Julian Talamantez Brolaski

 

Julian Talamantez Brolaski the author of Of Mongrelitude (Wave Books 2017), Advice for Lovers (City Lights 2012), and gowanus atropolis (Ugly Duckling Presse 2011).  Julian’s poetry has been included in New Poets of Native Nations (Graywolf 2019), Native Voices: Indigenous American Poetry, Craft and Conversations (Tupelo 2019), Tending the Fire: Native Voices and Portraits (University of New Mexico Press 2017), and Troubling the Line: Trans and Genderqueer Poetry and Poetics (Nightboat 2012).  Julian is the recipient of the 2020 Cy Twombly Award for Poetry. They are the lead singer and rhythm guitarist of Juan & the Pines, which recently released its first EP, Glittering Forest (True West 2019).  Julian lives in Goleta, California.

 

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Rapheal Begay

A Vernacular Response is an ongoing series of images representing everyday moments, yet diverse aspects of the Navajo Nation. In support of the Dine’ way of life, the documentation of environment celebrates and interrogates site/sight-specific perspective. As a form of contemporary Navajo storytelling, the series also acts as a (re)collection of intimate moments tied to my own understanding and ever-developing relationship to my surroundings. Thus, the visuals expand the possibilities of Dine’ cultural stewardship and an ongoing mission to explore the past, create the present, and curate the future.”

#WeAreSacred

A desert field just off the roadside covered in snow and fog.
1. Field (Monument Valley, UT) 2019
Side of a rock with visible watermarks located at the base of the canyon.
2. Flow (Canyon de Chelly, AZ) 2019
Wheatfields Lake reflecting the color of the sky on a cloudy day.
3. Vanishing Point (Wheatfields, AZ) 2019
Wet red dirt with snow, ice, and water on the northside of the sheep corral.
4. Side Corral (Hunter’s Point, AZ) 2019
Evening view of orange red dirt and lit vegetation on the side of a rural road.
5. Roadside Attraction (Cowsprings, AZ) 2019
Blue sky with brown water running over the edge of a stream.
6. Tip (Hunter’s Point, AZ) 2019
Covered in snow and fog, Monument Valley just visible by the outline of its base.
7. Missing (Monument Valley, UT) 2019

 

Rapheal Begay is a photographer and curator from the Navajo Nation. Currently based in Window Rock, AZ, he serves as the Public Information Officer for the Navajo Nation Division of Human Resources.  In 2017, he obtained his BFA in Art Studio with a minor in Arts Management and Certification in Museum Studies from the University of New Mexico. He has exhibited, curated, and collaborated in creative initiatives highlighting Queer and Indigenous art throughout the Southwest.

 

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M. Carmen Lane

Black Lives Don’t Matter, Black Bodies Do.

When I was thirteen years old, I wore a white blouse and black skirt to school for the junior high band concert. I went to my home room teacher to ask what time I needed to be in the gym. I wanted to make sure I was checked in to class before I left early. I didn’t want to get into trouble. The teacher, a blonde mid-forties white male watched as I walked toward him. When I went to open my mouth he stopped me and said, “Don’t come any closer. If you were eighteen, look out.” I laughed uncomfortably and kept walking towards him. He said it again with the additional, “I’m serious.” My body stiffened.

Walking to the bus stop in high school I see a car driving down the street. It is a car load of white youth, male, yelling out their window. It took a moment to realize they were yelling at me — the distortion through the wind, “N-I-G-G-E-R-R-R-R!” My body stiffened. My stomach dropped.

I’m at a gay bar in Detroit with a white lover. She’s trying to impress me by taking me to all the hot spots in town. She asks a white gay male where the after-hours spot is. He retorts in the snarky stereotypical accent of his ilk, “There’s a place on the other side of town if you don’t mind too many black people.” He turns and notices that I am with her and simply says, “Oh.” An old rage bubbled up in my body.

Last week I am standing in line at Whole Foods. I am waiting while two transactions are occurring. The white man behind me says, “Are you going to move up?” I turn around and say, “No.” I tell him I am waiting for the two people ahead of me to finish. It’s my turn to purchase my items and the white man follows behind me. He moves my cart to put his items on the counter. I grab my cart and tell him loudly to be patient and wait until I am complete with my transaction. He moves back and tells the woman behind him, “You should move back. It’s safer there.” The new old rage returns and I am reminded of my function — to know my place; to move when a white man tells me to. If I resist, I am the problem. The young white man aiding me with my purchase is stunned. He doesn’t know what to do — he remains silent.

Black lives don’t matter. Black bodies do.

This is a concern informed by our current understanding of intersectionality — the impact of the black body. Skin color, body size and shape, hair texture, how white and straight our teeth are, the color of our eyes, our genders, sexual orientation, gender identity and expression, the sound of our voices and class perception within our black bodies impacts the multiplicity of responses we receive living while black. Where we are, who we are with, what we are doing (or not doing) with our black bodies, what words are coming out of our black mouths all have meaning and consequence within settler colonialism.

We do not have lives. We have functions.

The function of my teenage body is to prepare itself for the pleasure of a white male. My young female black body was practice for young white men to learn and occupy their superior place in white culture. My queer black body should not take up too much space; there is a limit to how many black queer bodies can be in one place — lest there will be consequence. My middle-aged black body needed to move in alignment with the speed a white male desired.

Under settler colonialism, under occupation, “mattering” is of no significance. It does not resonate within empire. How I feel, who I love, what I am dreaming of does not matter. What’s important is how I control my black feelings; my black thoughts and my dangerous black desire in relationship to the function assigned me by white culture.

The issue of the sovereignty of black bodies is paramount. Currently we have the right to exist under particular circumstances. The “right” to be in your body. The “right” to breathe. The “right” to have a heart that beats. This does not exist. Black bodies pretend to “be.” In the wisdom of our hip hop elders, “Ain’t no future in your frontin’.”

The right to experiment, to play, to create for oneself and one’s own curiosity has become a right — not what it means to be a human being. We do not have the right to matter.

What we do have are the responsibilities to unravel the old yet very young system that has created these inhuman dynamics. We must understand the stories we tell with our bodies. We must acquire clarity regarding the gaps between who we know ourselves to be and what society sees. We must close this gap by being the foremost authority of our being. Self-mastery. This call is both in service of our sense of self and our membership to our communities (ancestors, family of origin, families of choice, our family across the Diaspora, our extended relations who also face similarly bound perceptions of who they are). Our capacity to be in solidarity is in direct alignment with our willingness to do our own work to be embodied in our truth. That is, the old adage that, “I must change myself before I can change the world” has no meaning if my capacity to know myself has been limited by racism, sexism, homophobia, classism, transphobia, ableism, my undocumented status, my history of violence, etc. It is not enough to understand structural oppression if we do not know the parts we play to perpetuate it.

ANCESTOR 1699. Margaret Copes was presented by the churchwardens of Hungers Parish, Northampton County, Virginia, on 29 December 1699 for having a “Maletto Barstard child”

Only a white male can choose to make a mulatto bastard child. The above is one of the oldest ancestors I can trace. I only found her due to the control of her body which was documented by a court of law.

DISTANT RELATIVE 2016. Jasmine “Abdullah” Richards, a Pasadena Black Lives Matter leader, was sentenced to ninety days in jail and three years probation for “attempted lynching.”

Jasmine interrupted a woman being arrested by the police. Jasmine perceived harm being done to this woman. Jasmine is a queer black woman with masculinity; some call this “masculine of center.” At the center are white heterosexual men (presumably Christian). Located on the margins of white culture, Jasmine’s black body should be used for a different purpose. Jasmine used their body to obstruct and interrupt oppression. By expressing who she actually is and following her conscience, Jasmine was punished and taunted with the charge of “attempted lynching.” The event of lynching which historically and overwhelmingly has been imposed on her kin.

Black bodies have a function under US settler colonialism — the use and abuse of our bodies. We can be worked to death, trafficked, bred, used for sport, mutilated, taunted, tokenized, marginalized, heckled, locked away and murdered. Sonia Sotomayor wrote a powerful dissent in 2016 of a Supreme Court decision that now allows evidence collected from an unlawful stop by police to be used lawfully. Her words speak to the past, present and potential future for the sovereignty of Indigenous, Black and brown bodies if we continue to choose not to engage in a particular kind of liberatory work. “Your body is subject to invasion while courts excuse the violation of your rights. It implies that you are not a citizen of a democracy but the subject of a carceral state, just waiting to be catalogued.” Your black body has been invaded down to its marrow; across space and time. We must birth ourselves — again.

BLOOD COUSINS June 12, 2016 2:02AM. 49 people are murdered in a gay bar on its Latin Night. All queer Latinx and Black.

These brown queer bodies were celebrating, acknowledging, seeing, loving each other; embracing who they are in the face of uncertain outcomes under occupation. They were doing what they were not supposed to be doing — engaging in acts of body sovereignty.

They were punished by Omar Mateen. In this culture, he is a man of color labeled “white” as a person with Middle Eastern ancestry. Like George Zimmerman, a Latino, functioning as proxy for the white heterosexist and racist patriarchy.

Enslavement controlled how we were able to use our black bodies and for whom. Jim Crow controlled where black bodies could eat, drink, live, learn and shop. These words are gone; the dynamics within slavery and Jim Crow still exist (e.g. homophobia, transphobia, police brutality, imprisonment, sexual violence, fat shaming, human trafficking, sports trading). The control of the agency of the black body still exists, is crucial to keeping this project of America turning. Miscegenation laws controlled who black bodies could make love to — some of these laws still exist on the books across various states.

Muhammad Ali’s body paid the price for rejecting the systems perception and attempt to control his black body. There is a cost.

Body sovereignty is the absence of so-called respectability politics — if I control my body in certain ways, I will be accepted. Body sovereignty is the absence of ingesting the system’s archetypal responses to our black bodies — a rejection of the need to matter. I AM. WE ARE.

The desire to matter versus a claiming of our sovereignty is a form of collusion; an asking of the system to acknowledge our function(s) here — this is not liberation. Body sovereignty is the new black. It is blackness without the historical on-going entanglement with white supremacy as a means to understand the self.

If we are constantly engaged in resisting how our black bodies are tampered with, the ability to discover the need to assert anything about ourselves becomes a difficult task. Asserting the sovereignty of our bodies is a gift for ourselves and the worlds we traverse. It is an investment in the future possibilities for our kin to live in the world free of a need to matter and embodying the understanding that their work while alive is to become.

The time is now to claim our body sovereignty; to listen to the knowledge within our bodies. The answers to our dilemmas live there. Oppression deliberately distracts us from accessing this critical information.

The space(s) we occupy daily are stolen. They do not belong to us; sovereign only to the Indigenous people of these lands. Our bodies are our only place of ownership, the work of decolonization — here and now.

— M. Carmen Lane
Revised 6/2/2020

M. Carmen Lane (Tuscarora, Mohawk, African-American) is a two:spirit artist and writer living in Cleveland, Ohio. Their poetry has been published in the Yellow Medicine Review, River Blood & Corn and Red Ink Magazine. Carmen contributed to the Lambda Literary nominated anthology Sovereign Erotics: A Collection of Two-Spirit Literatures. Their first collection of poetry is Calling Out After Slaughter (2015). www.mcarmenlane.com IG: @m_crmnlne.

Hari Alluri

Cordage: itinerary

MAHAL, [CALLS] AND RESPONDS TO THE QUESTION “WHAT IS TIED?”

౧| 

[follows a deer the way a breeze walks
behind an unsuspecting deer] 1

౨|

[takes aim]2

౩|

[retrieves the guts, a fire
on the edges of her favourite time]3

౪|

[dances for and like her meal]4

౫|

[sets up her bedding, thanks the night
for keeping itself dry]
[is awakened by stars peaking behind
brighter stars]5

౬|

[ finds the rhythm of this specific cord]6

౭|

[names the string a name like perfect aim]7

౮|

[notices Ekalavya, between whittling
arrows, finger his worn
string with song]8

౯|

[considers whether to smuggle the string
onto the statue’s lap or onto the next of
his arrows gone astray. Whether to walk
up to him with the string in hand or
return back to her day] 9

                                                                               

 

 

 

 

 

 

 

 

 

 

     

 

 

 

 

 

 

 

 

 

 

 

 

 

1       This arrowhead 
          to the rock
          my first ancenstral
          mother struck.

2       The strands of my hair 
          the arrowhead
          now dangles
          from as amulet.

3        My lean to my mother’s lean
          before I was conceived.
          The part of the tree I lean with
          to the parts I cannot reach.

4        My elbow bend, the scar 
          it carresses, my swishing swishing
          hips. The bracelets made of wind
          I wrap around my wrists.

5        My yearning
          into this one long sash 
          two can lay on close: 
         climbing from knee: over-
          flowing shoulder: back to waist.
          The sash’s fold like a lover’s ear
          at the tickle in my neck.

6       This deer gut string I sing
          toward its own
          accumulated chorus.

7       The impression my teeth bite into this loop.

8       When strung, the bracing
          required, drawn over the hook,
          a contract: tree to animal,
          like breath. The need to stay
          attached, the need to flee.
          The muscles built to curl
          protection around a fawn.

9       The torque at bow. And arrowhead
          at contact point
          where flying ends. The hesitation
          transfer, automatic, core to cord to cord.

 

Photographer: Erik Haensel

Hari Alluri is the author of The Flayed City (Kaya Press, 2017), Carving Ashes (CiCAC/Thompson Rivers Press, 2013), and the chapbook The Promise of Rust (Mouthfeel Press, 2016). A co-founding editor at Locked Horn Press with fellowships from VONA/Voices and Las Dos Brujas, his current projects are supported by grants from the BC Arts Council and the Canada Council for the Arts. Hari’s work appears in the most recent Poetry In Voice anthology, as well as in The Capilano Review, Counterclock, The Margins, Massachusetts Review, Ovenbird, POETRY, and Wildness, among others.

 

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Gabor G. Gyukics and Terri Carrion translate Zsuka Nagy

Two in the street

as a finale he threw a chair into the middle of the dive,
he wanted to throw two, but they held him down.

it was a cheesy, faceless dive, a Pepsi-ad color eclectic poverty,
at dawn blue and shit colored flowers bloom at the edge of the city.
of course, they were standing on their two legs pushing each other the way they played with their dump-trucks, ragdolls and pillow cases in their childhood, and later with the thrown out clothes of their lovers.

but now they are in the Villonesque loathsomeness, ready to steal and destroy.
at night they eat the moon, fried eggs they say, it’s enough for them.
fuck reality but mix the moon with hard liquor.
street smelling incense, mint cigarette that they bite, tear and rip
they cannot compare the stars, become uneasy, start scratching,
the stars are scratched out pimples on our bodies they say, and calm down a bit.

they sit in a box at Gajdos’, feeling cold already gobbled the moon up, need something solid.
they stand up swaying like trees in the wind, they’re bony, their skins hang on them like stretched t-shirts, yet it’s starry they say then drop, their skin turns to urine and vomit like gooey substance.

they have their own table in their dreams, they’re free to take.
their blouse and shirts are ironed, their jeans are clean, their shoes are shining
there is a roof above their heads, simple small rooms and everyone minds their own business, things only they know, aren’t drunk, clinking their tall glasses
because there is some kind of holiday or other good happening or just because.

two persons in the street, both easily transplantable, lie on a kind of asphalt rug
going wild like grown children and know that they are only similes and metaphors.
they get up, cut the throat of reality, get disguised,
walk in blue and shit colored eclectic poverty, in the gypsy row, and then they put all of it in writing.

immortality

dad is a shell
mom is a fuzzy heart root
when the rain comes, we drench together
when the sun shines we are together
in the light

sometimes I bury them in the woods
to save them from trouble
I call them to hold hands and
whisper into each other’s ears

dad and mom are whispering
earth is guarding them
we practice resurrection
they come out of the ground
wash their bodies
dress up and go to work

they call me Sunday saying
lunch is ready for Wednesday
they ask if I have anything to eat
then I invite them to the woods again
they say it’s awkward for them
but they will do it if I want to

Translators’ note:

Zsuka Nagy’s idiosyncrasy is apparent in her free verse, where form is determined by the dynamics of strong emotions, lightened by a whimsical rhyme here and there. Her poems stand out for their bravery and vocabulary, even in a contemporary environment with fewer taboos, and for their unflinching take on the great themes: love, family, illness, poverty, rural life, old age, and death. A major motif in her work is the attention given to people living on the periphery of the mainstream. Her poems are at once intense and gentle, sometimes coarse, mixing everyday speech with lyrical imagery. Pigment, her third and most recent book of poetry, was published in 2018.

Terri Carrion was conceived in Venezuela and born in New York to a Galician mother and Cuban father. Her work has appeared and disappeared in print and online. She is co-founder of the global grassroots movement 100 Thousand Poets for Change.
 

 

Gabor G Gyukics, a poet and translator from Budapest, is the author of eleven books of original poetry; six in Hungarian, two in English, one in Arabic, one in Bulgarian, one in Czech. He is the translator of eleven books including A Transparent Lion, selected poetry of Attila József, and Swimming in the Ground: Contemporary Hungarian Poetry (in English, both with co-translator Michael Castro) and an anthology of North American Indigenous poets translated into Hungarian under the title Medvefelhő a város felett.

Zsuka Nagy was born in 1977 in Nyíregyháza, Hungary and is a poet, writer, teacher, and the author of four collections of poetry. She lives and works as a teacher in Nyíregyháza. She likes poetic images just as she likes riding her bicycle which she calls Rozi. She is the recipient of several prizes.

 

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Allison A. deFreese translates Verónica G. Arredondo

_ _ _
_ _ _
_ _ _

[Sky]

There are
Green ghost fires in the black rooms.

Tu Fu
(Translation of Tu Fu’s verse by Kenneth Rexroth.)

 

I learned to sing in the desert

To interpret those voices  

To transcribe the sound of hours
scratching between bones and teeth

I held the piano in my hands,
then put it away under my tongue
locked away in a little box




Childhood was pursuing me
a spiral staircase like a snail’s shell
a half-opened door
with jaws in its depths

a recurrent

yellow trembling

My eyes inhabit a desert without stars





There is a green breeze in the open black window
In the black window there are green wings
                                               in the black there is green
                                                       the lights of insomnia
                                                                        burning




When someone turns on the lights
in the green room there are black feathers




Vertigo

I descend to the bottom on a spiral staircase  

A rip in the belly

The trembling sets in
at the knees
            and thighs

My hand touches
the body with the gutted hollow






When it comes tonight, my body won’t be empty

It will come for me, and I will be breathless
the tide has taken away my breath

Mamá

the typhoon is coming for me

                             Since when do puppets pray?




Mamá, and what is this thirst?

             what about this silence?

            : and your blue flowers
the violet of your lips?

Mamá, what if I open my eyes
                 in the middle of a dream?

Translator’s Note

Green Fires of the Spirits is “at once one book and many,” Verónica González Arredondo announces in the thin-as-a-damselfly-wing, half-paragraph long introduction to the book in which “[Sky]” first appeared in Spanish. Verónica’s poems, all referencing the weather or water and other elements, are occasionally reminiscent of the best of Octavio Paz, and the reader may find strains of Issa or Tu Fu, notes from a Victorian parlor, or motifs of Modernist imagists such as Ezra Pound. Yet the crisp and unflinching music of this poetry forges a new, and altogether original, score that is unique in world poetry. Through a series of short reflections, narrated in the voice of a young girl from the deserts of Northern Mexico, Verónica González Arredondo debuts an unmistakably beautiful and haunting style all her own. Her poems take me back to the original Grimms’ fairy tales, with all the grizzly bits intact, revealing a chaotic and inexplicable universe through the eyes of a child who sees all too clearly its beauty and horrors: “Childhood was pursuing me/a spiral staircase like a snail’s shell/a half-opened door/with jaws in its depths,” (“[Sky]”). Though the writing in Green Fires is often light, magical, and entrancing, this is also a world where teeth hide in flowers and jaws are waiting at the bottom of the stairs; where a cherry tree may produce both cheerful red fruit and ash as gray as the fog that transports us back to WWII, the Holocaust, or Hiroshima; an airy dream of dragonflies may end abruptly when the dreamer opens a bedroom door and finds herself perched at the edge of a precipice as “the abyss returns my scream.” For three years, I had wanted to translate poetry that addressed immigration from Central America and Mexico, while acknowledging the women and girls who disappear while making this journey. I found those poems here, in Verónica’s deserts that once were oceans, as she guides us through underworlds and the heavens while providing a voice for those who are often silenced.

Poet and translator Allison A. deFreese is based in the U.S. Pacific Northwest and coordinates literary translation workshops for the Oregon Society of Translators and Interpreters. She has previously lived in Mexico and South America. She holds a BA from Ottawa University, an MFA and MA from the University of Texas at Austin (James A. Michener Center for Writers), and an MA in Spanish Translation from the University of Texas at Brownsville (now UT Rio Grande Valley). She has several book-length literary translations forthcoming later this year, including works by María Negroni and Luis Chitarroni (Argentina). Her translation of Verónica González Arredondo’s book I Am Not That Body won the 2020 Pub House Press (Quebec) international chapbook manuscript competition and is forthcoming this June.

Verónica González Arredondo (Guanajuato, Mexico) holds a PhD in Arts from the Universidad de Guanajuato and a Master’s in Philosophy from the Universidad de Zacatecas. She has received several prestigious Latin American literary awards, including Mexico’s National Ramón López Velarde Prize in Poetry/Premio Nacional de Poesía “Ramón López Velarde,” for her book of poems Ese cuerpo no soy/I Am Not That Body (Universidad Autónoma de Zacatecas, 2015) as well as the Dolores Castro Prize in Poetry /Premio Dolores Castro en Poesía, an annual prize awarded to a woman writing exceptional and socially conscious work in Spanish, for her book Verde Fuegos de Espíritus/Green Fires of the Spirits (Ayuntamiento de Aguascalientes, 2014). Voracidad, grito y belleza animal/Voraciousness, Screams and Animal Beauty, a book of essays, was also published by Universidad Autónoma de Zacatecas in 2014. Verónica González Arredondo’s books of verse have previously been translated into, and published in, French and Portuguese. From 2017-2018 she held a FONCA fellowship for younger artists through the Fondo Nacional para la Culturas y las Artes/National Fund for Arts and Culture.               

 

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Dev Murphy

Studies in Calm

 

Dev Murphy is a writer and visual artist. Her work has been featured in The Guardian, Passages North, Queen Mob’s Tea House, The Rupture, The Pinch, Brevity, and elsewhere. She lives in Pittsburgh, where she works in an art gallery. Follow her on social media @gytrashh.

 

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Chen Du & Xisheng Chen translate Yan An

The lightning catcher

1. A Bare-Handed Lightning Catcher

Many friends are destined to leave
Many things are doomed to vanish
Just like we are bound to see dust and cinders
Just like cloud shadows and broad-leaved epiphyllums

Just like a bare-handed lightning catcher
Just like the grey bristles and manes of wolves
Running hither and thither on a moorland
Running hither and thither on the mountain ridges
In the bleak twilight or broad daylight
Just like some kind of hallucination that has flashed by
Just like stones, descending with a waterfall
That glitter-glister in the splashing white light of the falls
The bare-handed lightning catcher
Many trees have been knocked down by him
Many mountains have been overthrown by him
Many rivers have been held in his hands like handles
As if he were holding whips

The man who lashes us with a whip
Who thrashes trees, hills, and dales
Who slashes top-heavy hairy savages
Who catches lightning with bare hands
Is the man who is waiting for us
To catch our and the world’s
Ghost shades and silhouettes
As if we were hunting bears in shadows

 

徒手搏取闪电的人

很多朋友注定要离开
很多事物注定要失踪
就像我们注定要见到尘埃和灰烬
就像云影和昙花

就像徒手搏取闪电的人
就像狼的灰色的鬃毛
在旷野上奔走
在山脊中奔走
在黯淡的暮色中或光天化日之下
仿佛某种幻觉一闪而过
就像随着瀑布跌落下来的石头
在瀑布飞溅的白光中闪闪烁烁
徒手搏取闪电的人
很多树被他打倒了
很多山被他打倒了
很多河流像把柄一样被他握在手里
就像握着鞭子

用鞭子抽打我们的人
抽打树和山野的人
抽打头重脚轻的毛野人的人
那个徒手搏取闪电的人
是等着我们从影子里
捕熊一样捕捉
自己的和世界的
鬼影子的人

 

2. The Man Digging a Well at the Seashore

The man digging a well at the seashore
Looks wan    and gloomy
He is familiar with the headland, dull seabirds, and even sea ghosts
Sometimes he lives with them in the mountains
Sometimes he lives alone on a reef
Sometimes he lives, when the fishing season is over,
On a tottering mast whence he can overlook the entire ocean

The ocean is like a sapphire blue wasteland
Surrounded by white spindrifts and mournful warbles of white seabirds
All the white birds are still soaring above the ocean
All the black birds are winging in the sky
The man digging a well at the seashore
Is like a gigantic spider    using a fishing net
To suspend himself from the teetering mast

Like a seabird whose wings have been broken by the ocean many times
The man digging a well at the seashore
Knows very well secrets of the ocean
His small well is so exquisite
So crystal clear    that all the people coming to watch the ocean want to drink from it
A fish conceiving for long but unable to spawn wants to drink from it
Even the entire ocean dying of thirst
Wants to drink from it

 

在大海边上打水井的人

在大海边上打水井的人
是个憔悴的人    阴郁的人
他熟悉海岬、笨海鸟甚至海鬼
有时他和它们一同住在山上
有时他独自住在礁石上
有时他住在休渔期
可以俯瞰整座大海的摇摇欲坠的桅杆上

大海仿佛蔚蓝色的荒地
簇拥着白色海浪和白海鸟哀婉的鸣叫
所有白色的鸟仍在大海上飞
所有黑色的鸟都在天空中飞
在大海边上打水井的人
像一只巨大的蜘蛛    用渔网
把自己悬挂在摇摇欲坠的桅杆上

像一只已经多次遭遇过大海折翅的海鸟
在大海边上打水井的人
他是如此深谙海水的秘密
他的小小的水井如此精致
如此清澈    所有前来看海的人要喝它
一条怀孕已久却无法产卵的鱼要喝它
快要渴死的整座大海
也要喝它

 

Translator’s Notes

Yan An’s poems are highly experimental, unconventional, and unique according to the standards and traditions of Chinese culture, considering their aesthetic value, contents, philosophical denotations and meanings. As a pioneer in modern westernized Chinese poetry, Yan An has completely transformed Chinese readers’ concepts and understanding of poetry through his unique views about the universe, life, society and people. His way of thinking is unusual and unconventional. His poems do not contain any of the Chinese elements traditionally and commonly depicted by other Chinese poets; instead, they can transcend the boundaries between nations and cultures, reaching for a wider audience across the world. In each of his poems, behind his boundless imagination, there lies a story and Yan An’s sentiments and understandings of life, people, society, and the universe.

His language is intense and abstract. Just like his other poems, these two poems are rich in literary devices, such as, similes, metaphors, personifications and parallelisms. These literary devices have well served their purpose in the Chinese versions. Nevertheless, in their English versions, some transcreation techniques have to be exploited to retain the same or similar effect. For example, in translating the second to the fourth lines of the third stanza of the poem “A Bare-Handed Lightning Catcher,” the phrase “The man” was omitted at the beginning of these three lines to make the translation more succinct, clear and rhythmic and to avoid repetition and drabness.

There were also other, different sorts of transcreation in the process. A new word was coined through reduplication: “glitter-glister,” in the eighth line of the second stanza. In the second line of the second stanza, we conjoined two similar linguistic elements, in this case: words in order to enrich the content of the translation: “bristles and manes.” To avoid repetition and boredom, some synonyms are used to translate the same Chinese words. For example, in the first three lines of the third stanza of the poem “A Bare-Handed Lightning Catcher”, the word “抽打” is translated into three synonyms: “lashes,” “thrashes,” and “slashes.”

In addition, we added some extra words or meaning to a few words in the target text or translated a simple word into a more complicated concept. It helps the lines of the same stanza have similar lengths. For example, the word “奔走” (literally: “running”) is translated to “Running hither and thither”. As a result, the line that contains this word has a similar length to the other lines in the same stanza and the target text is more vivid than a literal translation. Because the Chinese language emphasizes meaning (parataxis) while the English language emphasizes structure (hypotaxis), by adding extra meaning to some part of the target text, the transcreated text has also integrated with the source language and culture to some extent.

All in all, we have attempted to bring something new and foreign into English to enrich it, by helping English poets and readers unleash their creativity, imagination, inspiration, and by bridging or integrating American and Chinese way of thinking and culture. Also, we have endeavored to create some novel transcreation techniques to help with any future translation of Yan An’s poems.

 

Yan An is a most famous poet in contemporary China, author of fourteen poetry books including his most famous poetry book Arranging Boulders which has won him The Sixth Lu Xun Literary Prize, one of China’s top four literary prizes. He is the winner of various national awards and prizes. He is also the Vice President of Shaanxi Writers Association, the head and Executive Editor-in-Chief of the literary journal Yan River, one of the oldest and most famous literary journals in Northwestern China. He is a national committee member of the Poetry Committee of China Writers Association.

 

Chen Du has a Master’s Degree in Biophysics from Roswell Park Cancer Institute, the State University of New York at Buffalo and a Master’s Degree in Radio Physics from the Chinese Academy of Sciences. She revised more than eight chapters of the Chinese translation of the biography of Helen Snow, Helen Foster Snow – An American Woman in Revolutionary China. In the United States, her translations have appeared in Columbia Journal, Lunch Ticket, The Bare Life Review, and River River. She is also the author of the book Successful Personal Statements. Find her online at ofsea.com.

 

Xisheng Chen is a translator and ESL linguist and educator. His educational background includes: BA and MA from Fudan University, Shanghai, China, and a Mandarin Healthcare Interpreter Certificate from City College of San Francisco, California. His working history includes: translator for Shanghai TV Station, lecturer at Jiangnan University in Wuxi, China, adjunct professor at Departments of English and Social Sciences, Trine University, Angola, Indiana, and high-tech translator for Futurewei Technologies, Inc. in Santa Clara, California.

 

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John Abbasi

Angel Hair

A decade filled with drought followed by rain found us in a super bloom. Wild Canterbury bells, fields of poppies, hillsides sprayed with weightless mustard. These hills, soft colorful mounds, housed us – the hungry, the greedy, the jealous, the idolaters. We were like water collecting in a gutter, flowing down an irrigation ditch to our home: the freeway.

Months before, on the cusp of my new life, I’d been on my way home from my nine-to-five, weaving through pockets of traffic. Bearing through the syrupy stop-and-go, I saw a sedan lose control. The man in the white sedan slammed his brakes and swerved. He hadn’t seen the wall of traffic in front of him. I felt my grip instinctively tighten on my wheel, my heartbeat picked up, and I felt that thrilling lurch of my stomach, like it had dropped out of my body.

I caught myself grinning in my rearview mirror as he screeched from behind. I cranked my head around to watch the sedan swerve and fishtail and skip up onto the hillside. The tires cut through the tall grass and weeds, leaving deep scars as the sedan man tried to get more out of his locking brakes.

At the top of his arch on the hillside, as the white sedan made a sinister turn back toward the onlookers, rubberneckers, well-wishers and malevolent gawkers, I could just make out the features of the man behind the wheel. He had a small tuft of curly hair atop his balding head. His beady eyes stared out, almost expressionlessly. Only his brow, slightly furrowed, as if he was just concentrating on the day’s next challenge. Another email, another spreadsheet, a final report. His pinstriped oxford shirt was buttoned all the way up, tie knotted tight like a choker. His neck wanted to burst from his collar.

The white sedan careened, needle-point, through the menagerie of cars, trucks and motorcycles, perfectly missing each one (mine by mere feet). It slammed into the cement center divider of the freeway. It was the single loudest sound I’d ever heard.

The explosion shook me as the metal gave way to the pure physics of it all, crunching and contorting. The sedan man disappeared in a cloud of shattered glass and a puff of smoke. I rolled down my window and inhaled, at which point I was struck by the acrid mixture of burnt rubber, gasoline and smoke. As I inhaled further, taking in the aromatics of the crash, my nose was filled with something more. It was a sultry aroma of some crustacean broth. Strained crab, shrimp, or maybe langoustine?

While the dust settled, I exited my car and found the wreck of the white sedan replaced by a large bowl of lobster bisque. The sedan had become a perfect giant bowl. The man had become the soup. I peered over the edge of the bowl. The savory crustacean smell filled my nose. The pastel pink broth steamed, a single lobster claw floated in the center. A bright green garnish lay sprinkled on the surface. Traffic began moving again as people lost interest in the scene.

I dunked my hands in the sedan man’s soup, and I felt his indifference for his job. He’d been entrusted as the general manager of an office supply distributor. It was a stagnant, gelatinous blob of a company, so violently plateaued in the cut-throat ecommerce landscape that the sedan man wished he could just walk away from it. But alas, his mortgage. I scooped the soup and it pooled thick in my hands. Chunks of lobster lay under the surface. I tasted it. It was seasoned to perfection, the lobster fresh as any.

Along with the lobster, I tasted the sedan man’s resentment for his wife and his longing for their youth. Each sip of the thick broth, each chunk of crustacean, held unique flavors and textures associated with the man’s life.

I scooped the lobster claw from the middle of the bowl, my shirt and tie dunking in the soup. I cracked it open and extracted the meat. It tasted of the exact lobster bisque served at the sedan man’s wedding. I devoured that memory, though I wasn’t able to relate to the distinct aftertaste. Something between nostalgia and despair. I tossed the hard outer layer of claw shell into the fast lane.

Before the sedan man, long before that lobster bisque, when we were still in a drought, I’d been sitting with my fiancé, Nadine, having a bowl of clam chowder. It was a Friday.

I’d been in love with Nadine for five years. We’d been in a relationship for three. It was that Friday, with the chunky chowder sprawling between us that she’d told me it was over. We’d cancel the wedding, find separate places, tell our family and friends over the ensuing weeks.

Nadine was a thin, regal egret of a lady. Her delicate neck craned to the side, turning her face away from me, as I had no response other than tucking into my clam chowder.

“I can’t even look at you,” Nadine said.

I filled my wide-mouth spoon with more chowder, bits of clam and potato. The soup warmed me.

“This is typical you. Eating your soup and pretending everything is fine instead of dealing with it,” she said to the wall.

I loved her too much to stop eating my clam chowder. How was I supposed to deal with her stomach pain? Her unpredictable blood sugar? Her over-active kidneys? I couldn’t keep up with each diagnosis, each prognosis. I’d always wished I could take each ailing piece of her in my hands, whisper it some soothing song and give it back to her new.

All I could muster in real life was, “I’m sorry,” and “I love you,” and “Don’t worry, they will be able to treat it and it will go away.”

Her eyes stayed on that wall. I continued eating the clam chowder.

“You know, I’ve always given everything a real shot. Not just with us. But everything. I really commit myself to,” said Nadine.

It was this strange insecurity of hers that she needed to try everything. She didn’t just have one hobby, she had fifty. She always claimed to give her all to those hobbies and interests, which resulted in a novice-level skill or understanding at best. She wasn’t really good at anything, and I loved her for that. I never understood why she felt the need to foreground her unyielding drive and effort with everything. In times when I’d pointed that out, it would spiral into a huge argument. I’d grown to know better, for the most part.

Nadine looked at me out of the corner of her eye as she continued, “But you, I have no idea what you love. What you are passionate about. And you have nothing to say. Name one thing that I haven’t given a real shot to?”

“Trumpet,” I said through a mouthful of chowder.

I felt her gaze slowly turn to me like the headlights of a runaway truck. “I can’t fucking believe you would say that.” Her voice rose. People turned our way in the café.

Nadine had always been a fan of jazz. Or at least she wanted to appear to be a fan of jazz. It fit with some vintage image she wanted for herself. Some impossibly cool, earthy persona she’d crafted on her social media. She liked Miles Davis, which in truth was not very unique. Who didn’t like Miles Davis? But Nadine thought it was very cool of her. She wanted to play the trumpet like Miles. She’d picked it up for several months and really committed to it in signature Nadine fashion.

When she’d invited me in the room to hear her practice (as if I couldn’t hear it from any room in the house), I listened to her labor through a basic B-flat blues scale. When she asked me how it honestly sounded, I responded, “Less bugle, more bray.” She’d thrown her trumpet, mouthpiece and all, javelin-style from the balcony. It landed in the neighbor’s yard. When they knocked later, trying to return it, we didn’t answer the door.

After I’d mentioned the trumpet in that café, she spiked her engagement ring in her untouched clam chowder, swept up her coat and stormed out. I imagined the waitstaff finding the ring in the soup later. I imagined they would make up a whole narrative for the poor cuss that meant a surprise proposal with that ring in the soup. Maybe he was too nervous to ask, they’d say. Maybe he found out she doesn’t like clam chowder and he’d come back for the ring. Maybe they weren’t meant to be.

After the lobster bisque, I knew I couldn’t return to work. I couldn’t sit there and tap away at my keyboard when there was so much soup to be eaten. The rain would come and go day to day, and the super bloom was just starting to renew the earth around us. People rediscovered that nature was just on the other side of their windshield. They went to the hills and trampled flowers and snapped photos. I avoided those popular hills and made my home on the spots where weeds and blooms flourished alike. Between the spectacle of flowers, the wet roads, the smartphones and the increased number of people on the roads, there was plenty of soup.

At first, I was alone, sitting atop a hill overlooking the freeway. The breeze sent wildflowers atremble across my shins. The sun sat high in the sky, and I made a mental note to remember sunscreen the next day. I ignored the calls from work. I silenced my phone. Migrating butterflies dizzied past me.

I heard screeching tires. These were different than the sedan man’s. Each screech was a shorter, higher-pitched punctuation to a small pickup truck rocking like a boat from side to side. It had been clipped by another car at just the right angle. It flipped. Other cars swerved and braked. Mild fender benders all around. In the center of the mess was the flipped truck, transformed into fatty pork ramen.

I’d run down the hill and hopped the barrier onto the freeway. I’d been lucky to be on the side of the wreck. When I arrived at the edge of the large ramen bowl, I regretted not seeing the driver pre-soup. I made another mental note to get binoculars. The driver had made a beautiful ramen.

I inhaled the deep smell of the tonkotsu broth. My mouth watered. Sliced bamboo shoots and seaweed floated on the surface. They were distant memories, happy ones. The driver with family. I submerged my hands in the steaming broth and filled them with the thick noodles. They were a complex tangle of the driver’s most forlorn memories. There was a distinct inability to interact socially with people; in school, at work, during social gatherings. I nibbled on those lonely ramen noodles, unable to fully undo their tangled depth.

People from the small crashes gathered around and watched me feast. I submerged a large egg under the noodles hoping its interior would firm up a little in the heat. After a minute, I almost went headlong into the bowl trying to recover that egg. It was hard to tell just by its outer texture what part of the driver it was. As I bit into it and the still-loose yolk poured forth, I realized two things: I hadn’t let it sit long enough, and that the driver had a nagging case of conjunctivitis. The egg was the driver’s sick eye. No help, I’m sure, to his or her social status. The yolk stained my shirt and dripped down my forearms.

I rounded to the bowl to access the fatty pork. It became clear very quickly how ill the driver had been. The hunk of pork was a severely-ailed gallbladder. It had been full of gallstones at the time of death. As I bit into the rubbery pork, I chewed through phantom pockets that contained leftover impressions of the stones. That gallbladder must have been like an overfilled bag of marbles.

Stomachs turned, mouths watered, interests piqued under the midday sun. I ate until I felt a gluttonous bloat in my midsection.

I went home intermittently, to shower and change every few days. Soon the electricity would be turned off. Same with the water. I’d be evicted after a month or two of missed rent. I didn’t care. All that mattered was the hunt for soup. At night, I slept out under the cold spring sky. I’d listen for crashes, but I didn’t have as much luck during the night. Something about the fresh air and the cool grass and earth lulled me right to sleep.

The days when there were no crashes were the worst. I’d be left shaking in hunger. I had a taste for nothing other than soup. I wasn’t the only one. I’d noticed others gathering on the hillsides, patrolling for signs of edible fatalities. At first, I thought they’d come to see the flowers. But as soon as another massive accident occurred, I wasn’t the only one who raced through the tall blooms to receive my post-mortem communion.

I’d arrived at a giant bowl of phở. A basic rare steak with onions and cilantro. The driver had been distracted by her phone. Her erratic driving caught my eye. I watched her from a distance with my binoculars. Her head bobbed up and down from her phone screen to the lane in front of her. The crash was only a hundred yards or so up the freeway from my spot on the hillside before I made my way down.

I noticed a woman across the giant soup bowl from me in a white linen dress. She wore her golden brown hair like a halo. The simplest hunger spread across her face. She bit the corner of her lower lip as she eyed the lean raw meat splayed across the surface of the soup.

We met eyes and both knew we’d have to flip the noodles and sink the raw meat slices in order for them to cook in the beef broth. We readied our hands just above the steaming surface. My palms grew clammy from the heat. We nodded simultaneously, never losing eye contact. On that nod, we submerged our hands in the hot broth. We gripped the web of thin rice noodles.

The noodles were slippery, each one hard to hold on to. They were the driver’s lost thoughts—the important memories that had seemingly come and gone, but really lived somewhere in the back of her mind. She’d meant to call her mother after her aunt passed away. She’d forgotten to make that call after her shift at work. She’d meant to write to her brother, who was in prison, but it had been almost three years since she had remembered. That noodle slipped in and out of my fingers several times. Another strand slipped through my grip, it was her grandmother’s gravesite. Each year, she’d meant to visit and leave flowers, but that anniversary just wouldn’t stick in her mind.

The woman in the white dress and I flipped the noodles with a single enormous heave. The beef broth sloshed over the rim soaking my socks.

After a minute or two, the rare steak slices were fully cooked. We fished them out, one by one. The first I got hold of was the driver’s varsity tennis game that she’d competed in almost a decade ago. It was a state championship. She had an early match point at 40-love and ended up blowing that lead. She lost the match. The next slice of beef was her tennis racket rapping hard against her own knee as she approached center court to shake her opponent’s hand after the match. The ensuing slices of beef were her father’s reaction after that game. I consumed her father’s screaming in her ear and the racket slamming against her shoulder blades and back of her legs. I looked across the bowl again to see the woman in the white dress eating other parts of the driver’s failed tennis career and raging father-coach.

After we’d finished eating, the woman in the white dress followed me up the hillside. We sat amongst the tall grass, weeds and flowers. We relaxed under the setting sun. She didn’t speak, and I certainly wasn’t interested in any conversation. It was nice to have some company, though, after so long. We quietly watched the cars along the freeway. Headlights came on as the sun disappeared. The brake lights glowed red in each direction as evening traffic slowed to a trickle.

That night, she lay with her head on my chest. She casually moved over and laid her head right in the middle of my chest. I silently accepted this. I liked the weight on my chest and the way her head rose and fell with my breath. It reminded me of Nadine. There was a time that we lay like that after having made love. Etta James or her latest fancy would play on her record player. I would look at Nadine during those times, really look at her, and she was unlike anyone else. I’d feel like the luckiest person around. She’d lie there listening to my heartbeat.

The first sign that Nadine and I were not going to make it came a couple years into the relationship. She was sick and had stayed home from the office. I decided to take a sick day along with her, to help her feel better. She insisted that I go to work, but I told her that I’d rather be home sick with her. She thanked me and told me how good I was to her. That was the thing about Nadine. One minute she’d be great at telling me about what a spineless fish I was, and the next she would be grateful for how I treated her.

I went to the market down the street and picked up everything I needed to make chicken noodle soup. Later that afternoon, we sat down and ate together.

“This is the best chicken noodle soup,” Nadine said, “I love how many vegetables you put in here. And I love—”

“Angel hair noodles. I know; I always remember you saying that your mom made it this way. The angel hair soaks all the way through and gets soft with the broth. You love that,” I said. I loved knowing the things that she loved.

“I slept with someone from work.” Nadine took a big mouthful of soup.

“With who?”

“Why does it matter who?”

“It matters,” I responded. I’d been to her work functions. Karaoke nights and Christmas parties.

“Can we please not be so petty here? Are you seriously asking me this?” Nadine replied. She’d put down her spoon, leaning it on the side of the bowl. She raised her eyebrows at me, arms crossed.

“I’m seriously asking you. Who was it?”

“Tony.”

“Tony? Isn’t that one of the warehouse guys?” I knew who Tony was. He was a big guy, frame like a refrigerator. He drove a forklift in the warehouse. Nadine worked in the offices upstairs. I wanted her to say his name again, to describe him in some way. I wanted to hear some affection in her tone, so I could bathe myself in it and feel even worse.

“I’m sorry. I actually am. The last time it happened, Tony and I agreed that it should be the last. It wasn’t fair to you. To his wife,” Nadine explained.

I swirled my spoon around, wrapping the soft angel hair in a lump. I thought about Nadine and Tony making a decision together and it made me sick.

“The last time? How many times was it?”

“Only six.”

“You slept with Tony from the warehouse six times. You slept with Tony the forklift guy six times? How do you even find time to do that?” I asked.

Nadine rounded the table, stopping at the back of my chair. She leaned over me and put her arms around my neck. She whispered for me not to be upset. It was over she said. Tears fell from my cheeks into the bowl of chicken noodle, and she made some joke about extra salt in my soup. I always liked to remember her crying in that moment too but she didn’t. She held me, and I gripped her arm with one hand and ran my other hand through her soft hair.

When the woman in the white dress and I woke up, there was a small group who emerged from the various patches of tall grass on the hill. We were all waiting for the same thing. I felt the warm sore spot on my chest where her head had lain. I motioned for my new friend to follow me to my car parked on the nearest freeway off ramp. She joined me on the hike down. We exchanged nothing more than our names; hers was Lucille.

I drove us to my apartment. I offered her the shower. There was still some of Nadine’s old body wash, shampoo and conditioner in there. I dug through an old drawer and found a few pieces of Nadine’s leftover clothing. Lucille’s white dress had become terribly filthy after her days out on the hills coupled with whatever broth she had encountered before we met. I left her some options on the bed. After her shower, she came in the room only wearing a towel.

When I returned from my shower, I found Lucille in Nadine’s grey cable-knit sweater and old light-wash Levi’s. I remember going to the record store with Nadine when she wore the exact same pairing of top and bottoms. She’d asked one of the guys at the store for a rare Gábor Szabó vinyl. When he said that they hadn’t come across that album in years, her day was ruined. She insisted on asking another employee, to no avail.

The pants, in truth, fit Lucille much better, but there was still something strange about seeing someone else in Nadine’s clothing, someone else in our place. Lucille threw her hair up in the same loose bun she’d worn the day before as I tried to shake the image of Nadine in those clothes.

I dressed and we headed back to the hills. It wasn’t long before another accident occurred below us. A large lumber truck’s load fell off its flatbed and crushed a small hybrid car. A group of ten or so, including Lucille and I, descended upon the wreck. Some combination of fresh lumber and sawdust filled the air, mixed with the distinct aroma of onion soup.

We cleared the wood beams off the wreck and found a steaming bowl of French onion soup. The truck driver screamed to us, asking if the man in the hybrid car was alive. Lucille shook her head. I told him he could gather his lumber and be on his way, or join us in making the most of the situation. The truck driver sobbed and collected the smaller, salvageable wood beams.

The rest of us gathered around the bowl and each received a burn from the soggy baguette slices floating atop the soup. We’d experienced hot soup before, but never this hot. The man in the hybrid car had clearly gone through some trauma. We waited a couple minutes until it cooled down to a manageable temperature. We pulled pieces of the soggy baguette and stringy melted Gruyère. The bread was the heavily-burnt roof of the man in the hybrid car’s home. He and his family had lost their home in the hill fires back when we were still in a drought. The melted cheese was the countless photo albums they lost in the attic. I chewed through baby photos of his children, tee-ball games, birthdays and anniversaries.

We all wanted more broth, so we counted to three and lifted the bread from all sides. We were all flooded with the memory of the hybrid car man’s flaming roof collapsing upon the rest of the house, the devastation and destruction. The middle of the baguette sagged and crumbled back into the soup. The broth was sullied by the fallen roof of bread. I wasn’t able to fully appreciate the onion, garlic, bay leaves and thyme in the broth. I couldn’t tell what other parts of the hybrid car man’s life was in the soup. The fire and the destruction of his house overshadowed it all.

By the second week, too many people had come to take communion with the various freeway soups. The crowds had become overwhelming. We’d barely had room around the bowl to take in a cold, smooth gazpacho of a woman with sickle cell anemia. When we saw a queue form in the slow lane to get to a bowl of borscht leftover from yet another overturned truck, we knew it was time to head farther down the freeway.

Lucille and I headed for the coast. We stopped along the hills when we could see the ocean close on the horizon. We breathed the salty beach air and waited amongst the tall wispy reeds for the next sign of soup. It wasn’t long before we saw two cars collide. One car slammed into the back of another at the point where the traffic had just slowed down. We ran down and hopped the cement barrier alongside the slow lane. The people had pulled off to the shoulder. They were exchanging phone numbers and insurance information. They turned and stared in confusion at Lucille and me. No soup.

I asked if they were okay. They nodded. Lucille smiled. We slowly backed away and hopped back over the barrier onto the hillside. We laughed about our mishap, but we went to sleep with no dinner. By midday the following day, we were feeling the effects of hunger. Lucille said she was dizzy. My stomach and head hurt and the sun didn’t help. I suggested that we find a café or some local diner. Lucille shook her head. She said we’d still be hungry for soup. There wasn’t anything like it. I knew she was right.

As the sun set on the horizon, turning the sky and sea alike to fiery orange, we heard a godsend of twisted metal below. We held hands and skipped down the hillside like children on Easter. In the dead center of the five-lane freeway, we found a large bowl of albondigas. The beef broth made our mouths water as we surveyed the brilliant colors across the soup. Carrots, potatoes and cilantro floated on the surface. Meatballs bobbed here and there.

As we ravenously tucked into the soup, we found a legacy of the driver’s family illness in the vegetables. The carrots, thick and firm, were his father’s liver disease. Each bite sent a wave of abdominal pain or fatigue or nausea through us. The potatoes were the mother’s diabetes. Each bite a starchy pinprick of blood glucose testing or brief blindness in our right eyes. The cilantro was the brother’s depression. Scattered bits of helplessness and hopelessness. A citrusy self-loathing and malaise. The driver didn’t know of his brother’s mental illness until shortly before the crash. He longed to help but didn’t know how.

We scooped up the meatballs and were overwhelmed by the wonder of how a single family could be filled with such a variety of illnesses. The meatballs, tightly packed with rice, were a series of spinal tumors that the driver had recently been diagnosed with. Each bite was filled with the meaty weight of finding out that they were inoperable, their positioning too sensitive, too crucial. Each granule of rice was a fleeting feeling. Disbelief. Denial. Despondency.

The next day, we decided to move farther down the freeway to where it ended. We moved along the side of Pacific Coast Highway. We wanted to see the ocean and take in the salty breeze. We wanted to find more soup. PCH was known to be the host of many fatal crashes.

We watched surfers and swimmers dot the shallow tide. Children and parents were muddled along the shoreline. The beach scene wasn’t so different from the hills we had come from, with their colorful blooms blurring at a distance, as if whisked there by a paint knife.

We watched a head on collision occur under the early evening sun. One of the cars careened through a guardrail after the initial impact and fell off the cliff side of a narrow portion of the highway. The car had become a soup bowl mid-fall, its contents spilling, wasted on the rocks and sand below.

The other car sat in the middle of PCH, a large bowl of chicken noodle soup. I was overwhelmed by the smell and appearance of the soup as it resembled the exact soup I’d made Nadine. Chopped celery and zucchini. Chunks of chicken breast. Angel hair.

The soup was warm in contrast to the coastal chill. The broth revealed that the driver had a rare case of phenylketonuria. Maple syrup piss, is what people called it. The body wasn’t able to break down certain proteins making the driver’s urine take on a sweet smell. Though the broth was as savory as any that I’d made for Nadine, there was a hint of that maple syrup, if only in our minds.

Well after the clam chowder, while we were still in a drought, as she was leaving, Nadine ignored my pleas to sit down and talk it out. She packed her things and told me that it was her final decision. There wasn’t anything I could do. In that moment, I was left with the taste of chicken noodle soup in my mouth. The thoughts of Nadine and Tony from the warehouse sat at the forefront of my mind. I winged her jazz records out the window. Shattered vinyl shards littered the sidewalk.

At the bowl, I watch Lucille fill her fists with soft celery and broth-soaked zucchini. The simple pleasure it brought her to sustain herself with soup was a gift. It was some base-level happiness I wished I could feel again. I watched her scoop handfuls of noodles. She feasted on the unspooled spaghetti of amino acids. They were proteins left by the driver, finally broken down into gossamer strands after a lifetime of suffering.

That evening, Lucille and I sat on the beach watching the waves as the light all but disappeared. A nearby bonfire burned, sending the smell of cedar across our noses. We sat shoulder-to-shoulder. Two girls, maybe in their late teens, sat on a beach blanket a few yards away from us. One laid across the other’s lap, her friend running her fingers through her stringy beach hair. We dozed there on the sand, listening for the sound of soup.

 

John Abbasi is a fiction writer from Southern California. He holds an MFA from The Rainier Writing Workshop where he completed, Darling, his first collection of short stories. He values invention over convention in his writing, focusing his craft in magical realism, fabulism, and surrealism. His work has appeared in Prism Review and Hoot Review. As he builds his writing portfolio, he teaches Intro to Prose Writing at the University of La Verne and works in marketing as a creative copywriter.

 

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