Julia Fiedorczuk
Translated from the Polish by Bill Johnston
in what language should I speak to you, sun
so you'll rise tomorrow for my child, so you'll
rise and stimulate the growth of our food,
circulation,

how should I sing it for my child
how should I sing to you, planet, so you'll forgive me
for giving birth to appetite, for giving birth
to a question

hooked onto nothing, how can I win
the generosity of the creator-bacteria
how can I win clean rain air glucose
la la

so we'll lie down and fall asleep, so we'll wake up
so we'll lie down and fall asleep, so we'll wake up,
gravitation:
                                                                 tfi
la la

so you'll lie us down and fall us asleep, and wake us—



Psalm III

w jakim języku mam do ciebie mówić, słońce
żebyś jutro wstało dla mojego dziecka żebyś
wstało i pobudziło tkanki pokarmów
krążenie

jak mam to zaśpiewać dla mojego dziecka
jak mam tobie śpiewać planeto żebyś wybaczyła
że urodziłam głód, że urodziłam
pytanie

zaczepione o nic, jak sobie zaskarbić
szczodrobliwość stworzycielek-bakterii
czysty deszcz powietrze glukozę
la la

że ułożymy się i zaśniemy, że się obudzimy
że ułożymy się i zaśniemy, że się obudzimy
grawitacjo:
                                                                tfi
la la

że nas ułożysz i zaśniesz, i że nas obudzisz—
from the book PSALMS / University of Wisconsin Press
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Color headshot of poet Crystal Wilkinson, wearing dashing spectacles
"The Ghosts of Black Appalachia"

"When Crystal Wilkinson wants to summon her kitchen ghosts, she retrieves a fuchsia-hued dress from her closet and hangs it in the doorway. The sturdy, double-hemmed garment invites her grandmother Christine, who sewed it by hand and wore it often before she died in 1994, to join her. The dress acts as 'a literal and metaphorical tethering to her and this matriarchal lineage.'"

via THE NEW YORK TIMES
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Cover image of Al-Saddiq Al-Raddi's book, A Friend's Kitchen
What Sparks Poetry:
Shook on Al-Saddiq Al-Raddi's "Asylum Papers"

"Working closely with Saddiq, we developed an intimate process of co-translation across continents. Starting with Bryar’s initial cribs, we returned to the Arabic together, experimenting and reworking the transfer of some poems’ complicated syntax into English and unpacking the poems’ many allusions. Because of our close relationship with Saddiq, we were able both to clarify imagery specific to the Sudanese context and to seek his approval for some of the bolder leaps we hoped would make his poetry sing in English as it does in Arabic."
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