Cha chaan tengs, local diners that serve comfort food all day, are a cornerstone of Hong Kong culture. At a cha chaan teng, you can order beef satay noodles for breakfast, a cup of milk tea stronger than any Starbucks coffee, lo mai gai (glutinous rice and chicken wrapped in a lotus leaf), and more. To many Hongkongers, cha chaan tengs evoke a sense of familiarity and nostalgia. Indeed, it was precisely these feelings that drew me, a Hongkonger living in America, to translate Chung Kwok-keung’s remarkable poems.
Chung wrote “The Cha Chaan Teng on Fortune Street” in 1996 about a Cha Chaan Teng he visited in Sham Shui Po while running an errand. He no longer remembers what the errand was for, he writes in a blog post, but “words have helped [him] remember concrete details of that cha chaan teng.” At the same time, he also wonders whether there is something about a place that is lost forever once it no longer exists, no matter what we write down. As evocative as the details in this poem are, from the “soft clink” of utensils to the “grease-soaked hair” of a waiter, the poem ends on a note of uncertainty, unsure of whether words can safeguard memory.
Sylvie Durbec was born in Marseille and lives in Provence, near Avignon. She writes texts in both prose and poetry, as well as painting and making collages. The many books she has published over the past twenty years include the prose-poetry memoire Marseille : éclats et quartiers (Marseille, fragments and quarters) which won the prestigious Jean Follain prize; Prendre place (Takingplace) concerning the internment camp at Douadic in France and Soutine, a prose-poem about the painter, published in The Common. This year she has published 50 carrés du jour (50 squares of the day) and Ça qui me poursuit (That which pursues me).
Denis Hirson grew up in South Africa and has lived in France since 1975. He has published nine books, several concerning the memory of South Africa under apartheid. The latest, both published in 2017, are Footnotes for the Panther, ten conversations with William Kentridge, and Ma langue au chat, in French, concerning the torture and delight of speaking and writing in that language.
Table of Contents
The Ignorance of Beasts
The Ignorance of Beasts
I still don’t know how to type a tilde on a computer keyboard
when writing the name of a Spanish or Portuguese writer I love.
Happy New Year! We begin 2021 by welcoming BRUCE BOND back to The Common.
Bruce Bond is the author of twenty-seven books, including, most recently, Black Anthem, Gold Bee, Sacrum, Blackout Starlight: New and Selected Poems 1997–2015, Rise and Fall of the Lesser Sun Gods, Frankenstein’s Children, Dear Reader, Plurality and the Poetics of Self, Words Written Against the Walls of the City, and The Calling.
Philip Nikolayev is editor ofFulcrum. His poetry collections include Monkey Time (Verse/ Wave Books) and Dusk Raga (Salt).
Alexander Pushkin (1799-83) is widely regarded as the greatest Russian poet and the founder of modern Russian literature.
It’s for you that my soft and affectionate voice Disturbs at this late hour a silent night’s repose. Where by my bed a melancholy candle glows, My verse rushes along, burbles and overflows In brooks of love, filled with you, and at last I see Your eyes, out of the dark shining, smiling at me, And finally my ear makes out the cherished words: My gentle, tender friend… I love you… I am yours!
August 2020 Poetry Feature #2: Philip Nikolayev translates Alexander Pushkin
After training for multiple years with womxn boxers who had the Olympics on their minds, I began to grapple with the dynamics of control I observed within the spaces I encountered. These poems are from a longer series which ask: what does it mean to be a womxn fighter (both inside and outside of the ring) in a world still dominated by men? In what ways is the ring an escape or subversion of the power dynamics encountered outside of it, and in what ways does the ring reinforce or sanction manipulation, harassment, and abuse? Both of these persona poems are composite portraits, representative of the osmosis between bodies and narratives that occurs among close training partners. Though I didn’t have what it took to pursue a fighting career, these poems are a way of writing into the imagined life where I became a boxer instead of a poet & scholar. Through this work I am also asking: how does the poem function as a body? How does the page function as a ring?