Fiction

The Other Side of the Moon

By JESUS FRANCISCO SIERRA 

The day of the moon landing, George and I planned to hunt for rocks. Jorge was his actual name, but he preferred to go by George, like The Beatles guitar man. We were going to look for samples just like the astronauts would.

I sprang out of bed and cranked the window open. Looking out between the twisting glass slats, I noticed the leaves of our lemon tree were still. I hoped it meant the rains would stay away, even though July afternoon downpours in Cuba were as regular as the blood orange sunsets.

After dressing to the sound of Mima’s clanging in the kitchen and the scent of coffee brewing, I sat at the dining table. I dipped a piece of stale Cuban bread into the café-con-leche she’d set there. “It needs sugar,” I said.

“You don’t need more sugar,” she said.

But I didn’t understand why. Sugar was the one thing on the island that wasn’t rationed. 

I asked if she was going to my friend Raul’s house to watch the moon landing. His family had the only working television in the neighborhood.

“Maybe,” she said.

I’d dreamt about the moon landing even before I learned that the Americans were going to do it. Ever since I read Jules Verne’s From the Earth to the Moon, a book George had given me, I’d been imagining a spaceship just like the one in the book: a long, narrow, bullet-like rocket, slicing through the heavens.

Mima wasn’t much of a reader. Not much of a dreamer either. I think that was why she’d never thought of leaving Cuba, even though everyone else seemed to be doing so.

“What are they looking for up there, anyway?” she said. “We have enough to worry about right here.”

The Other Side of the Moon
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The Marker

By JIM WEBER

Dispatch crackles over the cruiser’s radio: brushfire on Ranch Road 580.

Frank lights a cigarette, takes a deep pull. His shift over, he listens, unobligated, as Latimer asks dispatch to confirm the fire’s location.

He stares through the windshield at his house, a squat brick ranch. Scuffed exterior and summer-fried lawn identical to the others on the block. The front window drapes are pulled back, giving the house a grin, like an old friend commiserating: Seven years left on your note, Frank. Three years short of retirement. Tough math.

I’ll sell the place when I retire, Frank thinks, not for the first time. Move to Kerrville, or Boerne, or Bandera. Find a part-time security job to help make ends meet. Latimer talks up New Mexico. Strikes Frank as too far from central Texas, too far from the remains of the life he and Lizzie shared before she passed.

Drapes back means his daughter Caitlyn is up and getting ready for work. Two weeks before she’s off to college in Austin. Who knows if she comes back? Live your entire life in a place, can come to hate it.

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Puppets

By MANISHA KULSHRESHTHA
Translated by CHINMAY RASTOGI

Piece appears below in both English and the original Hindi.  

Translator’s Note

Hindi is comprised of words from a variety of regional languages of India and has various dialects. The way people speak it changes almost every hundred kilometers, with the language taking on a new garb and flavor, just like the clothes and food of the people who speak it. What delighted me about this story was the place it is set in and the dialect of the characters. It’s not common to come across literature set in the remote areas of Rajasthan, full of Marwari words (the primary language of the people of the state). As someone who spent most of his life in this state, I was even more invested to present the dialect, life, and customs of the communities.

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Belleville

By NANCY LEFENFELD

But after the divorce, he moved back to Belleville. To his old neighborhood, the neighborhood of his youth.

His wife—now ex-wife—hated Belleville. It reminded her of the poor Polish girl she had been. All the years they were together, they lived in Boulogne-Billancourt.

He has a small apartment on the rue du Jourdain. It’s just a few steps from the tabac where he used to buy cigarettes for his father. And it’s practically around the corner from the primary school he attended, on the rue Olivier Métra.

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Translation: Sindhu Library

By GEET CHATURVEDI
Translated by ANITA GOPALAN

Piece appears below in both English and the original Hindi.

 

Translator’s Note

There is an inherent quiet music and a brokenness in the story “Sindhu Library” excerpted from Geet Chaturvedi’s fiction Simsim. In its simple external reality, the story thinks with images and situations. There is a delicate textuality in the characterizations that take shape in a kind of leisureliness, be it the old man sitting among tattered books in his library or the balloon woman appearing at the start and end of the story, which is very poetic. I have translated the author’s pauses whenever I could, building a balance between language and sensation, between rhythm and vacuum.

Translation: Sindhu Library
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The Children of the Garden

By ANNIE TRINH

The first time Lilian saw her siblings’ hands sprout from the fertile earth, she hid behind her father’s leg and begged him to be careful. She tugged his fingers as the infant-cries rang through the twilight of crickets and fireflies, telling him that they should hurry before mom came back from the store, but he didn’t listen. Her father looked down with watery eyes and knelt to the ground, trembling. He removed the soil from the newborn babies, took them into the kitchen, and placed them in the sink. Monoecious plants, one boy and one girl. Her father cleared all the dirt from their bodies. With a fresh towel, he cleaned their tiny hands, wiggling feet, faces, their grumbling stomachs—dusting off the tiny ants and soil stuck to their eyelids. 

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Transgressions

By SEBASTIAN ROMERO

We went to the bathhouse because it was Dorian’s thirtieth birthday and, being the kind of friend he was, he wanted to do something for himself—partying at Chicago’s Boystown, a neighborhood we’d frequented when we’d been undergraduates at Iowa—and then something for us, especially for Aviraj, who was Dorian’s closest friend and still a virgin. He had flown for this, Aviraj had; I had flown, too, but it wasn’t as big of a deal, because I had come from New York—costing me around $250—and he had from Mumbai—which could’ve cost shy of $1,000 (not that I asked). This infamous holding-out on Aviraj’s part had come, on the one hand, because of his spiritual beliefs and, on the other, because—idealistic as he was—he had never been able to keep a man, which had brought about that soothing old joke of ours where we told him not to worry; he was surely the type of guy who never dated and then, bam!, he’d marry on his first try. The group would laugh at this jealous joke, yet a jealous silence would always follow, for not only did we believe it to be true, but we also believed Aviraj to be the only one of us who had marriage in him.

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Lencho

By LEO RÍOS

Good vibes started at Movida, my favorite paisa club in Bakersfield, because it was real. Other clubs were only restaurants during the day or warehouses on the fairgrounds. Movida was a big-time deal, built especially for visiting artists who came from everywhere—L.A., Mexico, sometimes Central or South America. It was the dance spot you took your girl to, if you wanted to be among the best dressed, the most beautiful. 

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The Little One

By NAYEREH DOOSTI

The baby would be fine, Saeed’s wife said. As the family gathered around the dinner table for his special dessert, a beet cake with yogurt icing, and his home-brewed beer, Saeed agreed to watch the kids on Thursday so that his wife could have a day to herself. They were his grandchildren, too, after all. Although it was only his fifth day in the new country, he had already gotten over his jet lag, touched and kissed his family multiple times, and been given a tour of the neighborhood. He had also bought a road bike and signed up for a spot at the community garden. Now it was time to get acquainted with the grandkids.

The Little One
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