• Poetry,  Translation

    Five poems from “Friends with Everyone” by Gunnar Wærness (translated from the Norwegian by Gabriel Gudding)

    Artwork by Gunnar Wærness

     

    32. (such a friend to everyone / march 23 2015)

    the shadow of the homeland
    is a sea that follows     us in our journey
    it waits for us      beside the rivers
    that resemble blue intestines     spilling out of the folds
    of the map we stole

    now i conjure from this tangle
    of viscera and bowels
    this carcass we once called the world     we chased it with swords
    first in boats     then in books     and at last with this
    one bare hand     that burns     here on your thigh goddess
    which you now ignore as you answer saying     if you want to fuck
    comrade     you have to stop calling me momma

    these are not my words     that are crawling down the edge
    of the map of the world     drawn with crushed cochineal
    soot and blood     on vellum     here     where the seas have grown small
    and the countries have disappeared     while the rivers have risen
    and the coasts have swollen     like hearts and lungs and livers
    all leading straight      to the campsite we came from
    which we modestly called the center

    but you understand the map we stole
    is read best by those who made it
    i held it upside down
    and used the ocean as a lens
    and saw other people out there conjuring
    their own songs     their own books

    the past is like the future out there
    as water is like water     i used to think
    that not everyone
    can write their own histories
    and i sang for the people     in campsmoke
    and griddle grease     for food and shelter

    but here they’ve gone and done it
    written their own history
    with blood and gunpowder
    cock and pussy     here and now then
    the people are a lion’s den     i sang

    which other people enter     from which few return
    and everyone we run across     becomes us     becomes us

    what kind of fucking song is that     the people ask
    i reply     it’s not a song     it’s a vision
    and you’re not supposed     to sing along
    you should just learn it by heart
    and live accordingly

    and they painted me with hot tar
    and rolled me in feathers     you who are such
    a friend with everyone
    you can’t live with us     walt fucking whitman

    so the story began
    by counting all the others
    who were chased from their fields

    there were hardly seventy souls
    on the heels of one they called the prophet
    four lifetimes later     they were six hundred thousand

    and the first to call themselves a people
    a bowlshaped word that can be sailed like a boat
    and shut like a casket

    and opened like a book
    to dwell there means to be
    not only many
    but exactly how many

     

  • Global Voices,  Interviews,  Translation

    Global Voices Interviews *Croatia* Marko Pogačar & Andrea Jurjević

    In conversation with JP Apruzzese

     

     

    Reading Marko Pogačar’s poetry is like walking into an empty field only to realize that it is teeming with life. Things begin to crawl up through the surface and emerge from the sky and become more real, more important, more meaningful, more consequential the further we allow him to guide us through this uncertain world, which we soon learn is our own. Perhaps his shift in vision comes from being a child witness to the violent fracturing of his world – what was once Yugoslavia – where the promise of unity,

  • Art and Photography,  Poetry,  Translation

    Four “Corn Songs” by Kinga Tóth (translated from the Hungarian by Timea Balogh) Drawings by Kinga Tóth

     

    Corn Songs

     

    song five

    they pierce the ground with spoon straws
    that’s how the roots will breathe
    that’s how they’ll pull them out when they’re ripe
    the others arrive behind the diggers
    they write with felt pens
    take away the dialect and unsettle everyone
    they piss with their legs apart
    and that’s when they forget what
    they talked about at harvest time
    they take the tongues out of their mouths
    with which they were understood
    and take pictures till they are distracted from the conversation
    only the spoon-holding hands remain
    squatting they examine the air-bagged roots
    this will serve as amnesty and the writers
    will be the only ones permitted to speak