By YUNHAN FANG
This piece is part of a special portfolio featuring new and queer voices from China. Read more from the portfolio here.
By the summer of 2009, I found I was thinking less and less about the Wenchuan earthquake the year prior, in which 87,000 people had died, my father among them. That year, on the day of Xiazhi, I met a girl called Thirteen. We spent the night together, having sex and talking until the sky turned the color of moonstone.
BY K-YU LIU
This piece is part of a special portfolio featuring new and queer voices from China. Read more from the portfolio here.
The rumor was there was a backdoor into the best running camp in the capital. To get your kid in, there’d better be something wrong with their mind.
Mother drove me to the facility with a note from Dr. Chen in her purse. For four hours, roads splintered and strayed under our wheels. Eventually we arrived at the far Northeast corner: cornfields and silent cranes, tired grey apartments, willow trees bowing their listless branches.
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.
By HEMA PADHU
The first time I pick up a razor, I’m twelve, sitting on an upside-down bucket in a poorly lit bathroom. I touch that part of me tentatively and think about making myself bleed. All the other girls at school have had their first period. They huddle together, whispering. When I join them, an air of hushed discretion settles. My father’s razor has a knurled gunmetal handle. A glistening blade is screwed between two metal plates that open like a butterfly’s wing. I squeeze my eyes shut. It’ll hurt. There’ll be blood. Amma will give me a Carefree pad, and it’ll hang awkwardly between my legs. I will no longer be innocent.
Translated by KATHARINE HALLS
Piece appears below in English and the original Arabic.
Missile One
A straw basket hangs from the side of a vehicle parked at the corner of your street. You assume it’s displaying fresh parsley, or strawberries, and you approach the man you assume is the vendor. His eyes repel you like blazing heat as he trains his Kalashnikov on you; you falter, want to explain why you have come toward him, you look at the basket and are stunned to see that it contains RPG missiles, arrayed with delightful geometry, and now you need to apologise to him for your inquisitive staring otherwise he’s going to empty that rifle into your head. But it’s pointless attempting to do anything because you’re rooted to the spot, which is what always happens when you’re scared, so you take hold of your eyes with your hands and scrape out the pupils with your thumbs, then hand them to him with an I’m sorry, because it’s the pupils specifically that have got you tangled up with him. He looks at you and swiftly loads his launcher ready to fire it at you. You dodge right and left, crashing into the walls around you, you duck into buildings one after another, and then you find yourself in your own quiet home, your wife beside you laying the lunch, and there in the centre of the magnificent dish of rice is a home-cooked RPG grenade.
Mummy dumps a bucket of water over my head. I heard only her footsteps, my back toward the open verandah door, my face toward the sea. My freshly pressed hair shrinks, coils. I can taste the oil sheen as the water rushes down my face. But I had done it, with Grandma’s help. Just for today, I looked like Mummy.
There is no such thing as silence in the South. There is always the percussive hum of insects, winged bodies waiting in the weeds for dusk. This sound fills the fissure before Coach Meeks fires the gun, while Joanna leans over the spray-painted line in the crabgrass field. She is sixteen but still as stick-legged and bird-chested as she was at twelve, brushing daily knots from her homeschool-length hair because her mother gave up trying to teach her how to make a braid. The billow of smoke erupts from the pistol’s nose before the crack of the blank reaches her ears. Her hair streams behind her, loose and wild, as she pushes off the line. She believes that it makes her faster.
Anna was slow to do the math. B saw it instantly—what might be left after everything else melted away. White captions flickered in the dim exhibit hall.
B had turned thirteen that fall, ready to join Anna on a trip that was part research, part treat and adventure, the first time they had left the country together, alone. A few days in Rosario (a university lecture, an interview with a playwright), the long bus to Buenos Aires. Invited to contribute to the itinerary, B asked to see glaciers; Anna booked a half-day trek across the ice.
Passengers all around them had clapped when they landed in El Calafate. “That’s so sweet,” B said, joining in. Anna clapped, too, hoping it was thanks, not bald relief. The tiny airport was rapidly navigated. Advertisements lined the baggage claim, placed to catch a teenager’s eye. “They have an ice bar at the ice museum,” B said. “Can we go? There’s a free shuttle from the tourist office.”
By LAURA NAGLE
Mairéad knows what she will say if her husband asks why she has been filling their eldest daughter’s bowl to the brim with porridge at every meal while taking less than a full serving for herself. She will talk about how much she hates oats, has always hated everything about them: the thick smell of the fields when the rain has been too heavy, the ache in her left hip each day of the harvest, the gluey texture of oatmeal porridge, the taste of it like dirty air, the way it sticks in her throat when she tries to swallow it.
She imagines Thomas’s response. It’s by God’s grace we’ve oats again, she can almost hear him saying. God’s grace there’s enough for the likes of us after the livestock are fed. This time last year, all they could get was Indian meal, and the whole village was sick for the better part of a week before the women figured out how to prepare it properly.
By ESTHER KARIN MNGODO
Translated from the Swahili by JAY BOSS RUBIN
Piece appears below in English and the original Swahili.
Translator’s Note
I was drawn to “Soko la Samaki” by its rich variety of registers, and by its use of the second-person point of view, which in my experience is not so common in Swahili literature. I was also taken by the story’s close attention to class and gender dynamics, and the role of language, indeed languages, in interactions between men and women of different backgrounds and social standings. In my initial draft, I retained quite a bit of Swahili. As I began to revise, in consultation with both colleagues and the author, I was encouraged to seek out English that corresponds to not just Swahili meanings but Swahili cadences, especially when they play a role in one character trying to convince or gain entry into the world of another. The version here contains less Swahili than my earlier drafts, but the Swahili that is retained is more intentional. Of the handful of authors whose work I have been so fortunate to translate, my author-translator relationship with Esther Karin Mngodo has been, by far, the most interactive. In addition to drawing my attention to rhythm, Esther helped me comprehend some of the story’s slang and proverbial language, and she offered invaluable feedback and suggestions on how to render specific moments in English. Going back and forth in our comments in the margins of a shared doc, often when it was morning for me and evening for her, I felt like I was getting to collaborate with an author, editor, and fellow translator all at once. For that, and for the story itself, I am enormously grateful.
—Jay Boss Rubin
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