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The Story of My Father by Holly Karapetkova

He spoke seven languages and was never allowed to leave the country.

He’d gone to school in Paris, which made him an enemy of the people.

I’m sorry, but this is the only way I know to tell the story. He had

a family—a wife and daughter—but that is for someone else to tell.

He was a translator during the Cold War. When the big countries

wanted to talk, he would translate their languages.

He loved languages. He loved words. He wanted artistic license,

he wanted to say beautiful things in those beautiful tongues.

But there was nothing he could do, their conversations disintegrating,

and he never changed a word, not intentionally, for 32 years.

By then his daughter had left for school in a foreign country, to study

languages. His wife was working as a doctor in North Africa.

He had the dog, Lily, who ate with him at the table. He served her

on the good china, and she seemed to understand all seven languages.

Then one day, after Lily grew ill and died, it happened.

The diplomat said, “We will not stand for this! We have boats full

of heat-seeking missiles ready to destroy you.” He translated, unwavering,

“We will send boats full of flowers on your country’s birthday.”

The other party looked bewildered, “We can annihilate your half of the world.”

He said, “The mothers in your country are the most beautiful in the world.”

After a few murmurs the diplomats figured it out. It would take more

than language to fix their conversation. They decided he’d gone senile,

retired him at 62.  He wasn’t sad to go, but he had nothing

left to do—everything had worked up to that one moment.

Seven months later he died, before the end of the war and before

any end was in sight. I sometimes feel sad he couldn’t see the solution,

but it wasn’t about flowers or mothers anyway, and now a new war’s on,

one he couldn’t translate for. He only knew seven languages.

“The Story of My Father” originally appeared in Harpur Palate and also in Towline (Cloudbank Books 2016)

 

Holly Karapetkova’s poetry, prose, and translations from the Bulgarian have appeared recently in Alaska Quarterly Review, Prairie Schooner, Drunken Boat, and many other places. Her second book, Towline, won the Vern Rutsala Poetry Contest and is available from Cloudbank Books. Find her online at karapetkova.com.

Image by Neva Micheva – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=4414258

Patriotism Reconsidered by Lucinda Marshall

Ed. Note: Another in our series of poems by writers who participated in Arlington Writers Resist.

My anthem is the serenade of birds,

sung without regard for map lines

delineating human assumption of dominion

over that which cannot be possessed,

and I will not pledge allegiance to,

or defend a flag of illusory freedom.

 

As the sun greets each day,

I will bravely stand up—against

racism, gendered hate, and xenophobia.

 

I will join in solidarity

with those who block pipelines

and protest gun violence,

those who feed the hungry

and work to stop the school

to prison pipeline,

and with every person who works

for the common good.

 

Solemnly I swear not to tolerate

the revision of history to fit

a fraudulent justification for

perpetual war or

wanton destruction of Earth.

 

This is my oath of citizenship,

because to do anything else is treason.

 

(Published in Indolent Books Transition Poem series)

 

Lucinda Marshall is a writer, artist, and activist. Her recent poetry publications include Sediments, GFK, Indolent Books Transition Series, Stepping Stones Magazine, Columbia Journal, Poetica Magazine, and ISLE. Her poem, “The Lilies Were In Bloom” received an Honorable Mention in Waterline Writers’ “Artists as Visionaries Climate Crisis Solutions”.

Image By DaFoos – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=6423935; Author photo “Anonymous Quilted,” courtesy of the author.

 

 

Dark Energy by Susan Mockler

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Ed. Note: Another in our series of poems from poets who participated in Arlington Writers Resist on January 15, 2017

for the parents of the children at Sandy Hook

Notice what you remember this day:

how clean the air smells,

how warm it is for winter,

how you hoped it would be snowing.

Notice how bare the trees are,

black birds perched

in the empty branches,

cracked ice on a puddle.

Notice lips, hair, skin,

fingertips, tongue,

the place in the sky

you saw the first star

last night and closed your eyes,

from habit, wishing, wishing, wishing.

Notice what you won’t remember:

how quiet it was the moment

after the gunshots,

that the screaming

sounded like coyotes in the desert.

Notice blur of smoke,

river of blood,

skin stuck to walls, missing faces.

Notice your question:

why must a coffin

hold a child,

why not rocks, mud,

burnt wind, even water?

Notice there is no waking from this dream,

the sky will always be this dark.

the only living will be living

on the edge of a black hole.

Notice a million stars exploding daily.

Susan Bucci Mockler has had her poetry published in Poet Lore, The Cortland Review, The Paterson Literary Review, Voices in Italian Americana, and the anthology, My Cruel Invention, among others.  Her chapbook, Noisy Souls, was published by Finishing Line Press.  She is a poet in the Arlington County school system and teaches writing and literature at a local university.  She lives in Arlington, Va.

Image: By Johann Heinrich Ramberg – Own work, User:Mattes, 2014-08-24 11:30:52, Public Domain, https://commons.wikimedia.org/w/index.php?curid=34966174

Terminal Flux by John M Adams

Over the last ten years I’ve made two kinds of art: paintings and site-specific wall drawings. Both use layers of marks and geometric structure inspired by the natural world and the major differences are really in how scale affects use of color, and context, but that’s a story for another time…

After months of planning and meetings with college officials, this week I installed my newest site specific work, Terminal Flux, at the Schlesinger Center at Northern Virginia Community College.

“Now Is the Reason” by John M. Adams,
Acrylic, acid-free tape, latex house paint on gatorboard
40 x 32 x .5 inches
2016
My site-specific drawings are created on location, for that specific location, and engage the architectural space they occupy. They exist only for a predetermined amount of time before they’re painted over/destroyed. There’s the creation, existence, and an eventual end to each piece.

I’m interested in the way a wall drawing can interact with a space to encourage the viewer to use that space in new ways. For instance this most recent work draws attention to a bank of windows that allow visitors to see the sky. You might in common experience of the building never even look up to notice that view.

The drawing wraps around architectural details, and never allows the viewer to experience the entire drawing from a single point of view. It requires them to piece the art together as they move through the space. This piece, Terminal Flux, was inspired by being able to work with walls that could be viewed from both the first and second floor, as well as from outside of the building (due to the large windows of the atrium where the drawing is located.) As I worked through proposal and preliminary drawings and studies I was very conscious of the fact that viewers would enter the building by walking under the drawing.

Graphite allows me to create high contrast marks on the wall but the pre-existing white of the wall carries as much, or more, of the visual weight in the drawing as the graphite. My process for applying the powdered graphite is part painting, part drawing. There is physicality to the marks on the wall that contrasts areas of open space with geometric edges – edges in the drawing and the architecture.

John M. Adams completing install of Terminal Flux, January 2017 at the Schlesinger Concert Hall and Art Center; photo by Catherine Day

I’m an avid outdoorsman and that’s an apt metaphor for my creative experience installing a piece. The first morning of an install is like dropping a canoe into an unfamiliar river for an extended trip. You’re on your way and in it, and it’s a rush. There is no starting over and every second that passes you’re closer to being finished. You deal with every obstacle encountered as you reach them, and you have one chance to react. You’ve prepared as much as possible – perhaps spending months planning, visualizing, and becoming familiar with the river (or the drawing site) with photos, maps, drawings, etc. But all of that takes a back seat to being in the current, picking your route moment by moment until you get to the end. Then it’s done. It’s over until the next time, and hopefully someone took some great photos while you were focused on the task at hand.

The opening reception for Terminal Flux will be held this Saturday, February 11, 2017 from 2-4pm at the Rachel M. Schlesinger Concert Hall and Art Center, located at 4915 E. Campus Drive, Alexandria, VA and Terminal Flux will be on view through spring 2018. For more information visit their website or by contacting Gallery Director Mary Higgins. You can view more of my artwork on my website www.thefullempty.com and thanks for reading about my work.

John M. Adams; photo by Jennifer Davis Heffner

John M. Adams was born in Hampton, Virginia and grew up in rural Gloucester, VA, surrounded by the open water and tributaries of the Chesapeake Bay. His work continues to be influenced by his passion for exploring the natural world as much as it is influenced by the structure of the urban setting where his studio is located. Adams lives in Reston, VA, and maintains a studio in Arlington, VA. Carrie Coleman Fine Art in Norfolk, VA, represents his artwork. Adams has participated in numerous solo and group exhibitions on the east coast. Currently his work is included in New Waves 2017 at the Virginia Museum of Contemporary Art in Virginia Beach and will be included East City Art’s Emulsion 2017 exhibition during March 2017 in Washington, DC. His work can be found in private, corporate, and public collections such as the Wilson Building (DC City Hall) and the DC Art Bank Collections. He has received numerous awards including a Graduate Fellowship from the Virginia Museum of Fine Arts and a Strauss Grant from the Fairfax Arts Council.

Driving to Juniata by Katherine E. Young

for David Hutto

Up there’s the interstate, peeping through trees.

Down here among hollows, satellite dishes,

a man on his deck guzzles beer, wishes

he were driving that highway. His fancy speeds

past the graveyard of riding mowers, the three-

foot ceramic gnome squatting on the lawn

beside a cabin whose mailbox reads “Yablonski” –

speed’s his algorithm for life, for freedom.

I don’t know where America lives, but I know

in my bones she’s down here, among red-lacquered

barns, weed-choked byways, plank bridges.

She bleeds through the landfills, the tiered ridges

of doublewides, the hand-lettered placards

with directions to Jesus: be patient.  Go slow.

 

“Driving to Juniata” was first published in qarrtsiluni.

Editor’s Note: This is the first in a series of poems by poets who read at the Arlington Writers Resist event on January 15, 2017.

Poet and translator Katherine E. Young is the author of Day of the Border Guards, 2014 Miller Williams Arkansas Poetry Prize finalist, and two chapbooks. Her poems have appeared in Prairie Schooner, The Iowa Review, Subtropics, and many others. Young is also the translator of Two Poems by Inna Kabysh; her translations of Russian and Russophone authors have won prizes in international competitions and been published widely in the U.S. and abroad; several have been made into short films. Young is a 2017 National Endowment for the Arts translation fellow and currently serves as the inaugural poet laureate for Arlington, Virginia. http://katherine-young-poet.com/

Image: By Shadowlink1014 – Own work, Public Domain, https://commons.wikimedia.org/w/index.php?curid=2263219
Author photo by Samantha H. Collins