[Untitled] “if you close your eyes”
if you close your eyes
you can hear the sea
whether Black or Azov
you can’t tell immediately
a triumph of sound
the off season
naked beaches
we breathe it in
hold it in our lungs
without speaking
afraid to sing out of key
unleashing note after note
in perfect waves
the poplars swim away
a little further from heaven
from poetry’s idyll
nuts falling to the ground
smack their heads
and cry bitterly
[breakfast]
the bread you broke in two speaks in a human voice
one half in the voice of your mother
affirming she loves you
the dead love of a dead mother loves you
the dead love you
dead mothers love you
you sit silent and hiccup
you find the corpse of Yuri Gagarin in your pocket
you light a cigarette
the other half speaks in the voice of the girl you raped
affirming she’ll never, no way, ever love you
she wishes you dead and your mother
your fucking mother
the girl you fucked says hello to your fucking dead mother
every morning on the radio
you sit silent and hiccup
you find the corpse of Gherman Titov in your pocket
you light a cigarette
await the prosecutor’s summation
[Untitled] “you stand in the middle of a completely foreign city”
you stand in the middle of a completely foreign city
in the middle of its most famous cemetery
you read the inscriptions in Polish
you hear the voices of Polish tourists
tombstone tombstone tombstone
they’re seeking someone’s death in Polish
you’re seeking someone’s death in Ukrainian
your relatives might’ve been buried here
if they hadn’t been forced to become echoes
to wander Donbas seeking death in Russian
so that all the while on the other side of Ukraine
a girl with long black hair
moves her lips translating the language of death
seeks inscriptions about your family in the cemetery
Ilya
(from “People of Donbas”)
Why did you orchestrate a war at home
and run away to more normal cities—
the neighbors’ sticky-fingered spoons clap their hands
and pull hair after hair from my head
you’re guilty of everything—and I
think—what if they come to kill me
while I’m lying naked in the boat of this summer
without water electricity any kind of connection
no one will know what she died of
standing in the kitchen—and falling backwards
like sugar in a cup of paper wrath
and the uproarious sea of love throbbing in my temples
like the pocket flashlight of dreams with which I fumble
along walls of guilt—some people live in it
and they call my life a home as if it were alive
the steppe thorn of the sun doesn’t let me see myself
but I’m there somewhere—in the ash heap of smoldering photos
I kiss some sky before it starts to burn
ABOUT THE CONTRIBUTOR
Iya Kiva
(b. 1984) is the award-winning author of two poetry collections, A Little Further from Heaven (Podal’she ot raya) (2018) and The First Page of Winter (Persha storinka zimy) (2019); she writes in both Russian and Ukrainian. Kiva’s poems have appeared in English translation in Asymptote, Literary Hub, Los Angeles Review of Books, Words Without Borders, and others.Katherine E. Young is the author of the poetry collections Woman Drinking Absinthe and Day of the Border Guards and the editor of Written in Arlington. She is the translator of Look at Him by Anna Starobinets and Farewell, Aylis by Akram Aylisli. Young’s translations of contemporary Russophone poetry have won international awards; she was also named a 2017 National Endowment for the Arts translation fellow (US). From 2016-2018, she served as the inaugural poet laureate for Arlington, Virginia, US. https://katherine-young-poet.com/