Poetry |

“From the Bug River Area,” “Wind Blowing Through the Holes,” and  “Landless Boys”

From the Bug River Area

 

My great-grandfather played the violin in white gloves

until his hands were hacked off by men searching for gold

and gold watches. Then off the Soviets went beyond the river, to another

time zone. A better fate awaited the violin.

The general’s wife, all star-struck, lost her head for it

and buried it in the garden, so that it would

sprout in the spring, when nude girls

turn into forage fish for large predatory fish. And

the gloves? Ah, the gloves.

 

*     *     *     *     *     *

 

Wind Blowing Through the Holes

 

My first country, where Hitler stamps are a currency

exchangeable like ivory in the outposts

of white missionaries. Five stamps for a rope

of beads or a round of prayers for every

execution in the family. Mother

remembers standing against the wall, but

she’s alive because he was a good German, so there’ll be

no prayers. From that time, I inherited a helmet full of holes

that’s vintage Nazi and a bayonet. Who could’ve

sensed that as we were saying

goodbye, a rocket barrage

would level half of our city? In the other

a rat is hiding, our silent ally, who

spied on us while we, gazing into each other’s eyes,

made love, and with this picture

in his brain, he’ll live a moment longer.

 

*     *     *     *     *     *

 

Landless Boys

 

When the bank repossessed his plot outside

the city limits, and his pal, who clumsily played

his guarantor, stopped recognizing him,

we went to the meadow, to splash

in the Pilica River. In my bag I brought a Scholl’s

nail clipper, since it’s come in handy before, ditto

the sub, which we, as if pinned down

by hunger, split and ate right away, though

it wasn’t a hunger in the basic

sense of the word. Reshuffling began on the meadow.

Ants took charge — on our heels, between

our toes, on the straps of two hastily dropped pairs

of sandals. The sun was fulfilling, the finger nails

dug into the ground, and the river, in defiance,

was no longer a border.

 

*     *     *     *     *     *

Jerzy Jarniewicz  (b. 1958 in Lowicz) is a Polish poet, translator and literary critic, who lectures in English at the University of Lodz. He has published 12 volumes of poetry, 13 critical books on contemporary Irish, British and American literature, and has written extensively for various journals, including Poetry Review, Irish Review, Cambridge Review. His poetry has been translated into many languages and presented in international magazines, including Index on Censorship, Paris Review, Poetry Ireland Review, Oxford Poetry, The American Poetry Review, Poetry Wales, and in The Penguin Book of the Twentieth Century in Poetry (1999). He is editor of the literary monthly Literatura na Swiecie (Warsaw) and has translated the work of many novelists and poets including James Joyce, John Banville, Seamus Heaney, Raymond Carver, Philip Roth, Edmund White, and Derek Walcott. His most recent works are two anthologies Six Irish Women Poets (2012) and British Women Poets (2015), which he selected and translated. In 1999, he attended International Writers Program in Iowa, in 2006 he was writer-in-residence at Farmleigh, Dublin, and in 2010 he won the Ireland Literature Exchange bursary for literary translators. He has lectured at many universities, including Harvard, Cambridge, Oxford, York, Sheffield, Preston, Dublin, Belfast, Prague, Giessen, and Magdeburg.

Contributor
Piotr Florczyk

Piotr Florczyk’s books include the poetry collections From the Annals of Kraków, which is based on the testimonies of Holocaust survivors, Dwa tysiące słów, and East & West, as well as numerous volumes of translations, including Invisibleby Jacek Gutorow, named Poetry Book Society Translation Choice Autumn 2021, and Building the Barricade by Anna Świrszczyńska, which won the 2017 Found in Translation Award and the 2017 Harold Morton Landon Translation Award from the Academy of American Poets. www.piotrflorczyk.com [Photo credit: Dena Florczyk]

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