One of the complaints I get from time to time—about both Three Percent and Open Letter—is our lack of poetry coverage. This is primarily my fault, since I rarely ever read poetry. Probably some sort of reading deficiency, blindspot, or problem with my soul, but, well, there you have it. (It’s not as if this is my only flaw! Even my best-friend could provide a list as long as a summer day.)
To try and make up for this, Open Letter is launching a poetry series (one book a year, starting in February or thereabouts) and below you’ll find a poem that I came across in the new issue of Zoland Poetry. (BTW, the new issue isn’t actually featured on the website . . . yet. Whoops. There is a mention of the pub date—March 23rd—but that’s it. I can confirm that yes, this really does exist, and that it’s filled with good stuff.)
“Invented Memoir” by Manoel de Barros, translated from the Portuguese by Idra Novey
I leaned into the morning the way a bird leans and a vision appeared: the afternoon running behind a dog. I was fourteen. The vision must have come from my origins. I don’t remember ever seeing a dog outrun the afternoon. I made a note of it anyway. Such leaps of the imagination are what make our speech more beautiful. I made a note in a phrasebook. By this point, I was already saving visions like this one. I had another that month, but first I should tell you the circumstances. I transported parts of my childhood between the kitchen wall and the yard. I pretended to put a yoke on the frogs behind our kitchen. We understood each other well. I fixed things so the frog’s skin matched the color of the ground. It seemed right, since they were of the ground and grimy. One day I said to my mother: A frog is a piece of the ground that jumps. She said I was mixed up, that a frog isn’t a piece of the ground. Now that I’m older, I think of the prophet Jeremiah. He was so distraught at seeing his Zion destroyed and dragged through the fire that a vision came to him in his home: even the stones in the street were crying. Later, calmer, writing to a friend, he remembered the vision: even the stones in the street had cried. It was such a beautiful sentence because there was no reason in it. He said this.
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .
Last year, NYRB Classics introduced English-language readers to Catalan writer Josep Pla with Peter Bush’s translation of The Gray Notebook. In that book, Pla wrote about life in Spain during an influenza outbreak soon after World War I, when. . .
“Your bile is stagnant, you see sorrow in everything, you are drenched in melancholy,” my friend the doctor said.
bq. “Isn’t melancholy something from previous centuries? Isn’t some vaccine against it yet, hasn’t medicine taken care of it yet?” I. . .
What to make of Vano and Niko, the English translation of Erlom Akhvlediani’s work of the same name, as well as the two other short books that comprise a sort of trilogy? Quick searches will inform the curious reader that. . .
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .