Siani Ammons

A Humble Invitation from Your Floor Supervisor

By DOUGLAS KOZIOL

It was an early afternoon in mid-July, the sun at the height of its powers, and while Laura was stirring a gin and tonic, her co-workers were stretching their picket line across the parking lot of the New Epoch shoe factory. Sitting in a wicker chair on the stained deck of the palatial home of the floor supervisor and his wife, a cool breeze sweeping through the overhanging trees, her ears buzzing with the chirping of birds and the bubbling of the pool filter, Laura told herself she never wanted to be here. She knew any deal between workers and management had to be made with the backing of the entire factory floor. Otherwise, the bosses would try to pick them off one by one, like lions to lagging gazelle. Still, it had been decided she would accept the supervisor’s offer to negotiate over dinner, if not to strike a deal, then at least to feel the man out.

The screen door to the house screeched open, and Laura turned to find her supervisor’s wife, Fatimah, stepping out onto the deck with a tray of charcuterie and a pair of fresh drinks.

A Humble Invitation from Your Floor Supervisor
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Kakosmos

By JILL PEARLMAN

Human systems exist in the mystery
always at the point of spilling 
over green, over and over their present containers
of cities and grids and human perception

for what of entanglements, what of catastrophes
what of black holes, of soot from burnt timber
what of seashells, snails, urchins in the pavement
of ancient Greek settlements 

Kakosmos
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Remembrances

By ANTÒNIA VICENS
Translated by MARY ANN NEWMAN

Palma, 1978

One day he came, handed me a little box, and said look, look inside. Oh God, what a husband, I was afraid maybe he was losing it, another day it had been look, open this package, and there were more than half a dozen bras with ruffles. I opened the little box and was practically blinded by a stone brighter than the sun. No explanation, nothing, business is coming along, he said. And at night, here we go, trying for an heir, but that wasn’t coming along at all. 

Remembrances
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Translation: Two Poems by Edith Bruck

By EDITH BRUCK

Translated by JEANNE BONNER

Poems appears below in English and the original Italian.

Translator’s Note

What I find indelible about Edith Bruck’s work is the subtle ways she introduces the topic of the Holocaust. A poem like “Pretty Soon” provides a glimpse of the author’s mindset – she managed to survive Auschwitz, and she hasn’t wasted a moment since her liberation as a teenager. She’s been incredibly prolific as a writer, and has traveled the world. But winning her freedom is an event forever married to the worst event ever: losing both of her parents in concentration camps. The challenge is to render that subtlety, which in the original is effortless. This is her life – it’s what she’s always known. 

This thematic back and forth is also present in “There Were Eight of Us.” There were eight of us – but not anymore. One brother was swallowed up by the Holocaust, to use a phrase Bruck often employs in other work.

Translation: Two Poems by Edith Bruck
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The American Scholar

By JIANAN QIAN

This piece is part of a special portfolio about youth and contemporary culture in China. Read more from the portfolio here.

 

Alex dislikes the security check in Shanghai’s subway stations, from both an ideological and personal perspective. Being American, he hates any intrusion on privacy. And today he’s carrying a black dildo in his backpack, wrapped in a wine tote bag with a Spanish brand name on the outside. Still, he worries the X-ray man might stop him for inspection.

He touches the student ID in his jeans pocket. Back in college, George—his Chinese teacher whose toupee once came loose—had told him that the Chinese respect Ph.D. students.

The man lets him pass.

“Xie xie,” Alex thanks him.

It’s not rush hour. He finds a seat and places his backpack on his lap. With his uncombable hair sprawling out in all directions, he looks like the photo of Einstein that appears in Chinese high school textbooks. Not that Alex would know about that. His destination is the west side of the city, a five-star hotel. A sex class will take place in one of the suites and he’ll be one of the models. It’s his first time participating in the sex industry, and the thought brings a smile to his face. However, the young woman sitting beside him seems uncomfortable or offended by his presence, and moves to another seat.

The American Scholar
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Brace Cove

By JOEANN HART

The ocean's waves hitting rocks on a shoreline.

Photos courtesy of author.

Gloucester, Massachusetts

It was mid-winter, so I timed my afternoon walk to end before the early night. Heading to the beach, I crossed a sea-battered causeway that dropped off to the salty Atlantic on one side, and the fresh water of Niles Pond on the other, ending at Brace Cove. Formed by two boat-breaking arms of intertidal granite, waves were still crashing into the cove from a recent storm. Migratory seabirds struggled to fly in the crosswinds. Added to the elemental roar of water was the steady screech of stones grinding in the surf, too rough a day even for the resident seals. As I stepped down from the causeway and onto the beach, I saw a man with binoculars around his neck. He was talking on the phone and there was a large, motionless shape at his feet. 

Brace Cove
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The Visual Poetry of Anzhelina Polonskaya

By ANZHELINA POLONSKAYA
Translated from the Russian by ANDREW WACHTEL

Poems appear below in English and the original Russian.

Translator’s note

Anzhelina Polonskaya frequently writes poems inspired by visual artists. These are not, however, ekphrastic renderings of an image in words, but rather a snapshot of the emotions that a given painter’s work evokes. In the poem “After Breughel,” published here, we need to ask, what precisely makes the text Breughelesque? To me, it is the anthropomorphized image of snow, with its dead white eyes in the first stanza, contrasted with the scarlet color (of blood, hell, the burning bush). This unsettling juxtaposition creates the Breughelesque landscape which has destroyed the artist, as in the painting Dulle Griet from 1563. But Polonskaya provides her picture without the scaffolding of a narrative, and, as far as the translator’s job goes, I needed to avoid explaining the poem, rather allowing the translation to be as allusive and mysterious as the original.  

—Andrew Wachtel 

 

After Breughel

Snow, listen up. Your eyes are dead.
We know full well we’re being led
like hostages of universal blindness.
Who are we, then? Unknown and homeless.

The Visual Poetry of Anzhelina Polonskaya
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July 2024 Poetry Feature: Megan Pinto

By MEGAN PINTO

Excerpted from “even in silence”

 

My father is perseverating, moving around the edges of rooms. On repeat, he asks, but how will
we pay for it? How will we pay for it? 

He follows me, my mother, then me, then my mother. Inside my childhood home, there are only
so many rooms. 

On Christmas Day, I bake a loaf of frozen bread. I feed slices to my father with my hands, then
catch each chewed up bit he pushes back out with his tongue. 

He is speaking.
I am numb.

July 2024 Poetry Feature: Megan Pinto
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