By FELICE BELLE
these biddies with their deadbolt backs/ take naps
while i construct/ canvas from corset cast
art does not wait until you are well
what they did not understand—the training was classical
By ANNA BADKHEN
As soon as I read about the albatrosses in the Times, I thought of my big sister. Natasha.
“Natasha—albatross ty nasha,” Aunt Lyuba would sing in the communal kitchen, slinging blobs of wheat porridge into my bowl with the cornflower border. Each time she’d shuffle the bowl from the stove over to Natasha-and-my table, her felt slippers would catch on the peeling linoleum floor, and I’d worry about my breakfast. But Aunt Lyuba never slipped.
Whatever Walden is to me—we swam there two Julys—
I hope to skirt that never-ending trope,
Drowning like a pilgrim in that pond.
We pushed past mothers and their kids,
Cedared summers in Wellfleet cottages,
Past foreign languages that hummed across
The narrow circle of that one dirt path
By BOTHAYNA AL-ESSA
Translated from the Arabic by SAWAD HUSSAIN
(1)
In those days, everyone had the right to have feelings.
It was natural to feel things, and the right thing to do about your feelings was to make them known. Feelings were plenty, but broadly they were segregated into two groups: Love and Fear.
In those days, there was only one way you could sin: by faking your feelings.
The creature was flushed from the snow
& flung like a tiny, limp footbag
before I could catch up to cup it below
my hands. While they collared the dog,
A public square in every town, monuments
whitened in patches by lime and bird droppings.
Streets and bridges named after those who came
in galleons. They banished to the outskirts
By JASSIM AL-SHAMMARIE
Translated from the Arabic by MAIA TABET
I feel the wall with my bare hands, the peeling paint, the cracks along its surface…. They’re just superficial and haven’t impacted the solid masonry. There’s no light coming through.
The soaring, towering wall is solid; it is two lights and one darkness long. This is how I measure the passage of time in the endless enclosure of this space, either as glaring light or as pitch darkness…. Once, to figure out how long it was, I hugged the wall, reaching its farthest edge after two lights and one darkness. Truth be told, this exhausted me, and I may have slept one or two lights without knowing it.
Close your trap. Everyone you’ve ever lost lost
everything. Life’s closed. It’s not even close. At least
they aren’t distant. As if a stiff flick to existence
flung them unfetchably far to the shadiest suburbs
of substance, where no wintry entropy disturbs
Eastern Shore, Maryland
My late husband was a man who invented facts. He was Danish by birth, and at a dinner party he mentioned that aardvark was Danish for hard work. “Copenhagen households keep them to clean the floors,” he said. Our otherwise intelligent friends, who hadn’t been to Denmark, believed him.
By SYLVIA IPARRAGUIRRE
Translated from the Spanish by EMILY HUNSBERGER
The following is a translated excerpt from the novel Antes que desaparezca by Sylvia Iparraguirre, published in 2021 by Alfaguara.
—
Unannounced, the past invades the Russian literature class one autumn morning in Buenos Aires. I’m facing one of the windows of the museum library, talking about Pushkin. It’s raining outside and I allow myself a few seconds’ pause—after all, I’m the one teaching the class—to linger on the beauty of the rain falling on the sculptures in the modern interior courtyard, the clear water sliding down the bronze.
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