CULTURAL STRATUM
remember how once in a past life so long ago
you would wake up and casually listen
to the news now
that seems unbelievable just like
thinking about bucha or irpin
you can’t picture those parks full of pine trees
around sanatoriums and old estates
you see only blown-up bridges gutted houses streets
densely covered in the shards of people’s lives
isn’t that what the archaeologists call
a cultural stratum?
skin stripped from a living epoch
laid out on the earth, a bloody rag
before this epoch began we
listened absentmindedly to the news and lived in cities
with drama theatres in parks full of pine trees we
were naive and beautiful we didn’t have to get excited about
the single cabbage we hunted down in the empty
supermarket we
were like children brushing our teeth in the morning we
would learn the names of places
aleppo sanaa mekelle
where the epoch, skinned alive, lay in convulsions,
its skin cast aside soaking the ground in blood
waiting for future archaeologists but we
would always forget those names
we would finish brushing our teeth we’d put on our
new trainers and grab a coffee in the kiosk
go down into the metro without having to pick our way
through people sleeping on the platforms we
were creatures made of a different sort of material
softer and pinker we would
explain to our children what war is the way you might explain
what the south pole or the planet mars are and not
like you might explain why you can’t stick your fingers in the electric socket or
climb onto the windowsill when the window is open we
didn’t even know
in that past life so long ago
how many steel centimetres of pain
can be plunged so easily
into our soft, pink bodies
21 March 2022
A BIRD
all day I walk around
keeping your name under my tongue
afraid to say it aloud lest
it escape and fly away
over the city in which
for twenty days now nobody
turns on the lights at night
between the stars and comets
and artillery shells
whose trajectories, in truth, are unknowable
a small bird
with a great red voice
a small bird
with a bitter seed of sorrow in its beak
but if it were to drop the seed by accident
then even from this
mutilated ground
it will grow into
a great tree
of love
16 March 2022
HISTORY SLEEPS AND DREAMS
when my grandmother
would tell me
about how she
at eighteen
was an ostarbeiter in germany
her stories seemed like dreams
in those dreams strangers
in a strange land
brought from afar in cattle trucks like cattle
knitted socks from ropes
hanged themselves in greenhouses on german farms
rode bicycles
fell in love
I think that maybe to her
a seventy-year-old
when we were talking
it seemed that
she had dreamed it all
the cheerful french prisoners of war
the rosy-cheeked girlfriends with lavish curls
whom she never saw again after the war
who were later greedily devoured
by the always-hungry red motherland
and only postcards
with rosy-cheeked bourgeois angels
signed for aniuta
testified to something
bled ink
into wooden desk drawers
today my mother’s friend
who just got out
of brovary through a humanitarian corridor
tells us
about a woman
who seasoned a dinner
for russian soldiers
with rat poison
(the surviving russians
razed ten houses to the ground)
about a man who was shot in his own car
and remained sitting in it
for three days
about how when they ran out of food
people ate nuts and honey
just like st john the baptist in the desert
her stories seem like dreams
a collective nightmare
from which we struggle to awake
in the depths of which
roam restless empires
devouring their own children
as befits such mythical monsters
in this dream
as in a thick fog
we stumble around one another
my late grandmother
her curly-haired girlfriends
the german farmers
the rosy-cheeked big-eyed angels
the man shot dead near brovary
the woman with the jar of rat poison
the russian conscripts with bulging eyes
and blue tongues
and my mother’s friend’s nephew
still so very young
killed on wednesday
in the territorial defence
we catch each other with our elbows
exchange unseeing glances
and eat obediently
spoon after spoon
of this thick
bitter
darkness
31 March 2022
ABOUT THE CONTRIBUTOR
Iryna Shuvalova
is a poet, scholar, and translator from Kyiv, Ukraine, based in Nanjing, China. She is the author of four award-winning books of poetry in Ukrainian and of the bilingual Pray to the Empty Wells (Lost Horse Press, 2019). Her latest collection Stoneorchardwoods (2020) was named poetry book of the year in Ukraine, and her new book The Ending Songs is forthcoming in 2023. Her work has been translated into 23 languages.Uilleam Blacker is a lecturer in comparative Russian and East European culture at the School of Slavonic and East European Studies, University College London.