POSTS

Belal Mobarak

Glass Windows

I

You’re a teacher tying knots on a sailboat, 
reluctant to let go 
and I mistake the fisherman’s uniform. 
I’m not here for the belly dancers, 
I’m here for another funeral,
to see kites wading in the clouds,  
children pulling at the sky to come closer, 
I need a sock, thread, and one balloon
because my uncle told me about this one trick. 

II

Borders are not like fences, they keep people in, 
you taught me to flash my passport 
like I belong everywhere, to be restless,
I don’t think land meant to hurt its people, 
all you did was grow tall buildings and 
place glass windows in every classroom.  

III

From where we stood, 
the women sang beautifully in unison to the duffs
the stars showed themselves after the wedding concluded 
where men held my hands, 
praised the groom and my tongue, 
and asked me to come from behind the camera. 

IV

Someone told me you mean something in Arabic, 
tell me, if cliffs could stop the waves from crashing, 
would you ask them to? 

V

Your Guadua looks like Qasib grew to adulthood, 
thick, sweet, grounded. The trees need more than sun 
and water, and the three men you let me photograph,
one looked Arab, the other African, and the third 
could have been me. I spoke gringo
they spoke the language of the colonizers 
and the translator understood
it takes more than beauty to stay anchored. 

VI

The citadels, cathedrals, mosques, 
you look older than film, but not antiquity. 
Everyone talks about you, even the enemy,
a silhouette of satellites occupy the rooftops
near stiffened flags above dazzling asphalt, 
you remind me of someone, maps are not printed memories  
the cab driver keeps asking me for directions, 
and I keep pointing towards a home that isn’t in sight. 

More Sweets

With a dated voice he asked
       Are you Ikhwani or Salafi?
He continued his tea, 
       You know what we need?
       America to drop one bomb on all of us.

I smiled awkwardly, looked at his wife then him.
He placed his cup in the tray
rested into his chair. 
His wife turned towards me
       Would you like more sweets? 

Fourth Grade

The General told me to guard the armory and handed me a broomstick
so what if I told you this before              مافيش حاجة اسمة  allowance
here, take four quarters          buy a two liter on your way home
يابني  did I tell you about the neighbor’s dog on the roof  
it barked as if it hated me       and every time it barked it came closer
to the ledge and one day        listen, so what       hear it again  
when your grandfather spoke          I kept my mouth shut.

Belal Mobarak was born in Alexandria, Egypt. Raised in Queens. He is a poet, artist, and the son of a great storyteller. Writing is how he learned to finish his stories and poetry is how he learned to tell them with the least amount of words possible. Belal recently traveled across the United States sharing his stories for The Moth Mainstage. A finalist in Brutal Nation’s 2017 Competition for Writers of Color. You can find his work published in Columbia Poetry ReviewNewtown LiteraryBlueshift JournalFlockApogeeHEart, and others. He currently works for Higher Education in New York City. You may find more of his work at Belalmobarak.com/poetry.

Mai Serhan

       Tamima’s driver parked the SUV by the Civil Status Authority in Abasiyya and rushed to her side to open the door. She stepped out sheepishly, cursing him under her breath for drawing attention to her. Osama, the guy in charge of whisking her through all the red tape and ordinary people was waiting on the sidewalk, his face baring a huge obligatory smile. The sidewalk was already buzzing with activity. Street sellers sat cross-legged on the bare ground, picking lice out of children’s hair, chitchatting, and selling everything from vegetables and tissue boxes, to biscuits and Taiwanese toys. “Happy New Year!” they hurled, as the Madame came out of the fancy car. “LE 6 the tomatoes!” “May God make you pregnant!’ said one. “Pregnant!” shrieked her friend, “She’s an Anissa, you blind one! She means, may God find you a husband, Anissa!” Tamima stopped to take a good look at the women’s faces. She wanted to quip back, but didn’t know what to say. So she just smiled at them. “Let’s go,” urged Osama. She gave Osama a curt smile, and followed him into the government building.
       Scanning her surroundings, she made a quick mental note that she was the only unveiled woman inside; if not one of a handful in a sea of men. On the peeled, cracked gray walls above the plastic orange seats was a huge poster. ‘The Heroes of January 25. The Police Martyrs,’ it read. Underneath the header were around 50 thumbnails of sullen, sunken faces. “Priceless,” she thought. “They still insist and they still remember!” She inched closer to take a better look at the faces from a bygone era. “Small time crooks,” she first thought. But then something else emerged. The eyes and mouths were vacant and forlorn. Which led her to entertain another thought. These men were draftees from remote villages; Clueless public servants at the end of the command chain. They had no choice in killing. They were just obeying orders; which inadvertently put them in the line of fire. She wished she could take a photo, but thought better of it. The sense of paranoia and intimidation pervaded the air and permeated her skin. 
       “After you, Madame!” Osama’s voice snapped her out of her thoughts. He had the elevator door open for her. Hordes of people were stuffing themselves in before the ones inside could make an exit. Once everyone guaranteed a spot, all eyes turned to her.

       “Come in,” they urged unanimously. “There’s space!” 
“Where?”  she thought. “Never mind, I don’t want to draw any more attention to myself.” She clinched her bag closer to her chest and took the plunge. Inside, she stood straight as an arrow with barely a twitch, her eyes fixed on the weight capacity sign. Do Not Exceed 640 Kilograms, it read. She made a swift head count without moving a muscle. There were 11 people in this elevator, with an estimated average weight of 80 Kilograms each. She could not breathe. Not just because of the sidewalk, the government building, the poster, or the elevator, but because of what they all signified to her. Tamima was not altogether comfortable with what she was about to do in this building.
She sat on one of the many plastic orange seats lining the peeled and cracked gray walls waiting, then she remembered: Everything happened in the heat of the moment.
       They met during the 18 days leading to the toppling of Mubarak. They were both members in the same youth movement, which met regularly at the CCC Club in Garden City. He worked in a corporate law firm, and she was a young and promising journalist. Armed with an infectious happy energy, a natural affinity with people, she believed she could change the world. He was calm, collected and aloof. When he spoke, which was rare, he commanded the respect and attention of the entire room; And when he was simply observing, he possessed the effortless gravitas of a man who knew a lot about the world. He observed her ardor with utter fascination. Tamima sparkled in front of him and she knew it. But what she did not expect was that her flattery would give way to intimidation, something that she had never experienced before. 
       “After you, Madame.” Osama led her through a corridor, where police guards sat sipping their tea and watching passers by. Rooms shrouded in cigarette smoke and a general feel of ennui flanked the passageway. Finally, she was ushered into one of them. It was threadbare, yet oddly enough laden with character. There were no pictures on the walls, not even of President Al Sissy. There were no plaques, no stationary and no files on the desks; just tea dregs and burnt cigarette butts in glass cups. The leather sofas were ripped and gutted with their sponge filling bulging out like the entrails of slaughtered lamb. She sat on one of them facing a young man in a white galabiyya. He was bearded without a mustache, which immediately indicated his Salafi leanings. Behind one of the desks sat a government employee, with jaundiced eyes inhaling the smoke that he’d just exhaled as he lazily spoke on his mobile phone. Both men did not look at her. But while the man with the white galabiyya was painfully aware of her, the government employee was completely unaware. 
 “What these bare walls must’ve witnessed,” she thought. “Faten Hamama and Omar al Sharif’s divorce, maybe? Nasser’s first ID as President?.. The death certificates of thousands and thousands of Egyptian youth? …. Maybe not…And what about these leather seats? How many bottoms must’ve sat here over time? Probably millions. All shapes and sizes, and from all walks of life… they probably haven’t changed these seats since that very first bottom.”
       Their first time alone together was on the CCC terrace. She stepped out to smoke a cigarette. He followed and asked her for a lighter. She found herself struggling to stand still. She put one hand on the rail and puffed away nervously with the other, but it felt awkward, especially with her bitten fingernails on display. So she started twirling a short strand of her cropped hair around her finger. He stood there observing, affectionately, with a grin that made her weak at the knees. He made no secret of gliding his eyes over her flawless rose-white face. She looked down at his shoes. Their immaculate black sheen revealed a man of fine tastes. She lifted the collar of her jeans jacket and hid half her face behind it as if to warm herself, then peered shyly at him. He was wearing a perfectly tailored designer suit. “Here I am, falling for a man in a designer suit.” He gently hooked his finger into hers and freed her short strand now curled around itself. She did not stop him. 

       “Toota,” he said with a big smile. 

       “Sorry?” she muttered. 

       “Toota.”  

       Her fate was sealed. She had been known by a few nicknames amongst family and friends, Tammy, Mima, Mimi, but Toota was odd. It just didn’t fit her. She belonged to a family of strong an independent individuals. In raising her and her brother, her parents always stressed on individuality, curiosity, and independence with gender roles playing no part. Her father was a diplomat and an avid reader of history. His posts took the family to some of the most interesting destinations; From Chile to Greece to Mozambique. Her mother, a flamboyant character, was a jewelry designer with a husky voice and a penchant for cigars. As for her older brother, he was a computer scientist who had founded his own IT start-up. Their parents taught them to depend on themselves and work for what they wanted from an early age. When Tamima decided to pursue a higher degree in journalism at the age of 25, it was her decision, and responsibility. She built a strong portfolio, got a full scholarship, and took off on her own.

       “Where is your husband’s ID?” The voice interrupted. 

It was the man with jaundiced eyes. Tamima rummaged through her bag 

       “Oh no, I forgot it… no, no wait, here it is.” 

She pulled a card out. 

       “Oh. Wait. This is my driving license. Would this work?”  

Osama looked at her in disbelief then turned to the man to try and salvage the situation. Tamima watched as Osama’s whole demeanor transformed. With his body arched forward and his voice reduced to a whimper, he said:

       “Forgive us, Sir. She got her driving license by mistake, but look! Look! The information is identical. We are sorry.”  

The salafi man was getting even more uncomfortable now that all attention was on her. Osama then whispered something in the man’s ear.  

       “Go to Lieutenant Mustafa on the ground floor. See what he could do for you,” said the man. 

Osama’s face swelled with gratitude. He gave the man an exaggerated salute, stomped one foot, and marched off. 
Tamima followed. 

 “Do I really want to do this..” she wondered “Change the status on my national ID to ‘married?’ For God’s sake, do I even know if this is going to last? … When did my limbs become so limp? and how did he become my crutch?”

       They fell fast for each other. The heady times played a decisive role in their romance. Their days in the Square saw them form a formidable team. They became the best versions of themselves, heroes on a heroic bend. They thought anything was possible. They thought they could change the world. 
       She expressed herself to him in bits and pieces. At first he listened to her stories with a kind of rapture, but then one story led to another, and one question led to another. The more he knew about her, the more he became reserved. After all, at 28, Tamima was not exactly a debutante. Besides, her home environment was quite liberal. There were no secrets in her house. Growing up, her parents did not differentiate between her and her brother on any count. They had the same freedoms, restrictions and opportunities. As his love grew, he also became critical of the very qualities that had attracted him to her in the first place. He became critical of her strengths, of her freedom, and particularly of her past relationships. 
       Egypt’s 18 days at the Square saw women abandon the home, lead men in demonstrations, stand in front of police tanks, take over the megaphones, guard the gates, and even guard the night. All of which had led to the, momentarily, dissolution of sexual barriers, and a celebration of women as equals. They were in that Square together, side by side. He did not need a revolution. He was already an enlightened and confidant man. She thought he could handle all that she is, that he could respect her past, even though it might make him jealous. At 28, she had lived alone, earned her own money, travelled the world, and fell in love more than once. He probed and she had nothing to hide. She told him who was her first, who broke her heart, and whose heart was broken. He listened, stone-faced. That night she went to bed and woke up to the sound of sobbing coming from the balcony. She got up in a panic and found him on his knees. Rocking himself on the cold tiles and sobbing. 
       The problem became so severe in the months that followed that to her shock, he demanded that she sees a psychiatrist. He loved her, he said, and expressed his wish to marry her, but in order to take this step he had to feel secure and stable in their union. He told her only men had no qualms about casual sex. She tried to explain to him that it was not casual, but that made him probe more. Did she have any regrets, he asked. “No,” came her answer. Then something must be fundamentally wrong with her. He started yelling. She needed rehabilitation. He argued that she would not be able to exist within Egyptian society the way she is, let alone instill the values that he wanted in their children. She was crushed, but at the same time, she found it impossible to walk away. It was too late. She was irrevocably, dangerously in love. Something inside her told her that he did not mean what he said and that there must be another reason for saying it. Instead of taking offense to his words, she convinced herself that this was the purest form of flattery. He loved her, and love drives one mad. If anything, his behavior indicated that he could not bear sharing her with someone else, not even in his imagination. He is a strong man, she told herself, and she, only she, could bring him to his knees. So she stayed, and promised herself never to give him a reason to be insecure. To hell with her past! She tore old photos, poems, notes, and un-friended everyone on social media with the potential to unsettle their relationship.

       “Madame?” it was Osama. 

She had unwittingly stopped in her tracks in front of the Men’s restroom. The door was like a palimpsest of scribbles, reiterating the same thing over and over again in different colors: ‘Manhood,’ in red spray paint, ‘Men,’ in ink, and ‘Manly,’ in a thick black felt pen. There was even a tiny doodle of a man’s penis next to the knob. The door was closed, but it might as well have been open. The stench of the disinfectant mixed with the stink of urine permeated through the door and parched papyrus-colored paint. 

       “Madame!” it was Osama again. 

​Tamima suddenly realized how bizarre this sight must’ve looked. 

       “I need the woman’s restroom,” she told him, “just go to the Lieutenant’s office and I will catch up with you in a minute,” she said. 

       She waited until he took a left at the end of the corridor then pulled out her mobile phone. She looked around quickly, before snapping a picture of the battered door. Strangely enough, she was feeling a reconnection with herself here; at a government building of all places; Maybe because that poster had touched a buried part of her, had transported her to another time and place. She felt free to think for herself here, with a kind of clarity that she hadn’t experienced in years. Osama was walking really fast, but there was a lot that Tamima wanted to stop at and absorb, like that board plastered on several walls. “The Fundamentals of Police Behavioral Conduct,” it read. She looked around before quickly taking a picture with her mobile phone and hurrying to catch up with Osama. As she sat waiting by the Lieutenant’s office, she looked at the picture she’d just taken. Words and broken meanings faded in and out: Power to the people.. Respect for human rights.. Freedom of expression… Honesty .. Transparency ..Plurality.. Democracy.
       She looked inside the Lieutenant’s office and found a swarm of veiled government employees fluttering around him. He stood in their midst like a knight in shining armor, tall, broad, and tyrannical. He made eyes with this one and leaned against that one, while they blushed and flushed and ran out of breath. They all fell for the uniform. They were all seeking a way out of the home at any cost. She found herself wondering what a night with this man would be like. Would he mount her like a prisoner of war? Would he be kind to her the morning after? Did they really think this man was their salvation from the father, the brother, the mother, the neighborhood, the country?  
       He shot a look her way. It was fast, but had the will of a bullet. A sudden confidence took command of her body, as she sat there in one piece, one leg gracefully draped over the other. Then his coffee was served and the women dispersed. 

       “You will need to sweet talk the Lieutenant since you forgot your ID. Also, excuse me for saying this, but you also should thank him for receiving you in his office,” Osama said, “Don’t worry.”

       “Protocol!” Dr. Aziz said. 

He was annoyed he could not get through to her. 

       “You need to learn how to conduct yourself in this society. Tamima, you are a lady!” 

She laughed. 

       “What is so funny!” 

Dr. Aziz was the psychiatrist he had chosen for her. 

       “Look at how you’re sitting. Don’t slouch!” he shrieked. “What is so funny!” 

       She obeyed and sat up straight. Everything about him was large, his physique, his demeanor and his tastes. Although she received most of his advice with cynicism, there was always an element of amusement. Dr. Aziz was a society man who appreciated the finer things in life. Whole sessions were spent on talking about how to tell the difference between an original Limoges dining set and a fake one, or on the difference between real Czech crystals and artificial ones. She did not know nor care about such topics, but he derived so much pleasure out of them that she let him talk all he wanted.  
       With time, however, the sessions did eventually bring about change. Dr. Aziz’s approach was quite effective. In their first meeting, he told her there is no such thing as “fixing’ a patient. He asked her what she expected out of their sessions and she simply told him she wanted to be with this man. He told her that would be the goal they would work towards. He told her that her past was hers alone, and that only she reserved the right to disclose her secrets. He taught her discretion. He showed her how to turn a situation to her favor, how to think before speaking, and when not to speak at all. He taught her how to tell her man what he wanted to hear so that she could get what she wanted. He taught her how to act in public who to allow from her past, and how to behave when someone from that past reappeared. Dr. Aziz also paid a lot of attention to her image. He despised her cropped hair and urged her to grow it out. At the start of every session, he would inspect her nails and skin and reprimand her for not grooming herself. 

       “What is this!” he would say. “Your hands are dryer than mine! Stop biting your nails.” 

All that went against Tamima’s very nature. Reserve was not one of her qualities either, but she was so determined to make it work between them, that she was prepared to do anything.
       Eventually, Toota became more than a nickname, it became a way of life. In bed, she was too scared to show her experience or express any wild desires. She became caged in and gave him the lead. He derived pleasure out of dominating her, as if that would heal his bruised pride or dispossess her of her past. When the big day came, she found herself letting go of one wish after another and succumbing to his will. Initially he had agreed with her that an intimate celebration by the beach is what he wanted too. But then there were his colleagues at the firm, his high profile clients, and his parents’ society friends. When it came to their home, she had assumed that he would give her space to be creative and to let her home reflect her tastes as well, but that wasn’t the case either. He argued that he needed to entertain his clients, and dictated every choice. He wanted something sober, more somber; Leather couches, cherry wood, plush fabrics and subdued shades all around. He told her where to go and asked her to come back to him with samples to choose from. When she was finally done, she did not recognize herself in any corner. The living space looked more like a cigar lounge than a home. 

       “Toota, I need you to keep your distance from the help.” 

She was too friendly, he complained. 

       “Toota, why don’t you straighten your hair? How could anyone take you seriously like this?” 

       “Toota, I think it’s better if you stop coming to my office. I’m not comfortable with my colleagues ogling my wife. I’m set to become a partner soon, you know.”

Eventually, he even started putting limitations on her work. 

       “Listen, I don’t want you working around the Downtown area anymore. Who goes there anymore.” 

       “Tell you what, why don’t I hire you a driver? Do you see how people drive nowadays?” 

       “Why are your colleagues calling you at such an hour? Show some respect!” 

She was too naiive, he argued. She trusted people too much. He loved her. He wanted to protect her. She should trust him. He knew better. 

       The Lieutenant shot another look her way and signaled with his finger for her to come in. She entered with Osama tagging along, and sat down waiting while he pretended to be busy with files on his desk. 

       “Sir,” Osama started his groveling plea, “forgive us, the Madame here forgot her husband’s national ID. We would be so grateful if-“ 

​Tamima could not take another second of this bootlicking. 

       “Osama.” she finally said. “That will be it. Please wait outside.” 

Osama froze mid-monologue. 

       “But, but-“ he muttered. 

       “I said wait outside,” she demanded firmly. 

She waited for him to leave before turning to the Lieutenant and extending her arm across the desk. 

       “Tamima al-Sharif,” she said, introducing herself. 

It took him a few seconds to respond. She gave his hand a slight squeeze and watched him wriggle it out of her grip. She sat back in her seat, and began talking:

       “I initially came here to add my husband’s name to my ID,” she started. “It is not my idea, but you know, it makes it easier to do things together, like vote for the next president. Will you be voting, Lieutenant?” 

He did not respond. 

       “Oh, right. The police force is not allowed to vote. I would vote for Mona Prince,” she continued, “but there is no way she could collect a million signatures. Have you heard of her?” 

He shrugged. 

       “You wouldn’t. She is this crazy university professor who got suspended for teaching her student’s Milton’s Paradise Lost. Have you heard of Paradise Lost?” 

She could see him getting angry, but she continued:

       “I know there was no hope in her ever winning.. You know with all that nonsense she stands for.. ‘dreams, knowledge, art, literature, freedom’… but you know I would be voting for a principle.” 

She looked up at the big board plastered all over the building. There it was again, on his wall. 

       “You know, power to the people.. respect for human rights, civil society and all that nonsense.” 

       “How can I help you, Madame Kamel?” 

He used her marital name on purpose. She ignored the dig. 

       “Such a shame you can’t vote. It only makes sense that those who uphold those values the most are allowed to partake in their realization, don’t you think? Anyway, I know you’re a busy man. There are hundreds of people who come asking for favors everyday. They probably come from all over the country. They take trains, microbuses and wait for hours at your door. You probably send them off for a missing stamp or signature.” 

       “Madame Kamel, you are here because General Rafiq gave orders to receive you well and expedite your papers. How can I help you!” he scowled. 

She ignored his dig again. 

       “My point is, these people need your time more than me. If you do not help them, I’d imagine they will probably have nowhere to sleep in the big city, until they get their papers in order.” 

She stood up. 

       “I thank you for your time, and of course, please do thank General Rafiq. But as you know, I forgot my husband’s national ID at home today. And besides, it doesn’t really matter. The presidency is a pre-determined matter.” 

He stood up with rage searing his eyes. For a moment, she felt that he would hit her. 

       “Zakarriyya!” he shouted. 

The coffee boy appeared. 

       “Show her out!” 

She took a deep breath before extending her hand to him once again. He didn’t move.

       “It was a pleasure meeting you, Sir,” she said.

Mai Serhan is a Palestinian/Egyptian scholar and writer. She earned her BA in English & Comparative Literature and MA in Arabic Studies from The American University in Cairo, and has also studied Screenwriting at NYU. Mai’s MA thesis has recently been awarded the Magda Al-Nowahi Award for Best Thesis in Gender Studies, 2018. She is currently working on her first collection of short stories, one of which has won The Madalyn Lamont Literary Award from The American University in Cairo. The story submitted here is part of this collection.

Aya Telmissany

Grandpa lies

 in the emergency room.
       He is sliding
       on a rolling bed
       from one room 
       to the next.
       We follow him, 
       a broken up herd.
       He’s sleeping 
       with his mouth 
       slightly open
       and if it weren’t 
       for the white walls and acid smell
       I would think he’s just fallen 
       asleep watching Shadia 
       and Abdel Halim’s movie
       again.
       But Abdel Halim’s long gone
       And Shadia followed a few days ago.

Grandpa’s lying
        in the emergency room.
       He opens 
       his eyes 
       when I call 
       his name,
       then goes back to sleep. 
       For what seems like an hour,
       I stare at the paleness of his face
       barely visible on the white
       sanitized hospital sheets.
       I watch 
       the rise and fall 
       of his chest,
       a disappointing spectacle.
       I keep watching 
       his chest 
       closely,
       like one does 
       when trying to catch 
       an actor breathing 
       while playing dead.

There is hardly any sign of life
       but the machines
       attached to him are beeping;
       it must mean that we are still 
       in the same room.

Grandpa’s lying 
        in the emergency room.
       And I’ve never seen my aunts 
       cry before.
       My grandma, I have
       but not tonight;
       she seems more 
       detached than grandpa is;
       and no amount of cliché 
       words of consolation
       can bring her back. 

Grandpa’s back
       From the emergency room.
       He’s fallen asleep
       in his new wheelchair
       watching Shadia
       and Abdel Halim’s movie
       again. 

Grandpa’s out 
       of the emergency room.
       but I am still there.
       I always will be. 

Aya Telmissany is a 22-year-old student at The American University in Cairo. She is majoring in English and Comparative Literature and minoring in both Creative Writing and Arabic Literature. She won in the French international poetry contest “Poésie en Liberté” in 2014 and was also awarded the first prize in the Madalyn Lamont Award For Creative Writing in English by the Department of English and Comparative Literature at AUC in 2018 for a collection of ten short poems. She also writes and edits poetry for the Egyptian online magazine CairoContra

Fatima El-Kalay

Changes

       She parks her car and walks down the broken pavement, afraid her heels will catch in the cracks. The restaurant is round the next corner, a small, nondescript place on a side road in Mohandisseen.  At the lamppost outside the entrance an old peasant man hums to himself, beside his warm batata cart, the waft of his roasted sweet potato fills the void of the chill night. 

       There’s a clock on the wall: 8:15; on time. The waiter smiles apologetically and asks her if she has a booking. None? There are no tables inside; there is a nice one here on the patio. Fine. It is cold though; could the waiter get a portable heater? Certainly. Would she like to order? Not now. She will wait. She is good at waiting. 

       The batata vendor is audible from the patio. He begins to sing an unfamiliar song. It sounds made up. 

Oh, the ship in the storm yearns the port, 
       but the port is not what it seems 
       when the ship returns, 
       It will not be safe 
       For it will drown in its dreams 

       His voice is like scratchy plastic. Why doesn’t the restaurant manager tell him to clear off? He can’t be good for business.  She wonders if she did the right thing coming. And why this vague place, an empty vessel, void of memories for them? 

       Finally he arrives, fifteen minutes later, a great chocolate trench coat carrying a man of purpose. He sweeps onto the patio with ease. He is not late, his footsteps say; he is never late. 

       He smiles and swoops down as if to kiss her, but instead only clutches her shoulder. He casts off his enormous coat and sits across from her, placing his many blinking, beeping phones on the table. He asks her if she has ordered. No, she was waiting for him. Ah, but she knows what he always ever eats, he reminds her. Well she thought he might like something different. He grimaces, like someone who has just tasted castor oil. Does he ever change his order? 

       The waiter comes. The man orders briskly for both of them: soup and crackers, salads and main course. Beverages later? They will only fill us up, won’t they, dear? 

       He links his fingers together and glances across at her. She looks lovely, he says. She gazes down at her reflection in a spoon. She did look very good, so ripe in beauty, the warmth of roast chestnuts on an open fire, stirring in her oval face.

       The peasant with the batata cart leans against the patio railings. “Akhenaten! Akhenaten!” he yells. “What was he thinking? He must be insane to imagine he could bring change!”  

       The man grits his teeth. What, did she not find a table inside? This peasant will give them no peace. Waiter, can you tell him to move? I’m sorry sir, he doesn’t listen, but he never stays long. Then tell him to keep it down. Certainly, sir. 

       What were they talking about? She tells him nothing yet, so he asks her how she is. It is such a vast question. An ocean. She feels helpless before it. El-hamdulilla she decides to say. And the children? Growing used to their new neighborhood? Making friends? She nods. He jabs at his meat and edges closer. He is proud of her for coming today. He is proud she is willing to start afresh. So this is a new beginning? Yes, yes. It is never too late, is it? No, she says, never too late, as long as people are ready to make it work. Was he prepared for lasting changes? He chews. Well he came here, didn’t he? That proves something. And the other women? Nothing worth mentioning, he assures her; they weren’t even real. So was she real? Of course she was, she was real and she was permanent. A safety net. A safety net? Is that all? To catch him when he fell? 

       The batata man begins to rant. “Thought he had created a new empire! Tel el-Amarna. Homage to the God Aten, but no! But no!” 

       He frowns. To be a safety net is a great thing. He would be her safety net, too. So, would he move to their neighborhood, for the children’s sake? Ah but work—she knows how it is! It’s hard in this sprawling city to commute, not convenient for the breadwinner. She ought to move back, she and the children must return to their haven. But how? The children— 

       —They must sacrifice for the bigger picture. 

       His phones blink red, and he picks one up to read a message. There’s a meeting in a hotel nearby. It was unexpectedly confirmed, so he needs to get going soon. He would have to sacrifice dessert, but he would pay the cheque before he left. It’s a good thing he chose a restaurant so close or he would be late for his appointment. 

        “Akhenaton! Dead! A great heritage gone, all disappeared, as if it never happened. The House of Aten torn down. The more things change, the more they stay the same!” 

       The man rises. He is sorry, he says; it is so important he doesn’t miss this meeting. She looks up at the clock again: 9:15 exactly; hands outstretched, straining across the clock face, like an embrace between parting lovers. 

       They would meet again soon, he smiled, swiveling away. 

       “It’s a lie, a lie! Short-lived rebellion! Back to old ways, Aten forgotten!” 

       She sees him through the railings, flashing an exasperated look at the batata man. What a strange, babbling fool. He presses a five-pound note into the peasant’s palm. The peasant recoils, indignant. “No charity! My sweet potatoes cost money, but I give you my wisdom for free!” 

Fatima El-Kalay is a short fiction and poetry writer who was born in Birmingham, UK, to Egyptian parents, but grew up north of the border in idyllic Scotland. She has a Master’s degree in creative writing, and has had short fiction published in Passionfruit (US) and Rowayat (Egypt).  Her flash piece Snakepit was recently longlisted for the London Independent Story Prize (LISP).  A story anthology The Stains on Her Lips, her collaborative project with two other Egyptian authors, Mariam Shouman, and the late Aida Nasr, is due for publication in summer 2018. She is currently working on her first poetry collection. In the past Fatima wrote healthcare articles for a major parenting magazine in Cairo, over a span of 10 years. Fatima is also a self-taught artist and a self-help coach. She lives in Cairo, Egypt with her husband and children. 

Nashwa Gowanlock

The Egyptian

You poor tamed cat, what did
the Egyptians do to you,
castrating you and your hunting
impulse. So much so, that you,
our beloved pet, are scared of birds,
too afraid to go out into the garden.
We made you an object of our own,
brought you plastic toys
to mimic the life you were made for,
so we can cuddle up at night,
stroke your furry neck
as you stretch it out as far as it will go,
until it’s not fun anymore
and I’m tensing up and shifting my body
and you, annoyed, start biting me
in quick, sharp bursts before you leap off,
ears twitching, shaking off the humiliation.
My cousin once asked me why
we adopted a common tabby, an Egyptian
as they call it, instead
of a longhaired Persian. It’s good
to know where we come from, I said. 

REACQUAINTANCE

                                                 It is surreal being here with a husband and a baby.
                                   Coming back to the country I’ve returned to over the
                                   years, gazing into the mirrored Damietta dresser, the
                                   one that distorts the reflection so much it prompts
                                   my husband to ask if his head is too big for his body.
                                   Without even needing to look, I say no, of course not,
                                   because I immediately visualise my elongated, spotty
                                   teenage face staring back at me, from when I used to
                                   contemplate my own distorted shape in the miraya.  

       I line my eyes with kohl,
clearing the smudge on one lid as usual
and wonder how many minutes
of my life I’ve spent on these
corrections. I glance at myself
and decide I look pretty. 

TO ME BELONGS YESTERDAY, I KNOW TOMORROW

                     From the Egyptian Book Of The Dead 

Bake me a loaf
and since bread makes me thirsty,
pour me some wine
even though the smell is rancid.

I’ll open a window
as wide as it will go, watch
the man with a hoe
hacking at his front lawn.

Save me a slice
of your rye concoction.
I’ll butter it
when I come home. 

Nashwa Gowanlock is a writer, journalist and literary translator. She has translated numerous works of Arabic literature, including a co-translation with Ruth Ahmedzai Kemp of Samar Yazbek’s memoir, The Crossing: My Journey to the Shattered Heart of Syria. Nashwa holds an MFA in Writing from the Vermont College of Fine Arts.

Matthew Shenoda

Work

Chained to an ancient idea
she took the tool into her hand 
and began her meticulous labor. 

To shape a thing
according to the colors
in one’s head.

We give without asking 
for return.

The way a mother might
braid her child’s hair
thinking of vines,
of her childhood home,
the plant she can no longer name.

And like plow to earth
a mouth-full of singing
and the bird floating in the tree
eyes fixed on the pistil of the bloom.

She can see the way the bird
looks sharply
the way her own body
sinks into the earth 
with a certain kind of pain
as if the soil were made
from fragments of home.

To say that this is timeless
is not to understand
the way time is both fixed
and ever-present.

She is a mirror of herself
hunched in a furrow of forgetfulness
traded on the land by sweat and burn.

Forget me, she says,
forget that my body ever rose on this earth.
But the bird in the tree keeps peering,
keeps seeing,
keeps tipping its wings in a distant direction

As if there and here
were always the same,
as if one blanket could cover
the beds of millions.

Matthew Shenoda is a writer and professor whose poems and essays have appeared in a variety of newspapers, journals, radio programs and anthologies. He has been twice nominated for a Pushcart Prize and his work has been supported by the California Arts Council and the Lannan Foundation among others.

Kenji C. Liu

Descending, throttle early, savagely

frankenpo1 (for Prince)2

He’s a beautiful bird again. Desperately funk, tornado gorgeous, heart thick with furious glide,
and me his dessert. A conspiring body of heavy love, a whole dusk package. He sits and
moistens, a ripeness in him, black as sobs. Glisten he rises, a burning of bites and roses. A
flushed, trembling hollow across his lush. See his national pouty-lip, a skin-tight, slightly welling
back door swinging all piano wide. His bikini simmers, his cheeks jump, honey face staring
wickedly over lustrous flower shoulder. He crushes my diamonds, stains my quiver on the spot. I
muzzle his leopard face. The night furrows its savage, purple coat. Waters my sleeping
moonlight Cadillac. Drowning looks like light, a meaningless swim. Here, lustrous racked
chrome, passport of spandex lips. His pompadour bird, plunging into my wild Minnetonka.


Empire strikes3

frankenpo1

Citizens of the civilized galaxy, on this day we mark a transition. Billions of helpless
factors wind us into blinding, black-gloved sparks. The pain constantly beautiful,
omnipotence ripped by a giant jedi abyss. Great ears of the people stolen, deathly half
governors, and bureaucracy, that unstoppable depletion. Nation of my gracious
physiognomy, once we prospered entire, every fiction time! Our last infrastructure
collapses black, we sink wicked, a feeble station, infused by a never-ending crawl. Our
regions are semi-darkness, with scarred and weak edges, groans along our peace
borders, ripped, scattered, dimly white. Against the reaped verdict, stormtroopers ignite,
my dark hood star attacks, lord I. Your unbearable boy emperor—my force fictitious
flashes out, unstoppable bleed. My carnage grown from exaggerated disrepair. Seven-
foot-tall in the well of a mob. Towards a cold room, our body staggers.

Letter to Chow Mo-­wan4

frankenpo1

Dear Mr. Chow,

Cherished seed. A sesame kiss, and you mend the distance between us. That deep
dissonance. When will our smoke overlap again なの? Together we are a pair of lonely
questions, differentiated, two who whisper open a category. Plural, argus-eyed. Divination is a
meaningful mesh. We call us home, multi-capillaried. We promise a beautiful object. A rare
orientation わね

Unthreatened can still be afraid. No injury is respectful. This is because the caress is not a
simple stroking; it is a shaping. I am obsessed with the feeling of a house on fire. Do you agree
なの? I’m never going to end in a field of reason. Truth can’t go in the gaps. We are fool things
わよ, precisely alive, mountainous.


1frankenpo [frangkuh n-poh]
noun
1. an invented poetic form

verb
to create a new poetic text by collecting, disaggregating, randomizing, rearranging, recombining, erasing, and
reanimating one or more chosen bodies of text, for the purpose of divining or revealing new meanings often at odds
with the original texts

2“Descending, throttle early, savagely” is a frankenpo of the screenplay of Purple Rain (1984).

“Letter to Chow Mo-wan” is a frankenpo of screenplay for In the Mood for Love + transcription of “Yumeji’s Theme” by Shigeru Umebayashi from the same film + Tony Leung Chiu-wai’s Greatest Hits (梁 朝偉精選) + a quote from Eve Kosofsky Sedgewick. Uses “feminine” gendered Japanese sentence endings.

3“Empire strikes” is a frankenpo of Emperor Palpatine’s speech to the Galactic Senate (Star Wars Ep 3 – Revenge of the Sith) + POTUS 45’s inaugural speech + selected dialogue involving the Emperor from Star Wars Ep 4-6.    

Frankenpo of screenplay for In the Mood for Love + transcription of “Yumeji’s Theme” by Shigeru Umebayashi from the same film + Tony Leung Chiu-wai’s Greatest Hits (梁朝偉精選) + a quotes from Eve Kosofsky Sedgewick. Uses “feminine” gendered Japanese sentence endings

June 26, 2015. Kundiman retreat at Fordham University, Bronx NY. Photoggraphy Margarita Corporan

Kenji C. Liu (劉謙司) is author of Map of an Onion, national winner of the 2015 Hillary Gravendyk Poetry Prize. His poetry is in American Poetry Review, Action Yes!, Split This Rock’s poem of the week series, several anthologies, and two chapbooks, Craters: A Field Guide (2017) and You Left Without Your Shoes (2009). A Kundiman fellow and an alumnus of VONA/Voices, the Djerassi Resident Artist Program, and the Community of Writers, he lives in Los Angeles. @kenjicliu.

M.L. Martin translates An Anonymous pre-10th c. Anglo-Saxon Feminist

WULF AND EADWACER

My people offer themselves as a gift.
They will devour him
who moves toward the army.
We are different.
Wulf is one island, I am the other.
The island is secure & surrounded by fen.
Bloodthirsty, the men on that island.
They will devour
if he comes toward this band of men.

We are different.
I think of Wulf’s long departures—
when it was dark skies & I sat sobbing—
when the battle-bold arms embraced me—
that which brought me joy also brought misery.

Wulf, my Wulf! The thought of you
between seldom comings has made me sick.
An anxious mind never goes hungry.
Listen now, Ead: the cowardly cub of “us”
lured this wolf from its woods:
A thing easily falls to threads
that never was entwined—
the tale of us together.

WULF AND EAD

the thought of you
never goes

we are
the cowardly cub

the woods will devour
what never was tied

I think of Ead—
the bloodthirsty island

the misery
that joy brings

Wulf! the dark skies
embraced me

wulf, draft

the forest
is moving

I am
the island

surrounded
by blood

the men
devour

long skies
when the battle

brought
joy / pain

Wulf, the cub
never was

WULF AND EAD


my ruler
as if one offers herself

We are different—
I, heavily-guarded

the other
slaughter-cruel

when the arms
embrace me
I think of wandering


those seldom
visits of joy

Listen now, : o
ur wretched c ub

Your fearful heart
drives a wolf from the woods

E., —

I am surrounded
bloodthirsty, sobbing—

when the battle
that whi ch
brought me joy.

The mind
goes hungry

the cub
was whi ch

The wolf returns


mīn giedd
my song

the battle
that brought me
misfortune

the battle of lāð
and seldom comings
has ended

mīn renig weder
is over

The wolf
has returned

WULF OND EADWACER

Lēodum is mīnum swylce him mon lāc gife;
willað hȳ hine āþecgan gif hē on þrēat cymeð.
Ungelīc is ūs.
Wulf is on īege, ic on ōþerre.
Fæst is þæt ēglond, fenne biworpen.
Sindon wælrēowe weras þǣr on īge;
willað hȳ hine āþecgan gif hē on þrēat cymeð.
Ungelīce is ūs.
Wulfes ic mīnes wīdlāstum, wēnum hogode,
þonne hit wæs rēnig weder ond ic rēotugu sæt,
þonne mec se beaducāfa bōgum bilegde,
wæs mē wyn tō þon, wæs mē hwæþre ēac lāð.
Wulf, mīn Wulf! wēna mē þīne
sēoce gedydon, þīne seldcymas,
murnende mōd, nales metelīste.
Gehȳrest þū, Ēadwacer? Uncerne eargne hwelp
bireð wulf tō wuda.
Þæt mon ēaþe tōslīteð þætte nǣfre gesomnad wæs,
uncer giedd geador.

Translator’s Note:

We know the Old English poem “Wulf ond Eadwacer” due only to its survival in the Exeter Codex, the largest existing anthology of Anglo-Saxon poetry, which dates back to the 10th century. Since no original manuscript for the poem exists, the date of its composition, its provenance, and the identity of its composer are all unknown.

Even within the poem itself, ambiguities abound: the identity of the speaker is unknown, while the relationship of the speaker to both Eadwacer and Wulf, the poem’s setting, and its narrative content are all subject to conflicting interpretations. Most scholars think that the poem describes a love triangle in which the unnamed speaker (who is represented as “&” in my translation) is separated from her lover, Wulf, by threat of violence from Eadwacer, who is commonly viewed as either her husband and/or captor. It is also ambiguous if the ‘cub’ to which the speaker refers is her and Wulf’s lovechild or her and Eadwacer’s legitimate son. However, the poem has also been interpreted as a riddle, a ballad, a wen charm, an elegy, and a beast fable. As Peter S. Baker notes in “The Ambiguity of Wulf and Eadwacer,” half of the poem’s nineteen lines “pose lexical, syntactical, or interpretive problems.”[1]

But the challenge of interpreting the poem is only part of what makes “Wulf ond Eadwacer” an anomaly. The poem is also formally radical, both for its departures from Anglo-Saxon prosody, and for its inclusion of elements like repetition, and refrain, which were uncommon in Old English poetry. For this, and other reasons, some scholars even believe that this compellingly mysterious lyric poem might itself be a translation from the Old Norse.

As the act of translation cannot be divorced from interpretation, the mysteries of “Wulf ond Eadwacer” would seem to begird the translator, to restrict the strategies and outcomes available to her. Indeed, it seems sensible to decide what a thing is and what kind of effect it should have on the reader before translating it. But the reader should not have to pay for the translator’s convenience, and perhaps the least faithful translation of this enigmatic, polyvalent anomaly of an Old English poem that might have been born Scandinavian in the first place would be to present it in the absence of its complexity, to pin the poem down to a definitive interpretation, to lock it into a linear narrative that it never loved.

The poems at hand are part of a translation that aims to release the poem back into its radical complexity—to restore the lacunae, the indeterminacy, and the strangeness that make the Anglo Saxon version so haunting. Code-switching between the original Anglo-Saxon and Modern English, Wulf & Eadwacer embraces this proto-feminist, disjunctive voice so that its enigmatic plurality can fully be explored for the first time.

[1] Baker, Peter S. “The ambiguity of ‘Wulf and Eadwacer.’” Studies in Philology, Vol. 78, No. 5, Texts and Studies, 1981. “Eight Anglo-Saxon Studies.” University of North Carolina Press.

M.L. Martin is a prize-winning poet and translator whose experimental translations of Old English can be found in Waxwing and The Literary Review. Her poetry has appeared in Denver Quarterly, DIAGRAM, The Fiddlehead, The Massachusetts Review, PRISM international, and many other Canadian and American literary journals. She is the recipient of the Theresa A. Wilhoit Fellowship, the Bread Loaf Translators’ Fellowship, and the Inprint Verlaine Prize in Poetry. She currently lives in Tulsa, where she is a 2018 Literary Arts Fellow with Tulsa Artist Fellowship.


Yolanda Arroyo Pizarro

Translated by Raquel Salas Rivera

Diosa te salve, Yemayá

Diosa te salve, Yemayá
llena eres de ashé
la babalawo sea contigo
bendita tus hijas que toman la justicia en sus manos
y bendito es el fruto de tu océano-río Oshún

Santa Yemayá
madre de diosas
consentidora de todos los amores
de todas las lenguas y enjambres de labios
de toda hembra que ama a otra mujer

Ave Purísima Yemayá
santificada por criar a nuestras hijas e hijos
y enseñarles a devolver el golpe del marido borracho
maltratador
abusador
llena eres de balas
y cuchillas
prestas para el ajusticiamiento

rueguen por nosotras los orishas
Obatalá
Orula madre y padre
los dioses del santo hermafroditismo Eleguá y los ángeles transexuales
ahora y en la hora
de la libertad
de la desobediencia civil
de los defensores
de nuestra entrega por la patria
y nuestra bandera borincana
amén

Hail Yemayá

Hail Yemayá
full of ashé
the babalawo is with you
blessed are your daughters that take justice into their own hands
and blessed is the fruit of your river-ocean Oshún

Holy Yemayá
mother of gods
spoiling us with all the loves
all the languages and swarms of lips
of each woman who loves another woman

Our Yemayá, who art in heaven
hallowed be thy name for raising our daughters and sons
and teaching them to hit the drunk husband back
abuser
full of bullets
and knives
ready to enact justice

pray for us, orishas
Obatalá
Orula mother and father
the gods of the hermaphrodite saint Eleguá and the trans angels
now and in the hour
of our freedom
of our civil disobedience
of the defenders
of our complete surrender to our patria
and our borincana flag
amén

Yolanda Arroyo Pizarro (Guaynabo, 1970). Es escritora puertorriqueña. Ha sido elegida como una de las escritoras latinoamericanas más importantes menores de 39 años del Bogotá39 convocado por la UNESCO, el Hay Festival y la Secretaría de Cultura de Bogotá por motivo de celebrar a Bogotá como Capital Mundial del libro 2007. Fue premiada Escritora Puertorriqueña del Año 2016 en Literatura Queer por el Centro LGBT de Puerto Rico. Ha publicado libros que denuncian y visibilizan apasionados enfoques que promueven la discusión de la afroidentidad y la sexodiversidad. Es Directora del Departamento de Estudios Afropuer-torriqueños, un proyecto performático de Escritura Creativa con sede en la Casa Museo Ashford, en San Juan, PR y ha fundado la Cátedra de Mujeres Negras Ancestrales, jornada que responde a la convocatoria promulgada por la UNESCO de celebrar el Decenio Internacional de los Afrodescendientes. Ha sido invitada por la ONU al Programa “Remembering Slavery” para hablar de mujeres, esclavitud y creatividad en 2015. Su libro de cuentos Las negras, ganador del Premio Nacional de Cuento PEN Club de Puerto Rico en 2013, explora los límites del devenir de personajes femeninos que desafían las jerarquías de poder.Caparazones, Lesbofilias y Violeta son algunas de sus obras que exploran la transgresión desde el lesbianismo abiertamente visible. La autora ha ganado también el Premio del Instituto de Cultura Puertorriqueña en 2015 y 2012, y el Premio Nacional del Instituto de Literatura Puertorriqueña en 2008. Su libro Animales de apariencia inofensiva fue declarado Libro del año 2015 y su libro Ojos de luna fue declarado Libro del año 2007, ambos por el Periódico El nuevo día. Ha ofrecido conferencias en Ghana, Africa, FIL Guadalajara de México y Casa de las Américas en Madrid, España. También ha sido Escritora Invitada para NYU, Vermont University, Florida State University y la Universidad de Pennsylvania. Ha sido incluida en la plataforma TED Talk como conferenciante con la charla magistral “Y tu abuela, ¿a dónde está?” Su obra se ha traducido al alemán, francés, italiano, inglés, portugués y húngaro. http://narrativadeyolanda.blogspot.com/

Raquel Salas Rivera is a Puerto Rican poet who lives in Philadelphia. Their work has appeared in journals such as the Revista del Instituto de Cultura Puertorriqueña, Apogee, BOAAT, Círculo de Poesía, Cosmonauts Ave, Waxwing, Dreginald, and the Boston Review. They are the author of Caneca de anhelos turbios (Editora Educación Emergente), oropel/tinsel (Lark Books), and tierra intermitente (Ediciones Alayubia). Their book lo terciario/the tertiary is forthcoming in 2018 from Timeless, Infinite Light. Currently, they are Co-Editor of The Wanderer, and Co-Editor of Puerto Rico en mi corazón, a collection of bilingual broadsides of contemporary Puerto Rican poets. If for Roque Dalton there is no revolution without poetry, for Raquel, there is no poetry without Puerto Rico. https://raquelsalasrivera.com/

Vincent Toro

Traducción de Urayóan Noel

PROMESA (HR 4900)

      Song to ward off venture capitalists.

              The tinto shipped
from our ancestors in Galicia
       flirts unabashedly with giggling hens
on the veranda. Tio Frank
              is praying to his pipe, the smoke
                     cradles his bajo sexto
       as he croons, conjuring the flota

              that dislocated us from the last
century. Junior rocks the ricochet
       like a sorcerer of Brownian
motion. He is a garrison perched
              across the ping pong table
                     like an eight limbed
       colossus. In the kitchen, cards

              are slapped like sinvergüenzas
round after round in an endless
       game of Texas Hold ‘Em that holds
the cousins hostage. The winner
              is never the sucker
                     with the ace, the winner
       is he who talks shit with Fidel’s

              fuerza bruta, an eight hour
fusillade of slick digs and relentless
       boasts. Beside them abuelita
plays Zatoichi with the lechon
              asado, ropa vieja is swallowed
                     by vagrant cangrejo
       and bored nieces running

              on fumes from chasing
the dog around the chicken coops.
       This party was supposed to evanesce
long before sun up, but the coquito
              is still spilling, the tias
                     still stalking the counter-
       rhythms of the timbale like Bolivar

across the Andes. The road
at the end of the driveway is shrapnel,
       the privatized water too steep
for our pockets, but we got tariffs
              on this tanned euphoria
                     so no vulture
       funds can raid and strip

              the assets from our
digames, our ‘chachos, our
       oyes, our claros, our
manos, our oites, our carajos,
              our negritos, our vayas,
our banditos,
       our pa que tu lo sepas!

PROMESA (HR 4900)

     Canto para protegerse de los capitalistas de riesgo.

              El tinto que enviaron
nuestros ancestros en Galicia
       coquetea descarado con gallinas que se ríen nerviosas
en el balcón. Tío Frank
              le está orando a su pipa, el humo
                     arropa a su bajo sexto
       mientras canturrea, conjurando a la flota

              que nos dislocó del siglo
pasado. Junior le mete al rebote
       como un mago del movimiento
browniano. Él es un centinela velando
              la mesa de ping-pong
                     como un coloso con
       ocho brazos. En la cocina, las barajas

              son golpeadas como sinvergüenzas
ronda tras ronda en un eterno
       juego de Texas Hold ‘Em que mantiene
a los primos secuestrados. El ganador
              nunca es el pendejo
                     con el as, el ganador
       es el que habla mierda con la fuerza bruta

              de Fidel, ocho horas
descargando indirectas mañosas y alardes
       sin fin. A su lado abuelita
hace de Zatoichi con el lechón
              asado, la ropa vieja se la tragan
                     cangrejos vagabundos
       y sobrinas aburridas corriendo hasta morir

              de cansancio de tanto perseguir
al perro por los gallineros.
       Se supone que esta fiesta se disipara
mucho antes del amanecer, pero el coquito
              sigue fluyendo, las tías
       siguen acechando los contra-
                     ritmos del timbal como Bolívar

              cruzando los Andes. La carretera
al final de la entrada es metralla,
       el agua privatizada demasiado cara
para nuestros bolsillos, pero le hemos puesto tarifas
              a esta euforia bronceada
       para que ningún fondo
                     buitre nos ataque y nos arranque

              los valores de nuestros
dígames, nuestros ‘chachos, nuestros
       oyes, nuestros claros, nuestros
manos, nuestros oítes, nuestros carajos,
              nuestros negritos, nuestros vayas,
                     nuestros benditos,
       nuestros pa’ que tú lo sepas!

Vincent Toro is the author of Stereo.Island.Mosaic., which won the Sawtooth Poetry Prize and The Poetry Society of America’s Norma Farber First Book Award. He has an MFA in poetry from Rutgers University and is a contributing editor for Kweli Literary Journal. He is recipient of a Poet’s House Emerging Poets Fellowship, a NYFA Fellowship in Poetry, and the Metlife Nuestras Voces Playwriting Award. A two time Pushcart Prize nominee and a finalist for the Allen Ginsberg Poetry Prize, the Alice James Book Award, the Andres Montoya Poetry Prize, and the Cecile De Jongh Literary Prize, Vincent’s poems have been published in The Buenos Aires Review, Codex, Duende, The Acentos Review, The Caribbean Writer, Rattle, The Cortland Review, Vinyl, Saul Williams’ CHORUS, and Best American Experimental Writing 2015. Vincent was an artist in residence at the Atlantic Center for the Arts in Florida and at Can Serrat in Spain. He is a Macondo Foundation writer and a board member for GlobalWrites, a nonprofit dedicated to promoting literacy through technology. Vincent teaches at Bronx Community College, is Writing Liaison at Cooper Union’s Saturday Program, and is a poet in the schools for The Dreamyard Project and the Dodge Poetry Foundation.

Originally from San Juan, Puerto Rico, Urayoán Noel lives in the Bronx, teaches at NYU, and is a 2016-2017 Howard Foundation fellow in literary studies, as well as the author, most recently, of Buzzing Hemisphere/Rumor Hemisférico (Arizona) and In Visible Movement: Nuyorican Poetry from the Sixties to Slam (Iowa). Learn more at urayoannoel.comurayoannoel.bandcamp.com, and wokitokiteki.com, a bilingual, improvisational poetry vlog.