Karan Madhok translates Amrit Lal “Ishrat” Madhok

In my heart I still believe your promises were true

The Verse

In my heart I still believe your promises were true,
And I wouldn’t care if they have fled your mind.

Now why do you sit and sulk so, my huzoor?
There is no cause for displeasure in our tale.

Are we mere companions or explorers of heavenly love?
Is this a night among friends or the heights of paradise?

And when she is absent, I am without
The presence of any other thing in the world.

Look upon the stars wandering deep into the night,
Our destiny is death and morning is near.

All you can know, Ishrat, is there exists
A poet, my youth, and the smile on your face.

The Ghazal

The heart believes your promises are true – let it be
No matter if you forget one or two – let it be

Now why do you sit there sulking so, my huzoor?
When there is no such vex from me to you – let it be

Are we mere companions or did we flow into streams
from the fountains of heaven, something new? – let it be

Circumstances change in her absence, the world is void
of any other thing to catch my view – let it be

Hey! You stars, wandering in the jungle of this night!
Death is your destination, the day is due – let it be

Ishrat, all you can know is that somewhere there exists
A poet, a smiling face, and my youth – so let it be!

August 1958

You and I have a special friendship

The Verse

You and I have a special friendship,
Call it a day, call it a lifetime!

My attempts to forget you
Are only an excuse to remember you.

Oh, sorrowful life, in this world
What value is there in my verses?

Dear broken-hearted, don’t sink
these boats down with your despair

You may elect for yourself,
For this is our love, this is our lifetime.

Misery is my companion on this path,
We only share this one lifetime.

These are webs, Ishrat, entrapped.
Untangle yourself from memory, be free.

The Ghazal

There’s a friendship between you and I now
What a time to be alive now!

Even my attempts to forget you
Only keep you in my mind now

In this time, this desolation
Do strange rhymes have value in life now?

Voyager, don’t bring your despair this way
These vessels might drown and die now.

Perhaps you should choose for yourself
This is love and life for you and I now

Destitute, we travel together,
Together, we cry for life now.

Memories harass you Ishrat;
Leave those nights, open your eyes now.

July 1966

With veiled eyes you enter my heart

The Verse

With veiled eyes you enter my heart,
Concealed now from the people of the world.

Indeed, we’ve had some tiffs in our love,
Yet I yearn for the one who abandoned me.

Oh, good tidings! With a signal from the sommelier,
Raise our goblets, raise them with the clouds.

I fear I’ll lose you somewhere among the flowers.
Upset, you camouflage yourself in the garden.

The wine graces me with such faith, such emotions, such sincerity!
Strange folk are those who revel in drink.

Don’t fall for her promises, oh distressed-heart, don’t do it!
She’s only grazing by you, forward, in transit.

Ishrat, they pretend with one face to protect our language,
And with the other, erase its script from our nation.

The Ghazal

In my heart, they unfurl, and I sing for them,
Lost to the world, I sing for them.

And even after the squabbles of our love,
For the ones I have hurt, I sing for them.

What a time! I return a nod to the sommelier,
Raising the cup, far up above, I sing for them

I fear you will be lost somewhere among the flowers,
In their gardens of disguise they don’t budge, I sing for them.

You worship the spirit with such faith, candour, spirit,
In revelry the drunkards overcome, I sing for them.

Don’t go trusting their promises! Oh, troubled heart, don’t go!
Those who leave and don’t return to us, I sing for them.

Those professing to be the guardians of Urdu, Ishrat,
From our nation, they subvert, I sing to them.

August 1970

Translator’s Note

The Indian poet Amrit Lal “Ishrat” was a respected scholar of history and literature in India during his lifetime. A collection of Ishrat’s most popular ghazals—written roughly in the period between 1955 – 1975—was published in both the Urdu and Devanagari scripts in the collection entitled ‘Yaadgar-E-Ishrat’ (“Memories of Ishrat”) in 1994. He was also my grandfather.

Ishrat’s speciality was the ‘sher-o-shayari’ format of Urdu poetry. Each ‘sher’ is a rhyming couplet that must strictly be kept within its predefined meters per line. A number of these couplets can be formed together to be made into longer poems, called ‘ghazals’, which usually continue the same rhyme and metric scheme throughout in exploration of a common theme. 

The ghazal is a strict format, whose value and aesthetic quality depend almost entirely on its formal structure. The repetition of key words adds a rhythm to the recitation of the ghazal, and prepares the listeners—or readers—to focus not just on the word that is repeated, but the rhyming word that precedes it in the rhyming lines. It is through this language of repetition and cleverly-placed emphasis that the reciter or writer is able to reach his audience. 

In translating Ishrat’s ghazal into English, I hoped to keep both the strict, repetitive format of the ghazal while not losing its essential meaning. I realized that, by focusing on one, I was sacrificing the other. The solution, I discovered, was a synthesis. Presented here are two versions of each of Ishrat’s most famous works, The Verse—a translation that attempts to stay closer to the meaning of the poem’s original Urdu; and The Ghazal—a structurally formal translation that modifies the poems to pay closer attention to the classical Ghazal format. In this way, I hope to transfer over the cultural aspects of Urdu even as the poems are read in English. 

Karan Madhok is an Indian writer and a graduate of the MFA programme from the American University in Washington DC. His short fiction has been published online and sports journalism work has been frequently published for SLAM, Nation of Sport, NBA-India, and more. He won American University’s 2018 Myra Skralew Award for the best MFA Thesis (prose) and is currently working on his first novel. His poetry translations have also been published on The Literary Review.

Amrit Lal “Ishrat” Madhok (1930-1989) was an Indian poet, professor, and historian. He published nearly a dozen books on his lifetime, focusing on subjects of Iranian history, literary criticisms of well-known poets such as Ghalib, and the history of Urdu shayari in Varanasi and beyond. Outside of his academic work, he published several of ghazals in Indian literary journals, most prominent of which appeared in Bisawi Sadi. A collection of his most popular ghazals–written roughly in the period between 1955–1975– were published in both the Urdu and Devanagari scripts in the collection entitled Yaadgar-E-Ishrat (“Memories of Ishrat”) in 1994.

 

 BACK TO ISSUE

 BACK TO FOLIO

Ashely Adams

Our Dark EcologieS

One of the theories explored by astrobiologists is the idea that life on another world will utilize different biochemistries, foregoing Earth-like structures for something else. These forms of life could easily elude human detection, as all our methods assume aliens will operate in some replica of us. Taken to its natural conclusion, there could be a whole shadow ecosystem even here on Earth, living, breeding, dying with no notice from us.

Silicon

First, we must consider carbon. All life on Earth is built on carbon and its lightweight structure. Its small size carries an enormous weigh, its six protons crown it “the King of the Elements”. But, there could be other elements that could fit that role. What might life look with one popular alternative?

Sulfur

There are other ways to end carbon’s chauvinism than just silicon.

Sulfur

can

create

long

chain

molecules

essential

for

life.

In

fact

in

the

darkest

pits

of

the

ocean,

bacteria

create

energy

from

sulfur,

gulping

down

the

viscera

of

the

Earth.

But

this

element

rarely

conforms

to

the

branched

chains

needed

for

complex

life

as

we

know

it.

Here,

we

live

in

a

reality

of

an

endless

line,

a

backbone

of

rotten

eggs

and

the

yellow

film

of

the

damned.

Ammonia

Life is resilient, giving and taking everything so it can fit into the smallest gaps of possibility. Yet even the most exotic microbe depends on water to survive. Life needs a liquid, but flowing water is a rarity in the cold burn of space. Perhaps, organisms may find a mimic, so close you could almost imagine its rivers and seas.

Ammonia is a proposed as an alternative to water in biological processes, one that has appeared in the scientific literature since the 1950s; Like water it is made of common elements, hydrogen and nitrogen; Ammonia donates and accepts hydrogen ions in the way water does, dissolving sugars, amino acids, and proteins to be carried throughout a cell; It may not be in a way we’re used to, but Ammonia can split and carry a chemical thought. Ammonia, like many of the alternative biochemistries, is only applicable in extreme environments, boiling at room temperature; But there are many places where the air sits heavy and cold upon its surface; But Ammonia is greedy, it prefers to take ions, not to give like water. Our world is the acrid ice, a world that would set itself on fire before it made a clean break;

Dust-Based Life

But have we considered a life form so strange we can’t grasp its form? A life that looks like an object discarded?

In this life we             float, – unmoored, a particle waiting for the spark to align ourselves.  Really, that doesn’t seem much different from the world now.

Reverse Chirality

Maybe life won’t be any of these things. Perhaps, we will find a life so like us, we will not recognize it for the alien it is.

This is the easiest way life could differ from us chemically. Amino acids and sugars exhibit chirality, a geometric property in which an asymmetrical molecule can have a mirror image. All life has amino acids, the bases of proteins, present in the left form with sugars in the right. There’s no reason as far as we know for this, no inherent advantage. It’s just the way life happened to form on Earth.

Things could look almost the same. There’s no reason you couldn’t snack on a plum, that its skin would be any less pleasantly snappy and tart in this world. There’s no reason you couldn’t drive your truck to school one morning, contemplate skipping and instead swim in your leaf-strewn apartment pool, admire the palm trees shape, the way afternoon rain falls off their heavy fronds.

But maybe in this life, it’s your left hand you use to take the plum out from the grocery bag you’d left it in overnight. Maybe your truck doesn’t cough and wheeze its way the few miles from your apartment. Maybe the fronds have fallen away from the walls after the last storm, or they didn’t fall at all, still reaching their green hands out to shade your lounge chair from the sun.

Maybe, in this reverse world, you’ll see your mirror self, so like yourself. But for all the similarities, life on Earth can never utilize reverse-chiral molecules. So look, but never ever touch that shadow self—the closest, but most unnerving alien.

Ashely Adams is a swamp-adjacent writer whose work has appeared in Paper Darts, Fourth River, Permafrost, Apex Magazine, and other places. She is the nonfiction editor of the literary journal Lammergeier.

 

 BACK TO ISSUE

 BACK TO FOLIO


Monica Hileman

Funny Story

Would people be haunted by guilt or regret? Would they be frightened? Supposedly we all are. After a long illness, at home, in their own bed, they might be resigned, ready to pass on to their Heavenly Reward, if that’s where they were going. Some hung on from one season to the next, though that was rare, according to experienced caseworkers. Most were weary, with no expectation of regaining their health; they seldom lasted more than a month.

Danielle didn’t know how to refer to her work when she first started. The trainers were so careful about how they phrased things and that made her self-conscious. On the bus between jobs she imagined how she would answer if asked: What do you do for a living? A living—she’d never thought about the use of that word. She could say, “I’m in End of Life,” the way one of her uncles used to say, “I’m in Life Insurance.”

Transition—that was the word they used. A word so ordinary it hardly seemed appropriate. Family members sometimes found it confusing. Clearly this was The End, not a different level of assisted living or the next stage of rehab. But “transition” it was, as if the patient would continue on in some other form or dimension. At intake, they asked about the religious or spiritual orientation, but a person could be undecided or change their mind. The manual stressed sensitivity and being able to adjust to changing situations while remaining calm and compassionate. As Mrs. Gurnsey, their instructor, said, “Be of good cheer—but not cheery.”

Everybody was so serious, especially the young, New Age-y types. Danielle had to watch herself. Humor could be misunderstood; she didn’t want to seem disrespectful. She had only to recall the swift slap across the face that was her own mother’s response to one of her wisecracks. You couldn’t always tell how people were going to react.

Before taking the job, she hadn’t really known anyone who had died, except for her grandmother. Last year she went to the wake of a cousin who was too young to have suffered a heart attack, but that’s what they said had killed him. They weren’t close, but still, it was a jolt to see him laid out like that at the funeral parlor. In grade school, her whole class went to the funeral of a beloved teacher who died in a snowboarding accident. Danielle had never been right there when someone died.

Gathered around the coffee urn during a break in the training, Hannah, a seasoned RN, told them about a patient she had been seeing up until last week. “She had woken up before, when she’d wanted more morphine and it would have been time for another dose, but she didn’t seem to hear or be aware of me. Her eyes were focused on another spot in the room. She seemed to be watching something I couldn’t see. I noticed her hands, the pale tips of her fingers. Her face relaxed and the breath stopped. It was very peaceful.”

The other hospice workers all seemed to be religious. The manual was full of Bible quotes. As a lapsed Catholic, Danielle had no particular beliefs. Death, like life, was a big question mark.

Her friend Connie asked if it was difficult. Compared to standing on an assembly line as she had just out of high school? No, it was easier than that. Easier than waitressing. Easier than working in a shop where the boss would pressure you to go out for a drink at closing time and then try to feel you up. The dying people were easy. Other hospice workers warned that the family members were sometimes difficult, but they usually came to you afterwards and apologized.

In the morning, Danielle woke up tired and bleary. The toast burnt, the blouse she was going to wear had a spot she hadn’t noticed. Another she wanted to wear had to be ironed and she nearly missed the bus. She sat staring out the window and then reminded herself to have another look at the file. Her first visit was a new patient. She had asked the bus driver when she got on about the street and he yelled out the name when he saw she hadn’t gotten up. “It’s one block back,” he said, when
she ran up the aisle.

There were massive homes, many she could only catch glimpses of through gaps in thick hedges or at the gates of high fences. The branches of large elms and oaks would soon grace the street with shade. Behind a stone wall a walkway led up to a stone house, easily a hundred years old. Above the bell a bronze plaque displayed the family name.

The door opened. “Oh, good, you’re here,” said the lady in a white blouse, an RN badge clipped to her collar. “I’m on my way out. The daughter is supposed to be here. She called from New Hampshire and said she’s on her way.”

Danielle followed her into the carpeted hallway. “Mrs. Ryan’s in here,” said the nurse, pointing at the doorway. “I think she just woke up. There’s no change. Signs all good. Her daughter should be here sometime this morning. Gotta run.”

The front door closed and Danielle felt the stillness of the house around her. She went down the hallway, past a series of small paintings of sailing ships, all dark and old, like those in a museum. She looked at one and saw men in rowboats alongside a whale.

There was no one to explain who she was to the dying woman lying in the bed under a velvety brown coverlet. Danielle stood in the doorway, thinking it would be good to say hello before she walked into the room. She prepared herself for the sickroom smell that was as distinct as a forest or a bakery, but there was only a whiff of lavender. On the far wall were French doors that opened onto a patio, the sheer curtains letting in a good amount of light. Though it was on the first floor, it didn’t seem to be a makeshift space, one recently configured to accommodate a feeble person who could no longer climb the stairs. The heavy maple bureau and queen-sized bed with doweled posts all seemed to have been here for a while. At another patient’s, they had converted the dining room into the sickroom and the whole house had seemed thrown out of kilter with people having to skirt around to get to the kitchen.

“Hello Mrs. Ryan, I’m Danielle.”

Close enough to see the woman’s face, it was the same grayish-white as the whale in the painting she’d just seen, the features prominent, a high forehead and gray hair against a white pillowcase.

Danielle stood still, waiting for the woman to register her presence. There had been no mention of a stroke in the file. Without moving her head or showing any sign of acknowledgement, the woman’s eyes focused on her.

“I’m here from the Passages Agency.” Danielle took another few steps. “Is it all right if I sit down?”  

The intensity of the stare diminished. Danielle took that as a yes and slipped off her jacket. “It’s not raining, like they said it would. We could use the rain. The crocuses are just coming up, and the daffodils.” The woman’s eyes stayed glued to her face, not stern but not exactly friendly either. Curious. “Pretty soon the trees will be all leafy again.”

She stopped, wondering if it was wrong to be going on about spring, with all it signified, to a person who might not be here to see the blossoms.

“You have a very nice house.” The face relaxed and seemed somewhat pleased. “Is there anything you need? Anything I can do for you?”

The woman’s head tilted slightly one way and then the other.

“Would you like me to read you a story?”

The woman blinked in a way Danielle understood to mean yes.  

She carried two slim volumes with her:  the pocket bedside companion the agency provided and a collection of stories she’d picked up at the library. The French doors made her think of the story about a precocious girl who tells a tale to a nervous visitor about the men who went out hunting never to return. Maybe that wasn’t appropriate since it involved fright at what are thought to be ghosts.

“Let’s see…” She ran her finger down the Table of Contents. “The Yellow Wallpaper.” Definitely not. Nor Edgar Allan Poe or the one by James Joyce. Not the Jack London either. Why weren’t there any funny stories in this book? Better to stick to what the agency had given her. At random, she opened the book and found a story about a boy and his grandmother on the day of her birthday.

She heard the sound of the front door, then a voice from down the hall. A thin young woman stood in the doorway, large eyes peeking out beneath schoolgirl bangs. The flowery dress and the purse dangling in the crook of her arm suggested a child playing dress up. A high, tiny voice furthered this impression. “Oh, hello,” she said.

For a second, Danielle felt she should stand but stayed seated and introduced herself.

“My mother said you were coming,” the girl said.  “Sorry I’m late. So the nurse was still here?”

“Yes, she let me in.”

“I’m Celia,” said the girl. Her body had not an ounce of fat, her jaw bone prominent in her face.

“I thought I might read her a story.”

“Oh, yes. She likes that. Hi, grandma.” She went up to the bed, stopping just short.

Mrs. Ryan acknowledged the granddaughter with a nod.

“Don’t let me interrupt,” said the girl. “I’ll go make some tea.”

Halfway through the story Mrs. Ryan dropped off to sleep. Danielle kept reading for another page until she was sure. The granddaughter did not come back into the room for what seemed like a long time. Danielle needed to use the bathroom. This was the worst part of being in a strange house, the things people didn’t think to tell you.

She turned down the hall toward the bright room at the end where there were cabinets and a counter. On her left was a white tiled floor and a black-and-white striped shower curtain. The door had a cut-glass doorknob. She closed it and turned the bolt. In another house she’d been walked in on. The silver handles and faucet were shiny, every surface spotlessly clean. Her pale blue blouse neatly tucked into her gray wool slacks, her reflection in the mirror looked back at her with a quiet forbearance. She used one of the monogrammed guest towels and folded it back into place, listening to the sound of a female voice. It was the girl down the hall in the kitchen talking on her phone. Danielle cracked the door open.

“No. I can’t. I told you. I’m in Brookline… I had to go. It’s my grandmother. She’s dying. Or at least she’s supposed to be… Fuck, I don’t know.”

Danielle put her hand over her mouth to stifle her surprise. But that was nothing to what followed. Just as shocking was the incongruity of a girl with the sensuality of a stick figure talking “smutty talk,” as her mother used to say.

“Slowly, very slowly, I’ll take you inside me…”

Danielle wished for her to do it quickly. Soon she would have to catch the bus and she couldn’t just leave without saying goodbye to the granddaughter who was now mimicking—at least Danielle hoped she was mimicking—sounds of arousal. Danielle waited some more, but it was like quicksand; it got worse. Would it be better to interrupt before the climax or wait until after? If she waited until after, it might be obvious that she’d been listening.

The carpet muffled her footsteps. She had the idea to go back to the other end of the hall and from there start down again, calling out the girl’s name. It would have helped if the girl’s name hadn’t slipped her mind. She felt silly calling out, “Hello,” but she had to give warning before she walked in on her.

The girl said, “Sorry, I have to go.”

That was just what Danielle was about to say and she fumbled to come up with something else, so as not to parrot the girl.

“I…ah…it’s time for me … I have another patient.”

Celia—that was her name!—wore the willfully blank expression of a guilty teenager. She held her phone pressed between her hands. Praying hands. A popular image on the pages of inspirational books. Danielle smiled and said, “She’s sleeping now.”

Some of the trees were sycamores—that was the name of the street. On a brick wall by a gate, the house number was written out in wrought iron script. The gate had a tricky mechanism to open. The rose bushes were all thorns along the walk to the imposing dark-varnished door of the two-story Victorian. She could only guess at how many rooms it held. Her finger pushed in the round black button setting off a metallic gong.

 An older woman with an efficient manner opened the door and nodded at her, one employee to another. “Hello Danielle,” said Mrs. Samkin.

In the long, dark wood-paneled hall, Danielle asked how Mr. Bartley was doing today. Mrs. Samkin stopped outside the door of the sickroom. “When I last checked, he seemed to be resting.”

Danielle knew nothing about Mr. Bartley’s life, other than he himself had been very successful or had inherited wealth. On previous visits, she read a few items from the newspaper and they’d discussed the weather, a more substantive subject than it used to be, he said. No family members were on hand to shed any light on his interests.

The sick smell was heavy in the room. Immediately Danielle noticed his color. He didn’t appear to be breathing. The housekeeper stopped in the doorway.

“Oh,” she said, coming into the room.

“Yes,” said Danielle.

“Are you sure?”

Danielle clenched her lips and took hold of the man’s wrist. “There’s no pulse.”

Mrs. Samkin approached, her hands pressed to her stomach. She inspected him closely and stepped back. “I have worked for him for twenty-one years,” she said.

“Does he have other family, besides the daughter who contacted the agency?”

“Yes. I’ll have to call them.”

What would she do, now that her years of service had ended?  But Mrs. Samkin had already left the room and Danielle was alone with the dead man. She sat down and took out the manual to run through the checklist.

She took out her phone to call the office. This was her first deceased and she was disappointed. If she had been present at the moment of his passing, perhaps she would have witnessed something profound. She made her report and filled out the form.

She scanned the room:  the blue tile around the fireplace, the crystal and ceramic items on the mantel. She was fascinated by the kindling in the grate and the split logs in the brass bucket, the long handled implements.  What were they called? Irons or something? In the training, they were told not to show any interest in decorative objects. Things tended to disappear from homes of the dying and you didn’t want to give cause for suspicion. Danielle had never lived in a house with a fireplace. They conjured up Bronte novels, as did the antique furniture with its carved wood scrolls. Was that a settee or a divan?

She pulled out her bus schedule. Last week she caught the 2:38 and was late for her three o’clock appointment. Where had Mrs. Samkin gone? Danielle needed to ask her about the funeral home.

No sounds inside. No sounds from the street. She moved down the hall and a floorboard creaked under the thick carpeting. Where she lived, there were neighbors on either side of the wall, the noise of people and cars passing. She wasn’t used to this silence. She stood at the foot of the wide staircase that rose and divided on either side of a carved wood panel.

“Mrs. Samkin?”

A housekeeper would have a room on the first floor, she guessed, off the kitchen. Yet where Danielle stood, one hand on the curved banister, she heard a faint sound coming from upstairs. The manual was very clear about keeping to the part of the house where they saw the patient. Danielle called out again and waited.

It was like stepping back in time, some of these houses. Danielle envisioned a black rotary phone on a little stand in a room upstairs. On the landing, she stopped and questioned if the voice she heard was that of the housekeeper. There was no one else in the house, as far as she knew. Danielle hadn’t seen anyone and Mrs. Samkin never mentioned anyone else living there.

She went the rest of the way up the stairs. An old woman’s voice, firm and throaty, drew her down the hall to a doorway where she could see an expanse of Oriental rug and a pair of armchairs. The voice said, “I don’t expect so. Not really.”

Danielle looked up and down the hall, anxiously, before she stepped into the room. Seated in front of another tiled fireplace with a large gilded mirror over the mantle was a small, white-haired woman.

“That will be fine. Yes, all right, then.”

Danielle walked across the carpet. The woman saw her and showed no surprise. “Miss Doucette, you’ve come to say goodbye.” She was very old; her skin nearly translucent.

“I…” Danielle had to start again. “I was about to leave…there was no one around.”

“Yes, Ann has things to attend to. I was just speaking with her.”

On the table next to the woman’s chair, Danielle saw some sort of intercom and the back of a screen—the kind hooked up to a security camera.

“He, Mr. Bartley, he went…” she was about to say “very peacefully,” but she wasn’t there, so she didn’t know.

“Yes,” said the woman, not waiting for her to finish. “Thank you. Thank you very much for your service.”

Danielle took a step back. “Uh, I had a question about the funeral home. Is it the one in Newton?”

“Ann can answer that for you.”

“That’s right,” said a voice behind her. Danielle nearly jumped and turned to see Mrs. Samkin.

“Ah, well, goodbye Mrs….”

“Yes, goodbye,” said the woman, folding her hands in her lap.

On the stairs, she expected Mrs. Samkin might explain about the lady she’d just met, but they descended, with only the sound of her breathing and the rustle of her dress. The woman upstairs hadn’t been sitting in a wheelchair, but perhaps she wasn’t able to get around and that’s why Danielle hadn’t seen her before.

Mrs. Samkin told her the name of the funeral home. She opened the door and Danielle went out into the cool, fresh air. She walked down the long path to the gate, stepped out to the curb and started to cross.

Something made her turn and look back at the house with its mansard roof and weathervane. A figure stood at one of the windows on the second floor.

The screech of brakes brought Danielle back to the street and the car that had stopped just a foot or two away from her. The woman behind the wheel stuck her head out the window.

“My God, watch where you’re going.”

Danielle was overcome by the tingling sensation coursing through her.

“It’s not funny,” said the woman. “You could get killed like that!”

Danielle apologized, haltingly, and moved onto the curb on the other side.

She went around the corner and had to lean against the mailbox, she was laughing so hard.

Monica Hileman grew up in the Midwest, lived in the Pacific Northwest and settled in New England. Two years in Greensboro, North Carolina yielded an MFA from UNC-G. Her stories have appeared in publications such as The Baffler, the Chicago Tribune’s Printers Row Journal, Arts & Letters, Catamaran Literary Reader, and Flyway (nominated for The Best of the Net).  

 

 BACK TO ISSUE

 BACK TO FOLIO

Debojit Dutta

Treeman chipotle

Sometimes a child is found in the lower half of a belly. The one that comes out is a man. Stomach churns. There’s bile in your mouth. You become beautiful.  You become a queen. At all other times, a miracle: you are mother earth, you sprout seeds, roots and shoots and leaves, and then, perhaps, flowers and fruits.

It seems I am of the second kind. I am Treeman Chipotle. Come here, look at my hands, you haven’t touched them. I can imagine swings tied to my hands, I can imagine not one but two of them, three, with children sitting and swaying. I breathe and they sway. I breathe and they sway. I do not breathe too heavily for fear of breathing them away. I do not breathe too heavily so that I do not hurt them. I breathe gently, I can almost count my breath. I cannot heave a sigh of relief, but feel I am present here, now. It is a pleasant feeling. I came into this world, I think, thousands of years ago, but have only started to be here.

The index finger of my right hand has been itching. If you were me, you would think this means you will make a lot of money this summer. I feel I will sprout a leaf. It has been itching to come out. But I am only speculating. I have only been speculating about my body. This is partly because I cannot move my head as much as I once could. I do not trust mirrors. They are never enough to make you see. Hands, strong, do not move at the same speed. It is a peculiar problem–I can feel and not feel my body. I think this happens to everyone. It is as if you are in a deep sleep and you can feel your inside. You can feel your yearnings, your fears. But you can only hope to feel yourself from outside. Don’t believe those who tell you either of these feelings are unnecessary. Don’t believe those who tell you, you can exist entirely inwards, that beauty is all that is inside. What do they know?

*    *    *

You must already be aware of the treeness that affects one’s ability to move. It affects one’s memory too. But I remember, I remember that I am Treeman Chipotle. Come here, I will tell you stories. Stories of how it all started. Stories that I haven’t told anyone before. Stories that you would not know.

I do not know how and when it happened, the precise moment that brought this on. I have wondered if I was always a tree. I breathe at night, I would say, always. This way, deep breathing, except for when children are swaying on the swings. I remember talking to Leela one evening after dusk, on another morning talking to Lalit about reproduction. We wondered if touches could make one pregnant. Later we wondered if one sucked on your breasts long enough, regularly, would you become a mother? We wondered how it would be to see your breasts develop and how it would be to live with an unwanted protrusion. What would people say? Will they laugh or will it make them happy?

As a discussion must end for another to start, we would settle for this:  if anything, only thoughts can impregnate. We do not think ill of someone, fearing that ill will happen to us.  We do not think of food when we fast, fearing that our wishes will not be granted. We do not think of embraces, we do not think of swaying, we do not think that is why we live. We live a little every day. If you are to go on living like this, if I could point a finger at you, you must not think. Unthinking brings you back on earth, unthinking makes you stay.  Thinking is the work of the devil. Daydreaming takes you to faraway places from where there’s no coming back. From where even if you come back, you come back not as you, as you were then. You are lost in the going and coming. I should have known better, you would say. I should have known better those days while idly thinking and biting my fingernails and thinking of another person’s face on mine. The days spent idly smiling and making faces and thinking what if my face did not look like mine and looked like another’s, would they smile this way, would they make this face while biting their nails like me. This would of course end in shame and worry. But those days, I did not know. We do not talk about these things. How do we know?   

*    *    *

What do we call an immobile, unthinking thing whose body acts entirely independent of itself? A vegetable, said a teacher once, when we could not come up with an answer. I remember it was Lalit or perhaps it was Leela to whom the teacher was referring.

What do we call an immobile, unthinking thing that does not know it is sprouting a leaf, but can only wonder? Me. My answer comes quickly without the intended pause of someone who knows.

I am Treeman Chipotle. Come here, I will tell you how I perform charity. My right hand does not know why my left hand moves. My left hand does not know that the right is itching, that it will sprout a leaf. Before either of them know, before I know, I will sprout a flower. It will bloom when the season comes. It will attract the insects, the butterflies, the bees. The function of flowers, I am told, is to be the agent of attraction. If allowed, a flower might become a fruit. A fruit might be born when flowers meet. The cycle of attraction continues. The flowers attract insects and humans. The fruits attract animals and humans; they attract insects in decay. It is said a fruit wants to be devoured as a whole. It seduces so that there are more trees. I remember the purpose of life is reproduction. If I were given a choice I would become an avocado tree. I remember a feeling of longing that does not leave or depart. It arrives frequently and stays for three or four days, soaring at nights. I remember that in those moments I am an avocado tree. An avocado tree waits and waits. An avocado tree is out of place in history; it does not belong where it stands. It waits for the beasts that are long gone. Only they could swallow an avocado with its seed: gomophotheres, ground sloths, toxodons. We think the avocado tree does not know that it has been thirteen thousand years since the beasts are gone. We think the avocado tree does not want to adjust. But we do not know that the avocado tree does not know.

Come here, I will tell you.  If trees had a choice, would they be trees?

Debojit Dutta is a writer and editor based in New Delhi, India, from where he co-runs the literary webzine Antiserious. His works have appeared in Himal Southasian, The Bombay Literary Magazine, The Missing Slate and other places.

 

 BACK TO ISSUE

 BACK TO FOLIO

Manuel Aragon

a violent noise

You have always been traveling, on the edge of the wind, even before you were born; a speck of dust thrust across the universe by the explosion of SN-1054; a sky illuminated, blues and greens dancing in the night, traveling at light-speed into the eyes of women and men, transformed onto paintings on walls; light beyond light, a new beginning; life, death, and the cosmic all wrapped into one; a trail of you, stardust, aged for perfection. Eras universal. A painting on a wall in a canyon you visited as a child, your hand perfectly aligned with a hand on the wall. You felt like you had been here before. You placed your hand against it, the rock pressed against your hand; a few grains of sand knocked loose. Nothing is eternal and even fewer things leave more than an echo. Your mother, you heard her in the distance calling your name. You closed your eyes, hoping to disappear, but she found you, her hands imprinted upon you, her fingers leaving traces like birds’ wings on your shirt.

You have always been moving, hard to pin down, like neurons shooting, faster than light, firing on full, across the pathway of a brain, nonstop, since before you could even walk; full strides, longer than your little legs could manage, much more than you could take; full-on sprinting - the blood of the Rarámuri running through veins, pushing your muscles for miles at a time. Running out that door after the argument with your mom and dad, racing the cars down the street; if you had wings you would have taken flight and moved away. You ended up at the park down the street, swaying back and forth on a swing, watching the changing of the sky, from blue, to orange, purplish-pink. What was that argument even about? You walked home, your path lit by stars.

You have always been prone to outbursts; your mind filled with wisdom from los antiguos, trying hard to escape from your heart through your vocal chords into the world. At times, frustration, a violent noise, bursting forth into the world. You have been blessed with un regalo y la lacra. One morning on your way to school a group of girls was waiting for you. Laura had been spreading chisme amongst them, telling them that you were trying to get with Julian, Ramona’s boyfriend. The girls rushed towards you, and you threw your backpack down. You don’t remember the fight, only the guttural screams you let out.

You have always existed, in a way, always been around, a genetic memory come to life, a story that was passed down. Your mother’s thick hair, father’s smile, grandfather’s sense of humor, and abuela’s smarts. 

You have always felt like you were thrust upon your familia, un dificultad, especialmente para tu mama, who barely survived you. She took every opportunity to remind you of this; as your held her hand, you taking your first steps, smiling at her, a giggle escaping your lips, the sour look upon her face; as you held her hand, trying to comfort her when your abuelita didn’t wake up that one morning, your hands in her hair, your tears and gasps filling in the blank spaces of the room, her eyes burning through you; mientras sostienes su mano, her turquoise ring sliding off her middle finger, patches of what once was full, luscious black hair, waves that you used to swim across in your bed at night to put you to sleep, your arms doubled around her body, the cancer eating away at her, “Look at you. ¿Cómo puedes ser mi hija?” she whispers, while trying to squeeze your hand with all her might, in what you had hoped were not her final words. As you gave the eulogy as her funeral, you were reminded of her omnipotence; the power cut out, the microphone turned off. Once again, she had silenced you.

You remember, vaguely, when you were seven or eight, sitting on your father’s lap, as he tells your brother, “Cuídala, porque serás responsable de lo que hace.” Watch her. You’re responsible for what she does. You were fast, curious, and impulsive. That same night, you saw your father packing up a mochilla, preparing for a meeting. You never asked him where he was going or who he was planning to meet. 

You have always known how this comes to an end. You should have seen it coming, but your body was two strides ahead of your mind.

Your first brush came as you went for a bike ride, your brother in front, leading you down 32nd Street, moving between the sidewalk and street, the click-clack-click-clack-click of your spokes, him glancing over his shoulder to make sure you were following, his hair flapping in the wind, the polyphonic melody created by your two laughs morphing into one.

In the distance, you saw him, a man, a white man, pale, with shining not-green, not-blue eyes, blocking your path. You shouted to your brother, causing him to swerve and fall off his bike. You glanced again and the pale man wasn’t there. “What was that? Why’d you do that?” he screamed at you.

“You didn’t see him?”

“See who?”

“The man in the suit.”

He looked around. “I don’t know what you’re talking about.” 

You helped your brother brush off, headed home, while tears streamed down your face.

You looked back, and there he was, the man, smiling at you.

You clearly remember, irrefutably, your brother, inviting you to a party, when you were fifteen. “This shit is going to be off the hook. You in?” he said. “Claro que si,” you said, because you were always down for some pendejadas, always looking to get into some stupid shit. And you knew he would always protect you, like he did, from that pale man.

The two of you walked down Lipan, making your way slowly towards 38th, the sidewalks covered in snow, the two of you choosing to walk down the freshly plowed street instead. You couldn’t risk getting your Saturday night finest dirty. A car moved towards the two of you, flashing their headlights, trying to blind you. Carlitos waved his hands in the air and laughed. “That punk ass. It’s Beto.”

You weren’t laughing. There had always been an ever-present fear surrounding you since that bike ride.

You had never really talked to Beto, but Carlitos—you have always called him Carlitos, while everyone else called him Carlos, later just ‘Los—had told you all about him. Beto’s parents had owned a chain of restaurants throughout Denver, six or seven of them, a rarity for someone from your neighborhood. Beto siempre tuvo the best toys; his parents, the coolest rides.

Carlos had been there, at Beto’s tenth birthday party, the night that Roberto Sr. had killed his wife, Señorita Carmen. The kids had all been outside, a bounce castle in the backyard, a handful of them playing catch with a Denver Broncos superstar, whom you later found out was a frequent customer of Roberto Sr.’s other business, when the shots rang out through the neighborhood. Your mom and dad ran out of the house, down the street in search of the gunshots, passing by you, leaving you unattended.

You waited, hours or minutes, bouncing your ball, waiting for them to come back. Your dad carried your brother home, a stream down both of their faces. Had your father ever cried before? Your mom sat on the curb, watching as the cops pulled up and arrested Roberto, as they took away a body on a gurney, you bouncing the ball next to her the whole time.

You remember the picture of Señorita Carmen upon your family’s ofrenda, her dress the same color as the cempasuchil, both popping off the shelf. Following Día de Muertos, your mom would let you take some of the flowers down and let you drop them off a bridge, an offering to those who had been forgotten. You and Carlitos would walk down to the railyard bridge off of 46th and drop the Aztec marigolds on the backs of passing trains.

Carlitos makes his way into the street, towards the driver’s side of the car while you wait. Beto and Carlos laugh and shake hands. Carlos talks, longer than he needs to.

You could hear it, the fooo-pheww of the siren clicking on and off, the lights flashing as the cops turned down the street, illuminating the vapor of your breath moving in slow motion across the air, Quetzalcoatl flowing in the darkness.

“What are you guys up to?” says the officer, his flashlight scanning across Carlos, the boys in the car, their silhouettes shouting out to you for help. You remember temporary paralysis, your body unable to move.

The second officer slowly gets out of the car, his flashlight mounted to top of his gun, drawn, fixed on you. You have always known the man would find you, because he had always been there, always waiting, always present. Siempre ha tenido una cantidad de tiempo finita. And there he was.

The second officer yells to you, asking you to get out of the way of the car.

Carlitos moves towards you, telling the officer, “She’s okay.” His head turns to you, always looking to let you know that things would be okay. Then he falls to the ground. Your ears ring, your heart so loud that it blocks out as you hold him in your arms trying your hardest to squeeze life back into him, to see his eyes recognize you again.

You scream, your eyes shut, as one of the officers shouts at you.

“Shut the fuck up!” He tries to pull you away, your shirt covered with remnants of life from your brother, but you struggle to hold on. You hear a man shouting, “What have you done to that boy?” and the officer lets you go. You look around, neighbors standing on their porches, cell phones in hand. The police helicopter floats overhead, the sound reminding you of a hummingbird, fluttering and quivering.

One night near Carlitos’ birthday you dreamt of a field, covered in Cempasuchil, all different colors, radiant like the sun. You walked along the field and laid down. When you awoke, you had turned into a flower, all the colors combined, perched on a hilltop. A tiny hummingbird approached, its wings vibrating and pulsating, and landed on you.

Manuel Aragon is a writer and filmmaker from Denver, CO. He is currently working on Norteñas, a collection of short stories centered in the Northside, a Mexican and Mexican-American centered part of Denver, and the people, ghosts, and demons that live there.

 

 BACK TO ISSUE

 BACK TO FOLIO

Robert Manaster

Cost of Development


$659.30, $44.46, $700.00+…………………………………RFP ads.
$324…………………………………………………………City staff trip.

       Bones, clipped and tabbed,
       Cardboard constructed, hung
       For a middle-school science fair —
              Bones of a project
       Put into a box
       Labeled for later use:
       How the Body Works.

$80,000………………………………………………………Per acre.
$14,474,357……………………………………………….Construction.

       Set near majestic
              Columns,
       Bones of the Capitol:
              The white-
       Marbled, chiseled Lincoln
              Gravely
       Implores a nation to be
              Moved.

$375,000+……………………………………………………Property tax.
$160,000…………………………………………………..Management.
$600,000…………………………………………………..Total Op Expense.
$285,000…………………………………………………..Sales tax from retail center.

              Bones of crop abundance!

$40,000………………………………………………….…Developer contribution.
$500.00 and $250.00………………………………….….Move for single-wide.
$900.00 and $600.00……………………………………..Move for double-wide.
$70,000……………………………………………………..No-int loan to landowner.
$500.00…………………………………………………….Per household. 
$5750………………………………………………………Per mobile home
                                                                                              (< 624 sq ft)
$9.21……………………………………………….………Per additional sq ft
$.50…………………………………………………………Per sq ft for 2nd  bathroom
                                                                                              (or more).

       Bone plates of a thought
              Wild for the scent of peeled grapes.

$70,000…………………………………………………….City property contribution.
$150,000…………………………………………………..Landscaping & bike path.
$55,000…………………………………………………….Public improvement.

       Bones of the absent tail —
              A figment of balance.

$16000……………………………………………..………Bad credit history fund.
36 months…………………………………………………..Rent differential pymts.
$4500……………………………………………………….Extra-expense appeal:
       $100………………………………………………..……   Shed delivery cost,
       $64.20…………………………………………………….    Telephone installation,
       $24.79……………………………………………………   Cable rehookup,
       $3000.00+………………………………………………..     To move.  (Denied.)

       Bones of the hand
       And their minutiae of movement
              To hold on.

$326,416………………………………………..………….Relocation benefits.
($107,416)…………………………………………………Shortfall.
$240,000……………………………………………………Recapture upon closing:
       $70,000…………………..………………………..……   Repayment of city loan,
       $41,000……………..…………………………………..   Developer contribution,
       $130,000………..…………………………………..….   Site development.
$85,000 of $70,000 ($15,000 over)………………………….City loan to owner.
$250,000……………………………………………………..Property tax estimate.

       Bone memory
       In blood,
              The clear
       Cell fragments
                     From inner bone.


 


About $450,000 total.

Bones of the imagination
       Are scattered like a pair of dice…………………………………………………


Robert Manaster’s poetry and co-translations have appeared in numerous journals including RosebudThe Virginia Quarterly ReviewImageHayden’s Ferry Review, and Spillway. His co-translation of Ronny Someck’s The Milk Underground (White Pine Press, 2015) was awarded the Cliff Becker Book Prize in Translation. He’s also published reviews in such publications as RattleJacket2, and Rain Taxi.

Sonnet Mondal

Grandparental Kisses

Last week, as I was gazing at the sky, sitting on the rooftop of our house, moonlit visages of my grandparents reflected in my mind — as if both of them were watching me from the window of my childhood. I sat ruminating over the dividing line between life and death — how illusory it was! The very actuality of afterlife seemed like the fanciful chapters we write in our slumber, quivering to death in the dragnet of daylight. My grandfather, while murmuring prayerful songs at night, used to say, “You would learn immoral things in life—things that would reveal themselves as insidious or misleading. They are addictive; tempting even without being tasted. They are a test, which if you fail to ignore, would haunt you in your nirvana. If you befriend them, you may not be found suitable, to be put back to life again in this beautiful world.” 

My nostalgia fetched me the memories of a day — 25 years ago — when my grandmother, took out a hundred Rupee note from her closet, kissed me on my forehead, and gave it to me as pocket money. “Have sweets and ice cream with it.” My joy knew no bounds and I decided to cache it for coming times. Even after so many years in employment, that note remains priceless to me, for I couldn’t spend that note for many years, and the warmth of that kiss on my forehead still keeps it crispy. Later on the same day, my grandpa planted a kiss on my forehead when I told him to stop a group of woodcutters from cutting trees. He told me, “The jungle knows to defend itself. It is more powerful than our conception about it. That it is silent, is its humility and one day it might come out of the cocoon of being reticent, to tame our ever progressive minds.” His farmhouse in a remote village in eastern India, the cows he used to look after, the expansive stretches of paddy fields — he used to take me to see these wonders, and the bedtime ghost stories were like echoing snapshots—striking my melancholic mind, bouncing back to nowhere. Last week, these memories, like incessant waves, were tossing me up toward their moonlit images, pulling me down to reality in the very next moment.

The day after, with a strong urge to meet my grandparents, I drove down to my maternal village. I parked my car by the roadside, and started walking through the village – unrecognized. The lands, where our cattle used to graze once, were claimed by new hutments. The village Banyan tree that inspired me once to scribble a rhyme a few years ago, stood in the same meditative stance. It was like the emblem of this small panchayat village of Jahidpur. The lush green rice fields rolled out like an unending carpet, and the calm forests of Sal trees, were still working like before, sustaining harmony between the villagers and the villagey flora. As I stood by our maternal house, there was no one to wait at the doorsteps except a hot zephyr blowing across the flapping door. Distant raucous songs of tribal singers floated haphazardly in the gale. Inside, tears rolled down my grandmother’s cheeks as I sat beside her. Once an active homemaker, her activities have long left the earth. She lied on her cot, half paralyzed after a massive stroke. I took a chair beside her and waited to be kissed once again. She could hardly get up but held my hands tightly, perhaps reminiscing about the love between us. Inside the house — empty, forsaken rooms lied in the same condition as hers, extending their disguised hands in love for the boy who grew up in their lap. 

While waiting for my grandpa at the front door of the house, I saw him walking down to me — still strong in his nineties. With his traditional thick glassed specs, he hugged me, and I could feel the joy in his smiling wrinkles. Just when I was about to leave, his poignant lips moved, pointing at the Banyan tree — “The age of this strangler fig cannot be concluded in numbers, but figuratively it can be said, that it has been a witness to several rises and falls in the haunting darkness of village and the prop roots hanging from its branches seem to be erected in remembrances of those trees which have ceased to exist, owing to our incurable interests. She is nature herself, and so is her age — unknown and uncountable.” It started drizzling outside and I was still missing something, when he suddenly kissed me on my forehead and continued, “This village is backward, devoid of urban features, but backwardness doesn’t imply stagnancy. Places as such, give you the much coveted space to lift your eyes toward the unending universe lit by constellations. And, don’t worry much about us — Death is just a change of phase. You knew nothing of life inside your mother’s womb, and similarly we know nothing about after-life in our present state. But, it is there. It has to be there.”

While driving back home, frequent breezes ripe with petrichor seemed to embrace and kiss me through my car window. Silence does whisper stories; sometimes it shows and sometimes it tells. Perhaps it was happy being able to inspire me, to take interest in the insignificantly significant kisses on my forehead.


Sonnet Mondal is an Indian poet and editor-in-chief of the Enchanting Verses Literary Review. Winner of the 2016 Gayatri Gamarsh Memorial award for literary excellence, Sonnet was one of the featured authors of the Silk Routes project of the International Writing Program, University of Iowa, from 2014 to 2016. Mondal has read at the Struga Poetry Evenings, Macedonia, 2014, Uskudar International Poetry Festival, Istanbul, 2015, International Poetry Festival of Granada, Nicaragua, 2016, Ars Poetica Festival, Slovakia, 2016 and Cork International Poetry Festival, Ireland, 2017. His recent works have appeared in the World Literature TodayIrish ExaminerPalestine ChronicleIndian Literature, and Asia Literary Review.

Shahé Mankerian

Continuum

Only the drunkard in the cardboard
box burns alive after the last blast. 
The taxi driver tapes the cracked 

windshield and offers the priest 
a ride across the bridge. The butcher 
recognizes the scorching smell of flesh 

but returns to pound chicken breasts 
with a mallet. The grandmother 
with a Kalashnikov strapped 

over her shoulder continues to roast 
sunflower seeds. Four truant boys 
resume their game of marbles 

under the scarred mulberry tree. 
Blood drips from the hummingbird’s 
beak as the humdrum traffic builds. 

The baker with a garden hose clears 
the pile of ashes, scattered fingernails, 
melted rubber soles.  


Shahé Mankerian is the principal of St. Gregory Hovsepian School in Pasadena and the co-director of the L.A. Writing Project. He is the recipient of the Los Angeles Music Center’s BRAVO Award, which recognizes teachers for innovation in arts education. In 2016, Mankerian’s poem was a finalist at the Gotham Writers 91-Word Memoir Contest, and the Altadena Poetry Review nominated him for the Pushcart Prize. Recently, Shahé received the 2017 Editors’ Prize from MARY: A Journal of New Writing.

Sanjida Yasmin

trust issues

fireflies offer candles &
the night knows that but you         
you shiver when my papillae tastes    
your fibrous roots from Karachi, Pakistan               
& yet, you beg for more

the lavender orchids on your verandah          
reminds me of the thick violet blood        
blood my brothers shed the night of March 25th 1971
to win independence against you 

& yet, here you are, wooing a Bengali with your
sultry Urdu words, slinky movements of your tongue

& here I am, wooed

pushing you- pulling you in Bangla
you begin to think you have me
    
kuttar baccha, I don’t trust you.


Sanjida Yasmin is a Bengali American storyteller and poet whose work explores South Asian traditions, transient movements from East to West, and most importantly, the mystery of time. Raised in the Bronx, NY, she graduated from The City College of New York where she wrote her MFA thesis on the senescence of mortals. She is a writer by night, lecturer by day. 

Jennifer Martelli

After JFK’s Assassination, (Kitty Genovese Was Murdered) Things Got Really Bad

Why are you writing about her?

                   Kitty puts things in order for me, things I thought I’d forgotten:

Do you miss those things? 
            
                   all the earth tones. I try to describe the color of blood: copper and
                   baked red, my front steps, bricks, terra cotta. Kitty Genovese was
                   menstruating that night, the Kotex was held in place with the garter straps,
                   how my mother showed me. It was in his way but 

How does Kitty order things?

                   she was not his first. He burnt the first one: lit a chiffon scarf on fire and
                   stuck it up there inside of her. He made sure he burnt her there and no one
                   knew who did this to poor Annie Mae Johnson because she was black,
                   and Kitty was white. He burnt the first one before she was even
                   dead. My mother

Do you miss your mother? What she told you?

                   said she would lose her mind if me or my sisters died
                   before she did, told me never to talk that way but I feared she
                   would die before me. I feared it and she did die before me. She had
                   a turban: sheer ecru that only showed her black window’s peak
                   she wore it to be dressy and when she’d come home it smelled like
                   menthol Trues. Kitty’s mother’s heart was broken. She couldn’t
                   walk down the aisle in the church past the people in the wooden
                   pews. She wasn’t told about her daughter’s deflated lungs or how he
                   flung the Kotex to the corner of the vestibule. She wouldn’t ever go
                   back to Queens not even for the ’64 World’s Fair. But I feel like I 

 
How does Kitty order things?

                   remember the big TVs in Almy’s Department Store, two whole aisles of
                   RCAs built into wooden consoles and the antennae like antlers and
                   everybody was silent or crying. One woman said we’re glued here we’re
                   glued to the TV. They said they killed the President because he was
                   catholic. My mother held my hand. I didn’t know what that meant. I was
                   afraid, my mother was crying. We went home and she made me sit on the
                   terra cotta front steps of our new ranch home. She gave me
                   something sweet and cold. My mother

Why are you writing about her?
            
                   looked beautiful in her chiffon turban. 

                   She had a tin ashtray from the ’64 World’s Fair in Queens.

                   I saw a burnt out building with Kitty’s face 
                   spray painted on the old baked brick. Block words
                   circled her like a halo: what is true? who will tell?


Jennifer Martelli’s debut poetry collection, The Uncanny Valley, was published in 2016 by Big Table Publishing Company. She is also the author of the chapbook Apostrophe (Big Table) and the chapbook After Bird (Grey Book Press). Her work has appeared in Thrush[PANK]Glass Poetry JournalThe Heavy Feather Review, and Tinderbox Poetry Journal. Jennifer has been nominated for Pushcart and Best of the Net Prizes and is the recipient of the Massachusetts Cultural Council Grant in Poetry. She is a book reviewer for Up the Staircase Quarterly, as well as a co-curator for The Mom Egg VOX Blog Folio