by Richard Byrt
Last December, I attended a pre-launch of the anthology, Poetry and Settled Status for All, edited by Ambrose Musiyiwa, and published by CivicLeicester in January, 2022. The event was held on Zoom as part of the 8th annual Leicester Human Rights Arts and Film Festival. A recording of the event is available, through CivicLeicester on YouTube.
The poems and short prose pieces in the Poetry and Settled Status for All anthology, including those read at the pre-launch, concern the experiences of refugees, people seeking asylum and other immigrants.
The following was originally published as the afterword to the collection Love after Babel and Other Poems by Chandramohan S, published in January 2020 by Daraja Press. The collection won the Nicolás Cristóbal Guillén Batista Outstanding Book Award in January of this year. You can order a copy direct from Daraja Press here.
They ask me why do you write poems?
I write poems – the people have the right to…bear arms.
These lines, taken from his one-stanza masterpiece ‘Why Do I Write Poetry?’, encapsulate the very essence of Chandramohan S’ approach to his craft in his third collection, Love after Babel and Other Poems. These poems are unapologetically weapons, fighting against the pre-modern notion of caste in all its insidious 21st century glory.
Content warning: references to and short descriptions of sexual harassment, sexual violence, xenophobia, homophobic & transphobic abuse.
Made by Sea and Wood, in Darkness, the debut novel by Alexandros Plasatis, weaves together a collage of stories that tell the experience of Egyptian immigrants in Greece through a variety of voices. The stories are primarily set in and around Café Papaya in Kavala, where Pavlo the waiter works nights, acting as both a main character and an observer of the Egyptian fishermen. In snapshots of a male underworld, violence dominates this narrative, as the central female character Angie the barmaid fights against being cast as a victim.
by Ana M. Fores Tamayo
Continued from Part I here.
When the police in Guerrero, Mexico told this young woman to leave their station, not to report her missing brother or something worse could happen, she realized she could not count on the police’s help to go after the cartels. Luckily, her brother was returned, beaten up but alive. hen she began to get harassed later that year, because she saw a woman abducted and then murdered, when she began to get subsequent death threats, when she began to hear that they were going to take her small son unless she complied to whatever they wanted from her, when they began accosting her sexually — so that she had to leave her job — she knew she could not go to the police: she had learned her lesson that first time.
by Justin Reynolds
Two thousand years ago this winter, a heartbroken Roman nobleman died far from home by the frozen shores of the Black Sea.
The poet Publius Ovidius Naso, known to the world as Ovid, had lived a very different life from the millions of Syrian refugees who today find precarious asylum in nearby Turkey, or the Rohingya, further east, camped in the fields of Bangladesh. But he too knew the pain and bitterness of exile.
In Rome, together with his contemporaries Horace and Virgil, he had been lauded as one of the greats of Latin literature. He was certainly the most fashionable. Born into the Roman aristocracy and enjoying the patronage of the legendary benefactor Maecenas, Ovid had won fame with his sly, knowing love poetry, before writing one of the classics of world literature, the Metamorphoses.Continue Reading
by Alex Valente
Original Italian by Verusca Costenaro (1974 – ), ‘Il coraggio che fa primavera’
It’ll be from your comicseyes
that a new courage will rise
for the autumn, it’ll tangle in the wind
and the wind will paint it snowinter
so that the sun may thaw it
fresh in spring, it’ll be
a bearing of violets and mixture of calls,
cerulean choir bearing life in the background to desire,
the sprint of wings on the field, to feed on the grass that will grow,
summervoice adorned of an evergreen yellow,
a remedy to the fears brought by good
dreams of a small evening in august.
Featured image via caffellattefirenze
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by Laura Potts
This year’s degree show was of striking magnitude. The work in all departments was of a very professional standard, with the textiles department in particular showing great craft and display skills with their breathtaking exhibition. These high standards were maintained throughout, even into the degree show shop, which housed snippets of work for sale.
by Alex Valente
Original Italian by Anna Belozorovitch (Moscow, 1983 – ), ‘Il porto’ from Il Debito
The harbour breathes as everything changes;
it carries in its womb the still change,
the evolution to turmoil-based unexpectedness,
the summer heat. And it makes no soundContinue Reading
by Carmina Masoliver
I was given this book shortly after its publication in 2013 by mi abuelito, Juan Antonio Masoliver Ródenas, whose work is featured in the anthology of short stories, memoirs and poems. Currently living in Spain, it felt like a good time to read the whole book. The collection showcases twelve contemporary writers, in both Spanish and English translation, and definitely has a modern, experimental feel to it. The use of first person throughout blends the line between truth and fiction, and despite often feeling personal, there is always a sense of the political throughout. Continue Reading
by Alex Valente
Original Italian by Ada Negri (1870-1945), ‘Non è ancora primavera’
Spring? It’s still early February
and there is plenty of snow to fall, still:
still plenty of cold to bite.
And yet, now that I consider it
and take a better look around,
the announcement of Spring is not just
on the mouth of the flower seller
left on the corner of the road.Continue Reading