen Liwei is a member of the Chinese Writers Association, and Vice Chair of the Tianjin Writers Association. He is one of the five leaders of the Tianjin Publicity and Culture System, and was Editor-in-Chief and Senior Editor of a special edition on Chinese New Economic Literature for Bincheng Times. Chen is the author of the novels People of the Development Zone《开发区人》and Tianjin Love《天津爱情》as well as a monograph on literary theory titled ‘An Introduction to Chinese New Economic Literature’. He has published the contemporary poetry collections ‘Cuckoo in the City’《城市里的布谷鸟》, ‘The Crazy Tower’《疯塔》, ‘Dreaming About Red Lips’《梦里红唇》, ‘Life is Beautiful《本命芳菲》, and ‘Remote Sounds of Xiao’ 《箫声悠悠》, a volume of classical verse titled ‘The House on Zhen River’, and the prose collection ‘Watering Dried Flowers’《给枯干的花浇水》. In March 2016, a seminar on his work was held at the China Museum of Modern Literature.

 

Tea

 

Some things seem like yesterday, but when you think about them too much,

they collapse, like a bubble of soap to the touch.

 

For years and years, the group would gather,

but many years later, their names have been lost.

 

Thirty years ago, a teacup was placed on a table.

Thirty years later, that teacup and table are still in my heart

 

but the world can no longer find their shadows –

neither the tea leaves that danced in the cup

 

nor the water that was brought from the yard and boiled

 

茶水

 

有些事情恍如昨日,一认真回忆

却像美丽的肥皂泡一触即溃了

 

很多年,很多人曾济济一堂

很多年后,很多人的名字想不起来

 

一只茶杯放在三十年前的桌子上

三十年后,茶杯和桌子还在心上

 

世界上却再找不到它们的影子

还有,那些在杯中翩翩起舞的茶叶

 

那些从院子里打来,并烧开的水

 

~

 

Fourteen Lines Written in Shenze

 

Time slows down here.

A minute is as long as a whole childhood.

A road is as long as an entire youth.

 

Childhood is a piece of endless white paper;

if you make a mistake, you can erase it and write it again.

Youth is a mottled palette;

when the wind blows, it sticks to the fallen canvas.

 

I was born here. I grew up here. I left.

A path has been hollowed out in the field.

Swimming in the blue river has turned it into a dry bed.

 

I rushed away from here, and took a minute –

a minute to recall my childhood; a minute to recall my youth;

a minute to slow down into a dry and distant river:

unseen waves, raging silently.

 

写在深泽的十四行

 

时间,在这里慢下来

一分钟有整个童年那么长

一条路有整个青春那么远

 

童年是一张无边无际的白纸

写错了什么都可以涂掉重写

青春是一块斑斑驳驳的调色板

风一吹,和倒下的画布粘在了一起

 

我从这里出生,长大,离开

把田间的小路走得坑坑洼洼

把蓝色的河水游成干枯的河床

 

我从这里匆匆走过,用一分钟

回忆童年,一分钟回忆青春

一分钟慢成一条干涸而遥远的河

看不见的波涛,在无声汹涌

 

~

 

Railsong

 

Parallel with the sleepers,

I count them one by one, with just one sound

 

and suddenly find that before and after

there are two endless distances.

 

A person is a sleeper

lying in the center of time.

 

The rails of history cannot see the beginning or the end.

One is the body, the other is the soul.

 

钢轨的声音

 

以和枕木平行的姿态

一根根一声声地数着枕木

 

突然发现,前后

竟有两个无尽的远方

 

一个人就是一根枕木

每个人都躺在时间的中心

 

历史的钢轨看不见首尾

一根是肉体,一根是灵魂

 

~

 

Floating Like Snowflakes

 

Snowflakes fall from the sky.

The closer to the ground they get, the quieter they are.

 

I am one of them –

stealing and carving myself with the cold.

 

There are more than a million possible patterns,

but I can never quite carve the one I want.

 

While others are blooming with dead branches,

I have already fallen to the ground and disappeared.

 

I am just a teardrop,

but my face was once a flower.

 

浮生若雪

 

雪花们从天上落下来

越接近地面,他们越安静

 

我就是其中的一朵

偷着用寒冷雕刻着自己

 

美丽有超过千万种图案

我却总雕不出想要的那种

 

人家借着枯枝怒放的时候

我早已掉到地上不见了

 

我只是一滴泪

虽然有过花的容颜

 

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Poetry

Nicole Callräm – Three Poems

Nicole Callräm is a diplomat and poet. All she writes describes her personal point of view and in no way represents the official position of her dear government (especially on matters of love and life). Currently stationed in Shanghai, she finds this land of beauty and history to be endlessly inspirational. Her muses are dreams…and the flowering streets of this city.

 

willow

 

endless stretching toward water

 

hair moving in the breeze

 

disarming me

 

undressing the wind

and my stunned soul

 

music of jewels

are the staccato of rain on soil

leaf upon jade leaf

 

I love you

your vulnerability

 

this canal is fish scales in sunlight

 

and you

you gesture

after its movement

as though to stop the stream’s departure

as though you had something to lose

 

weeping

 

separation

single green soul

 

I too

know how to move

at the mercy

of heartache’s cruel flow

 

~

 

how to understand the world

 

copper leafed

fingers

rock a dirt cradle

……………..thick with blue flowers

………until buttercup pistils nap in sun.

 

I am shadow

………moss on stone

 

how am I to understand this world?

 

each tree is meditating

………petals—

………errant thoughts

………fluttering

………across pure

………blue consciousness

 

vines whisper

 

oh, sweet rot and earth

………how am I to understand this world?

 

green is inadequate

 

it’s like saying freckle

to describe the one thousand ways

light touches

your body

 

if there is a god

………may I leave life

………as this forest

as

………………shards of seafoam

………………dancing through honey

 

~

 

kikuzakura

 

the flowering tree in my garden is sublime

every flushed bough

one thousand pinched cheeks

countless kissed lips

……..sensual pink goddess

 

I wonder how it feels to be impeccable–

 

I’ve asked so many times

sitting in her perfumed

air

 

the only answer:

…………leaves in wind

 

at sunset by my bedroom window

130 impossible petals pressed against glass

 

I am wishing that life were this simple

 

that I knew when to bud and when to blossom

that I knew when I was at my peak

and everything I had to offer were self-evident

 

no one questions the intentions of a Sakura blossom in spring

(except for me)

 

I wonder what she feels tonight

each perfect

rose cup

overflowing

with liquid moonlight

 

does she ask what this all means?

 

does she see me watching her?

 

do her leaves hurt and sap rush when I read her this love poem?

 

when I sleep with her flowers scattered through my hair

does she dream of me?

 

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Poetry

Brady Riddle – Two Poems

Originally from small town Texas, Brady Riddle currently resides in Shanghai, China, where he teaches secondary English at Shanghai American School. Brady has been recognised and awarded in various journals around the world since 2002; featured poet and presenter at writers’ conferences and poetry festivals from Houston Texas to Muscat, Oman to Shanghai, China. Most recently, Brady’s work can be found in Spittoon Collective in Beijing; A Shanghai Poetry Zine in Shanghai, China; and Voice & Verse Poetry Magazine in Hong Kong.

 

The Gravity of Water

 

“I have heard the mermaids singing, each to each.

 I do not think that they will sing …”

—J. Alfred Prufrock

 

 

I’ve carried your weight like breath

at a bottom of a sea

currents swimming in what used to be

called arterial

chewing grains of sand settled here, slipped

just behind my lips by eddying minute hands

 

I clear my throat and not have

a cough slip

from remnants of a castle

we didn’t build

 

far away enough from reactionary tides:

wood would have drifted longer

and made these crumbling walls stronger

but probably would have flotsammed

onto another distant beach

 

You complain I drink too much

these days—but this deep in, it only comes

in waves

 

like every other dish you’ve served

(oh! how I wish

I could breathe air not filtered

 

through all of this)—

 

These silhouettes dancing

on the skin of night

outside the surface

tension of the moon

 

I look up moon-eyed, flat

on the floor, can’t tell breath

from bubbles from this stare

anymore—

 

face up where desperation

lies and memories blur

and begin to die

 

I can’t decipher

an inhale from

a …

… sigh

 

~

 

Last Night We Lived as Poets

 

stoking fires we carry sparks for—

an accumulation of lines in the pores of our bones

the reflex for a solid turn in the sinew

of memory—

 

we hunger to own a piece of blank space—

 

furtive glances from something we know

to faces we don’t—the lust to reveal one thought necessary and true

(the molecular composition of desire—desire’s marrow

under our skin—like mechanics of tension and resilience) when to turn

 

a line, drop a word or end it altogether

 

(rhetorical shift)

time does not stand for poetry—we read

and sweat for it over cold pizza in the front window of some joint

at midnight

and before that in coffeehouses breaking down metaphor

on sidewalks and building them back out crisped on stages

we fabricate for the moment then return as quiet space—

 

if it is even legal to say all this here which it is if you are a poet—and

we say everything because we are

respirating and digesting sublimation—living, necessarily living

 

each drop of a word spilled meticulously onto pages we cannot call

pages any more

 

after midnight when the ink is running dry and screen-glow

sheds light just outside a dark alley where the whispers still echo—

will continue to echo—

on a lonely street when everyone has packed it all in for the night

but us—fragmenting but the words

 

fly between us like the syllabic kisses still burning on our lips

from the staircase, from the living room, from the walk there

 

Here comes the envoi—

 

this is no rhyming couplet: Poets don’t exit the night—

and they don’t go quietly—like a poem, they close it.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Poetry

John Constantine Tobin – ‘A Seed of a Similar Climate’

John Constantine Tobin is an American poet and educator from Maryland, who recently spent two years in Shanghai working as the Narrative Designer for Merfolk Games. He is currently a PhD student in Poetry at the University of Southern Mississippi, but continues to work at Merfolk Games remotely and visit Shanghai frequently.

 

A Seed of a Similar Climate

 

As a seed of a similar climate

I might have missed my chance
to germinate by the Pearl River

Foreign to Shanghai’s commerce
I am transactional Mandarin—
two baozi, knifecut noodles, and a savory crepe

I suppose tunneling
inward is a kind
of growth

Humid like the Chesapeake
Shanghai’s wetness also
soaks into my poetry

 

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Poetry, Translation

Nazarii Nazarov – ‘Good evening to you, Fire Dragon!’ from ‘Ukrainian Books of Spells’ 

‘Good evening to you, Fire Dragon!’

From Ukrainian Books of Spells 

Selection and  English translation

by Nazarii Nazarov

 

Nazarii A. Nazarov holds a Ph.D. in linguistics, he lives and works in Kyiv, Ukraine. His poems have appeared in national anthologies in Ukraine (both in Ukrainian and in French translation). Previously published collections include Escape from Babylon (2006), Torch Bearer (2009), and translation collections Gardens of Adonis: Minor Anthology of World Poetry (2015, translations from Modern and Ancient Greek, Persian, etc.), and Cavafy: Poems (2016, from Modern Greek). His poems in English can be seen on the Internet (Eunoia, Alluvium, Eratio).

 

Introduction

 

There has been a hollow man

who had hollow oxen,

а hollow plough,

and hollow ploughboys.

They ploughed а hollow field,

he sowed hollow grain.

 

It is not a fragment of XX c. avant-garde poetry. It is an original folk incantation recited by old people in Ukrainian villages for ages. It is real poetry with bright imagery that can please even the most demanding reader.

Charms, incantations, invocations, hymns, prayers – they have different names within different folklore traditions. In Ukraine, they call them ‘zamovlyannya’, ‘zaklynannya’, ‘shepty’ (i.e. incantations or ‘whispers’).

Since XVIII c. there have been recorded several hundreds of Ukrainian folk incantations. They were recited or chanted in semi-whisper, accompanying some ritual manipulations. Their content has astonishing parallels with other Indo-European invocational traditions, e.g. Atharva Veda and Northern Germanic traditions.

Ukrainian and other Slavic peoples (especially Belorussian, Russian, and Balkan Slavic nations) have preserved heathen attitudes to nature. It was only a little marred by Christian ideology because traditional lore was an indispensable part of everyday life. People would more often say charms than Pater Noster! Virtually in any Ukrainian village up to nowadays, one can find an old lady or even ladies who still practice traditional magical lore – she “whispers” incantation, uses eggs to cure those affected by ‘bad eye’, and uses herbs to cure the sick. Sometimes men also practice the same.

But it is only an outer description of these wild-born, authentic, and powerful texts. The innermost sense of them is to respect nature, to be a part of it, to mingle with natural forces, and to sing praise to them. Thus, these charms are authentic semipagan hymns to winds, waters, stars, and the Moon.

 

*

– Good evening to you, Fire Dragon!

– Hello, girl, begotten one, baptized one, prayed for!

– Where are you flying?

– I am flying to burn the woods,

to dry the soil,

to make grass wither.

– Do not fly, oh Fire Dragon,

to burn the woods,

to dry the soil,

to make grass wither!

But fly to the cossack’s courtyard,

and wherever you catch him –

amidst the meadows,

on his way,

at his meal,

in his bed –

grip his heart,

make him languish,

make him burn!

Make him quiver and tremble

after me, begotten one,

baptized, and prayed for!

Let him not eat me out,

let him not drink me out,

let him not forget me

while playing with others,

let me always be in his mind.

Drag him – cossack Ivan,

the begotten one,

baptized, and prayed for –

to me,

whose name is Maria-maiden,

the begotten one, baptized, and prayed for!  M141-142

 

*

 

<…> There is a black mountain,

on that mountain,

there is a black stone,

on that stone,

there sits a stone lady,

and she holds a stone child. <…> M124

 

*

 

There has been a hollow man,

who had hollow oxen,

а hollow plough,

and hollow ploughboys.

They ploughed а hollow field,

he sowed hollow grain.

Hollow grain has sprouted,

has ripened,

hollow reapers harvested it

with а hollow sickle,  <…>

put it in hollow sacks,

brought it to а hollow city,

milled it on а hollow stone,

scattered erysipelas

among huts, among marshes,

among hollow reeds  <…>.  Ch116-117

 

*

 

If you are a depressing <fever>,

if you are a shaking <fever>,

if you are from waters,

if you are from winds,

if you are from a whirlwind,

if you are from thoughts,

if you are sent forth,

if you are from sleep,

if you are from food,

if you are from a drink,

if you are from the land,

if you are from chanting,

if you are from conjuring,

if you are sent forth,

if you are of an hour,

if you are of half an hour,

if you are of a day or midday,

if you are of a night or midnight,

you were steady, you were thriving,

till I didn’t know you.

Now when I know you,

I am sending you forth from the bones,

I will pour water on your face,

I will burn your eyes,

I will conjure you with prayers,

I will send away from Christian faith:

Go away, where dogs are not barking,

where rooster doesn’t sing,

where Christian voice doesn’t go <…>

Ch119

 

*

 

Oh, Moon-Prince! There are three of you:

the first in the sky,

the second on the earth,

the third in the sea – a white stone.

As they cannot come together,

let my toothache cease!  E4

 

*

 

There is the Moon in the sky,

there is a corpse in the grave,

there is a stone in the sea:

when these three brothers

come together

to hold a feast,

let my teeth hurt. E5

 

*

 

O Moon, oh young Prince!

Have you visited the old Moon?

Have you asked him if he had a

toothache?

Let my teeth never hurt, in ages and

judgements.

There is a hare in the fields,

there is a fish in the sea,

there is the Moon in the sky:

when these three brothers feast together,

let my teeth ache. E5

 

*

 

From wherever you came,

From wherever you crept,

I chase you out,

I conjure you out,

I curse you,

Go away,

Go to the woods,

Go to the reeds,

Go to the meadows,

Go to the passages,

Creep inside an asp,

Creep inside a toad!

Away, away! E8

 

*

 

In the morning of St George’s day let you gather sky’s dew into a napkin till it is wet, and take it to your home, and press this dew into a glass. If any cattle happens to have a wall-eye, utter the following, standing in front of it:

 

St George rode a white horse

with white lips,

with white teeth,

he was white himself,

he was clad in white,

his belt was white,

he leads three hounds:

the first one is white,

the second one is grey,

the third one is red.

The white one will lick a wall-eye away,

the grey one – a tear,

the red one – blood. E10

 

*

 

There on the mountain,

oxen ploughed the soil

and sowed red mallow;

the red mallow didn’t sprout.

There stood a girl.

On the shore of the blue sea,

there stood a ribless sheep.

On the shore of the red sea,

there lies a red stone.

Where the Sun walks,

there blood stops.

Where the Sun sets,

there blood dries. E13

 

*

 

A red man walked,

he was carrying a bucket of water,

the man stumbled,

the bucket broke,

water spilled,

the grey horse stopped bleeding. E15

 

*

 

Three rivers flew

under the viburnum leaf:

the first one of water,

the second one of milk,

the third one of blood.

A watery one I will drink,

a milky one I will eat,

a bloody one I will quench,

I will stop bleeding

of the grey horse. E15

 

*

 

A black raven flew

from the steep rock,

perched on the grey horse’s rump,

from its rump to its back,

from its back to its mane,

from its mane to the ground. E15

 

*

 

Three brothers walked,

they talked, they asked a rabid dog:

“Go the right way

across the Jordan river,

ascend the high mountain,

there is a ram rambling

with huge horns,

shave his wool

between the horns,

and come back:

scoop up water from Jordan,

slash a white stone from the rock.

Let all saint Guardians help me

to conjure, to incantate

the rabid dog! E16

 

*

 

In the field-field,

In the steppe-steppe,

there is a pear tree,

under the tree, there is a golden bed,

on this bed, there is a snake.

“I came to you, oh snake,

to ask you and god to have mercy on me:

harm happened to my bay horse

(or a mare, or an ox, or a cow)

of yellow bones, of black blood,

of red meat, of raven wool.

Summon your kings, your generals,

your princes, hetmans,

colonels, centurions,

thanes, chiefs, bannermen,

soldiers-cossacks,

all officers from homes,

from earth,

from dung,

from grass,

from stone,

from water,

from cellars,

from under the heaps,

and make them beat

the guilty with an oak club,

make him sink in humid soil,

in yellow sand

for thirty sajen deep! E17

(1 sajen equals about 2 meters)

 

*

 

An old lady walked the black road.

Black herself,

she wore a black skirt and a black apron.

She doesn’t cut an oak, sycamore,

or birch,

but she cuts rash. M119

 

*

 

In the sea, in the ocean,

on Buyan island,

there stood a hollow oak,

under that oak,

there sat a turtle,

the chief of all the vipers.

Snake, snake, teach well your nephews,

else I’ll find such a man that devours

Wednesdays and Fridays

and he will devour you! M158

 

*

 

Under the sun, under the hot one,

under the wood, under the dark one,

there stands a willow.

Under this willow,

there are seven hundred roots,

on this willow,

there are seven hundred cords.

On these cords, there sits Khan King

and Khan Queen. Ch121

 

*

 

On the Ossiyan mountain,

there stood a stone well.

A stone girl went there,

stone buckets and stone yoke,

stone braid,

and she was of stone.

If she fetches water from there,

let the begotten, baptized God’s servant Ivan bleed again. M69

 

*

 

Oak, oak!

You are black,

you have a white birch,

you have small oaks – your sons,

you have small birches – your daughters.

Let you, oak and birch,

whisper and hum,

let God’s servant Ivan,

the begotten one,

baptized, sleep and grow! M10

 

*

 

In the Diyan sea,

on Kiyan island,

there stood an oak,

in the oak, there was a hole,

in the hole, there was a nest,

in the nest, there were three Queens:

the first was Kiliyana,

the second Iliyana,

the third Spindle-Queen.

You, Spindle-Queen,

come forth, whistle to your army –

army from the fields,

from the woods, from the waters,

from dung, from home!

Prohibit it, oh Spindle-Queen,

to bite where it shouldn’t,

to use their teeth –

because their teeth will be no more,

they will fall down on the ground

from a begotten one,

baptized one

God’s servant Ivan. M150

 

*

 

There is the Moon in the sky,

an oak in the wood,

a pike in the sea,

a bear in the forest,

a beast in the field.

When they come together

to have a feast,

let N’s teeth ache. VV

 

*

 

An eagle flew across the sea,

lowered its wing,

quenched the spring.

A rooster perched on a stone

and waves with its wings.

The stone doesn’t move,

the Christian blood

of the begotten one, baptized,

prayed for

Ivan

doesn’t flow.  T29

 

*

 

A girl walked an evil route,

she went to an evil orchard

to pluck evil herbs,

to cut it with an evil knife,

to brew an evil stew,

the stew starts to boil,

blood ceases to flow. T29

 

*

 

Immaculate Virgin

walked along the blue sea,

she leaned on the golden stick.

She encountered St Peter.

“Where are you going, Immaculate one?”

“Towards the place,

where three brothers fought,

to enchant their blood”.

The wound closed,

the blood stopped,

the Immaculate one came back.

Amen! T29

 

*

 

A mountain is with a mountain,

a stone is with grass,

a fish is with water!

When they come together,

when the stone flows,

when water stands still,

let then the teeth

of the begotten one, pried for,

baptized N ache. T30

 

*

 

Before whispering, let you splash some water on the child, and then you shall say:

 

Oh stars, stars!

You are three sisters in the sky:

the first one at sunset,

the second at midnight,

the third at the dawn.

Be helpful for me in some sickness.

Pervade meadows and banks,

roots and stones,

pervade also this begotten one,

baptized N! T31

 

*

 

At the seaside, there is a green withe.

Wind withers the green withe,

wind withers it, blows away its leaves.

One leaf fell into the sea,

another fell into the heart,

the third one will heal the wound,

will cure the wound! E19

 

List of Sources

 

In this collection, a number after each abbreviation indicates the page of the original source

 

Ch – П. Чубинський. Труды этнографическо-статистической экспедиции в Западно-Русский край. Материалы и исследования. – Т. 1. – Вып. 1. Санкт-Петербург, 1872.

 

E – П. Ефименко. Сборник малороссийских заклинаний. Москва, 1876.

 

M – М. Москаленко. Українські замовляння. Київ, 1993.

 

T – Олена Таланчук. Духовний світ українського народу. Київ, 1992.

 

VV – Все для вчителя. Інформаційно-практичний бюлетень.

 

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Poetry

A. J. Huffman – Two Poems

A. J. Huffman’s poetry, fiction, haiku, and photography have appeared in hundreds of national and international journals, including Labletter, The James Dickey Review, and Offerta Speciale, in which her work appeared in both English and Italian translation.

 

Counting Nothings 

 

One drink would help me sleep.

Two would give me the courage to think

about the three words we both speak as lies

before lying next to each other.  Five nights ago,

I counted six black feathers outside my window—

there should have been seven—

one for every deadly sin we had committed

against each other’s body.  I closed my eyes

and waited for the eight angelic chimes

that would herald dawn, but I forgot

myself in the middle of a dream

about a cat that did not want

his nine lives.  I swallowed them greedily,

waited for lightning to strike me for the tenth time,

but when I finally opened

my eyes, you and I were still alive

and bleeding tomorrow.

I prayed to the absence

of stars that morning would never come.

 

~

 

Ballerina Believing She is the Ghost of Music’s Past 

 

Every footfall echoes like an anvil

of silence.  A body—

too light—

forgets the idea of dizzy,

looks to a haloed moon for guidance,

hears nothing but her own

regret.  A wind

whimpers in the distance,

divides

itself, gains cadence

and acceptance.  Tireless

legs leap toward the dying

light,

fall short of total encapsulation.

A drop of sweat glitters like the North

Star.  Her blood is reborn

as a momentary exhale,

hovering just before tomorrow’s dawn.

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Poetry

Patricia Anuwality Nyirongo – ‘Bruises’

Patricia Anuwality Nyirongo is a Malawian writer. She studies Special Needs Education at the Catholic University of Malawi, and is a young leader and mentor at the Malawi Girl Guides Association.

 

 Bruises

 

I failed to take heart as I was reclining for the day,

Bathing water in the cauldron and supper on the table,

Busy with the bairn but I could not take heart.

Something inside me coerced my body to go,

Trying to accord all attention on the television but, no… It failed,

Stood up by the love force, and went out

Broken into tears and helpless.

My heart filled up to bursting.

The image left in my mind would not vanish easily, and hurt badly.

My brain captured it all but failed to interpret what my eyes perceived,

Thrashed him as a daredevil.

No mercy.

No explanation would be appreciated as an excuse.

 

Finally my consciousness forced me to stop.

I grasped my girl inside just to prove

She was in pain.

I whined but soon remembered I’m a mother –

the one she looks to for solace.

 

My girl was left with hidden marks and bruises.

She was assaulted

In a world that is shot through with hazards for girls

In a world that will neither serve nor save us.

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Poetry

Nazarii Nazarov – ‘Paraphrasing Li Bo’

Nazarii Nazarov was born in 1990 in a small village on the Ukrainian steppe. He now lives and works in Kyiv, Ukraine, where he teaches Ukrainian and Russian and studies the poetic traditions of Eurasia. He holds a PhD in Slavic Studies. His English poems have appeared in Alluvium (Literary Shanghai), Eratio, and Eunoia, and are forthcoming elsewhere.

*

On reading a translation from the Chinese classics by V. Alekseev (1881-1951) – who is known for his careful rendering of the original rhythm and flow along with his loyalty to the original text – I was startled by а seemingly simple phrase from Li Bo’s Preface to the Feast in the Peach and Plum Garden on a Spring Night, which is repeated in the following verses as a refrain.

 

Paraphrasing Li Bo

 

Oh old pine tree

with curved trunk

and bent branches

you know my desire

and my purpose

but tell me

what is the sky above you?

the earth beneath you?

 

On a hot day

hidden among the reeds and bushes

I shared my food and drink

with naked drunkards and vagrants

and none of them knew

what is the sky above us

and the earth beneath us

 

In the shade of the old pine tree

I meet the third summer

crossing the bay

on a quivering boat

on my solitary walks

I began to ponder:

when I die

what will go to the sky above me?

and what to the earth beneath me?

 

Oh old pine tree

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