Sarah Wu

Holding the World’s Coat

By DANIEL MOYSAENKO

I do not like what you’ve done to yourself— 

predictable theatre of struggle 
I’m in the wings
of 
           world 

Instead take this  
translucent  
pisces-glyph bug: 

           Its antennae flitting to test  
           the space just in front of its face 
           It struts right into a recluse web 

A lesson in what distracts from pain: 

           Say pinching my wrist  
           while a fish hook’s mined from my foot 

           leaving an open-pit bull’s-eye  
           that never heals closed  

What distracts from another’s: 

           A brick wall collapses  
           and takes down another in pixels 

           Names next to “laborer” and “child” replaced 
           by 2S4 Tyulpan heavy mortar  

Now the poplared river  
that Tatars were bussed over 
is redrawn by kamikaze drones  

And below  
a wine cave in Crimea has its bottles 
scooped out  

           Melon-ball divots 
           and cobwebs left— 

           this basilica of dust I watch the vintner pray in

 

[Purchase Issue 29 here.]

Daniel Moysaenko is a Ukrainian American poet, translator, and critic. His work has appeared in The Nation, Poetry, The Poetry Review, The Iowa Review, Harvard Review, and Chicago Review. Recipient of an Academy of American Poets Prize and Emory University Rose Library Fellowship, he lives in Ohio’s Chagrin Valley. 

Holding the World’s Coat
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Raffia Memory

By LILY LLOYD BURKHALTER

The man’s face is gone. Gone the others circled around him in the hut, gone the clang of cowry shells (were they cowry shells?) gathered around their ankles, gone the hut. Gone the ochre-red soil on which the hut was built. All that’s left is the fabric the man, who was a chief, was wearing. The blue of it—a blue so rich it throbbed.  

Indigo doesn’t just dye a surface. It gives depth.  

Raffia Memory
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Amman: The Heaviness and Lightness of Place 

By HISHAM BUSTANI
Translated by NARIMAN YOUSSEF

Amman is not incidental. The sayl, the stream that patiently carved a path between seven hills for thousands of years, drew—as waterways often do—the din of life. It was somewhere close to here that the Ain Ghazal statues were found. Nine thousand years old, captivating in their simplicity, they seem to be about to speak as you contemplate their black-tar eyes, the details of their fine features, their square torsos and solid limbs. 

 

Amman: The Heaviness and Lightness of Place 
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Goats in Jabal Amman 

By ESLAM ABU HAYDAR

Translated by MAYADA IBRAHIM

They say that Amman is merely a caravan crossing, and that the spiritual tie between it and its people has been severed. I do not mean the concept of “belonging”—that is a loaded word—but rather the spiritual connection between a person and the city they inhabit. This is the ability to grasp moments from the past to relive them anew, to reflect on memories shared with the city, to feel its streets coursing through them, and to imagine, in a whimsical moment, the city pulling a feather from its pocket to gently tickle them. 

Goats in Jabal Amman 
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Serious Attempts at Locating the City

By HALEEMAH DERBASHI

Translated by MAYADA IBRAHIM 

When Did Life Flip Upside Down and Make Us Walk on the Ceiling? 

I asked him, “Where are we?” 

He said the name, then became preoccupied with finding batteries for his portable radio with one hand, and with the other clutching me so that the crowds would not sweep me away. 

What does that mean?” I pressed. 

Serious Attempts at Locating the City
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Cedar Park Café 

By TERRA OLIVEIRA

at cedar park café, praised for their chicken & waffles, 
i sit at the corner table, & a young blonde child 
with their family in front of me takes a sip of water, 
looks right at their parents, raises their right hand, 
back straight: i commit to not look at my phone, 
even when it’s right in front of me. 

i make the same commitment to myself every day. 
before recovery, no amount of self-control could bring myself 
to stop it. i was sort of big but the phone was bigger. 
this compulsion is real & serious—i thought it, i knew it, 
i’d pray for my behavior to change the next day. 
first thing the next morning, my hand would up 
& move itself, no thought of the rest of the body.  

like any addict there is hope for us too. 
in recovery—yes—i turn to meetings, 
turn to phone calls, to God & to fellows, 
& to readings. i pick up, i slip, i try again, 
further away from where i was (the hours & days), 
& closer to where i want to be 
(so many more hours, so many more days). 

my chicken & waffles are served, 
melted butter & maple syrup & crispy chicken 
& warm sweet & spicy sauce. 
i put my phone (just a notebook) back down.  

the parent: put your phone away. 
the child: we’re going to have to put it in the fire of death. 
the parent: the phone? 
the child: yes, in the fire of death. 
the parent: we don’t need to put it in a fire of death. 
and the phone: 

 

 

[Purchase Issue 29 here.]

Terra Oliveira is a writer and visual artist from the San Francisco Bay Area, and the founding editor of Recenter Press. Her poems have been published in The American Poetry Review, Puerto del Sol, and elsewhere. During the week, you can find her managing two bookstores in the North Bay.

Cedar Park Café 
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A Tomato Behind a Glass Cage

By SARAH WU

As a senior, I am still figuring out jobs and Things That Are After College. So when I have the opportunity to meet alumni from my college working in the sustainability field, I decide to go. Our group of students journeys to Boston, and when we get off the bus, the icy snow pinches our tender cheeks and exposed hands.

A Tomato Behind a Glass Cage
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