The Day Azrael Committed Suicide

By ARTHUR GABRIEL YAK

Translated by SAWAD HUSSAIN

Note: The following story contains graphic language related to war and sexual violence.

News of the clashes poured into the Gudele district police station from everywhere, not least from the general headquarters of the People’s Army, conveyed by the intermittent, staccato rattling of Kalashnikovs and DShK heavy machine guns, and the roar of tanks that left gutter-deep tread marks on the main roads in their wake. Thick, dark columns of smoke soared skyward from the city of Juba, visible from a distance to Colonel Franco just as he was ending his call with his sister Christina, who told him of how their youngest sister, Rebecca Majok Majak, the doctor working in Bentiu hospital, wife to a Nuer tribesman, was at risk.

The Day Azrael Committed Suicide
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Herman’s Bones

By AMALIA BUENO  

This poem is excerpted from Eh, No Talk Li’dat.

Eh, No Talk Li’Dat, an anthology forthcoming from Kaya Press, is centered on Pidgin, or Hawai‘i Creole English. The following poem is excerpted from this anthology.  

Pidgin began as a dialect of trade between Native Hawaiians and Western seafarers and merchants and evolved as a Creole language in the sugar plantations in the 1920s and ’30s, yet, until today, it is deemed substandard by school administrators and is not recognized as a Creole language by the State Department of Education. It is the only language I can think of in the U.S. that was co-authored by the various ethnic groups in the islands: Native Hawaiians, Pacific Islanders (Samoa, Tonga), sugar planters and migrant laborers from Asia (China, Japan, Korea, the Philippines), Portugal (Madeira and the Azores), and Puerto Rico. Recent speakers and innovators of Pidgin include transplants from Micronesia. In addition to the poems, stories, and excerpted plays, all written in Pidgin and contributed by over forty of Hawai‘i’s writers, the genre-defying Eh, No Talk Li’Dat includes archival materials, newspaper articles, transcripts of televised comic skits, and comic strips. 

R. ZAMORA LINMARK 

 

After Hart Crane’s “At Melville’s Tomb” 

Da ocean like us know we all going die. 
She stay keeping all our bones. 
I seen da wave take ’em 
den bring ’em to da shore 
den take ’em back out again. 
Plenny bones,  
and inside da bones—mana.1  

One day, da ocean all quiet, 
da waves all calm, den alla sudden 
all kapakahi.2 
Da waves wen straight up, 
alla way up,  
up to da sky 
fo’ real kine was all spiritual like 
like I was at church 
and everybody all quiet.  

I wen3 look up 
up at da stars, and das when, 
inside da stars 
I seen all da bones 
all da answers  
to everything.  

Our fren Herman,  
way up high in da blue waves 
he not evah going come back. 
Way up high 
his bones, his mana 
da ocean stay keeping ’em  
so lucky da ocean  
fo’ keep Herman fo’ evah 
cause only she can. 

1. mana (Hawaiian): power, divine or supernatural
2. kapakahi (Hawaiian): lopsided
3. wen (Pidgin): past-tense indicator, also spelled wen’, went
 

 

Amalia Bueno is an educator and writer based in Honolulu. Her poems and stories have been published by Bamboo Ridge, Hawaii Pacific Review, and Philippine American Literary House, among others. Her literary interests include Pinay poetry, decolonization, and Hawai‘i Creole English. Her poetry chapbook, Home Remedies, was published in 2015.

[Purchase Issue 27 here.]

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Morning Light

By JEMAL HUMED 
Translated by ADDIE LEAK

The piece appears below both in English and the original Arabic.

 

For the fighter Taha Mohammed Nur [1]

1

The hallway is cold and disquieting, lined with austere doors marked with consecutive numbers, giving no indication of their occupants.

The corridor is never-ending, leading to a room at its end whose grand entryway, formidable and rigid, seems to surveil the movement of the other doors.

He stood in front of it and straightened his service uniform. He took deep breaths, as if to expel the fear that had accumulated between his ribs on this particular morning inside the prison.

Morning Light
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