Monday, June 27, 2016

Announcing the winner of the 6th “Arthur Halvajian Memorial” Armenian Poetry Competition - Student category

The winner in the Students category (ages 12-17) is:


The Wind and the Pomegranate
by Elizabeth Dovlatyan

The wind snatched the little pomegranate from the tree.
When it fell on the grassy knoll, the relentless wind

forced the little pomegranate to roll up mountains,
down the rocky hills, pass flowers, bushes, and fences.

The wind kept blowing. The pomegranate couldn't
bear the torture. It went through rosebushes.

Thorns cut right through her. Her jewels spilled out.
She could no longer move from the wind.

This was the end
of the little pomegranate… or was it?


Congratulations to Elizabeth. 

Honorable mention to Lorents Assadourian for his poem "Experiencing Vegas".

Many thanks to Shahé Mankerian, Principal, St. Gregory's A. & M. Hovsepian School, Pasadena, California. 



Sunday, June 26, 2016

Mihran H. Azhderian: Things

But this? What
is it? ... And that and that.
All are pirouetting
in a flight.

Oh how I cling
like a bat to any wall
in the void:
to any gossamer...

to a mere dust
of moonlight straw
pirouetting
(Oh how I fail I fall)

in the void.


Mihran H. Azhderian, Fruit Under Leaves,  Howell-North Press, Berkeley, CA, 1946


Saturday, June 25, 2016

Mihran H. Azhderian: Shadows

Here now

mistress clair
de lune
weaving her tune -
ful tuneful wiles.

On land
water and air

(here now)
over night's essential theme.



Mihran H. Azhderian, Fruit Under Leaves,  Howell-North Press, Berkeley, CA, 1946

Friday, June 24, 2016

An author, a book: Mihran H. Azhderian and "Fruit Under Leaves"



Pierrot in Metropolis

Let us
each be
frivolous a pea
or a lettuce.
Planted shallower than the least deep
down down
in middle of town
let's weep.


Let us stand like silly
lettuce
or white lily
'midst the multitude.
And as prelude
to our moist laugh over tears
shed for vain fears


let us
dressed like silly
lettuce
or white lily
be clown
and in the deep
tall town
let's weep.


Mihran H. Azhderian, Fruit Under Leaves,  Howell-North Press, Berkeley, CA, 1946










Monday, June 20, 2016

Honoring Peter Balakian, 2016 Pulitzer Prize Winner for Poetry



Join us to honor

PETER BALAKIAN

June 27, 2016 at 7PM
John Pashalian Hall
Saint Illuminator Cathedral
221 East 27th Street, New York, NY

Book Presentation and Reception


Professor Balakian’s work will be presented by Professor Khachig Tololyan
Reception to follow
Signed copies of “Ozone Journal” will be available.

Monday, June 13, 2016

Յովհաննէս Ասպետ։ Գարնան Կանչ

Գարուն դու նորէն կը վերադառնաս,
Կեանք ու եռանդով.
Կը տոգորես դաշտ ու ձոր,
Բուրեան ծաղիկներով.
Վերստին զգալ կու տաս քու վայելչութիւնը՝
Մեր սրտերը ոգեւորելով։

Իմ կիսաթոյլ զգացումներս կ՛արծարծես,
Բոց ու կայծով.
Օհ, սիրուն գարուն տար իմ պանդուխտի ողջոյնը՝
Իմ հեռաւոր գիւղիս,
Ու իմ կարօտալի աղերսանքիս,
Պատասխան մը տուր։

Իմ բեկուած սիրտը՝ վերակենդանացուր
Սիրով մ՛ուժգի՝ն,
Որ սլանամ, հասնիմ անսպառ իմ սիրոյն
Տենդոտ համբոյրին.
Ա՜խ, յիշեցուր իրեն ալ, որ վերադառնայ
Իր տունը նախկին։

1964 Այնճար

Thursday, June 09, 2016

ԼՕԼԱ ԳՈՒՆՏԱՔՃԵԱՆ: ԱՅՍՕՐ

Այսօր գործս է թանգարան երթալ՝
Բարեւել հոն ապրող գոյները,
լոյսերն ու շուգերը.
մոռնալ անցեալը ու
երեւակայել ապագան։

Այսօր գործս է գիրք կարդալ՝
վերյիշել առօրեան, կեանքը ու հասարակ մարդը.
գրել քերթուածներ ու
ստեղծել նոր գաղափարներ։

Այսօր գործս է ներկել՝
չափել ու կիսել թուղթի էջերը
կատարել վրցինին մենապարը,
նախքան ջուրին հետ սիրաբանութիւնը։

Ինքնանկար մը.
վերացական պատկեր մը.
դիմակ մը.


Այսօր գործս է ստեղծել։


ԼՕԼԱ ԳՈՒՆՏԱՔՃԵԱՆ, Նիւ Եորք
Լոյս տեսած է ՀՈՐԻԶՈՆ գրականին մէջ, Մայիս 2016

Friday, June 03, 2016

Talin Tahajian: No Vacancy by

You say, look at me, and I say,
this is a house, and when you say
that bellboys cannot be counted
and preserved between the folds
of your neck, I say that we should
name the rooms on the sixth floor
after the presses and magazines
and professors who never liked us,
and you mention Little, Brown & Co.
and Dr. Greene, and suddenly
we are coughing colors, and you
tell me that you don’t appreciate
waking up to cold mugs of coffee,
unsweetened because this honey
is stilted with flies, black blood
mushrooming in our peach tea
like storm clouds, and I am sorry
about anemia, lost jobs, living
in a hotel room for fifty-one days,
stale mornings spent taping together
playing cards, turning to you

and pleading, this is a house.


This poem appeared in WordRiot blog.

Thursday, June 02, 2016

Talin Tahajian: IMAGE AS FISHMONGERS

I have seen you as fishmongers
in an effort to forget. Twelve of them

selling thick pearls of meat.

All of them are you. Headless

as prawn. Bass filleted & frozen, muscle
grey as dusk. I know what it is like

to lie naked across ice, feel flesh slice.

I pretend to know.

      • •

I want to know what you passed into my mouth
as you slid upward, chest first. I remember a fisherman

unloading his boat. Herring packed
into a tackle box, snug bodies. Eyes slick,

glossy. Their silver is something I want to ingest.
I bite their eyelids softly, pull them shut.

      • •

There is nothing here
that I want to remember as fact. It is a fact

that every person believes they are more than a god.


That is the part of me you harpooned. Cut your name into.


This poem appeared in Kenyon Review

Tuesday, May 31, 2016

Melissa King: An interview with sisters

The younger’s fidgeting embarrassed the older,
the “good Armenian daughter” in her UCLA sweatshirt,
modest ponytail and disguised eyes.
The dirty orange chili fries were meant to distract us,
give the younger sister something to do
with her paint-flecked, swaying hands
which flung her emotions all across the sticky table
into the ice-cold, air conditioned atmosphere where
it twisted into an apricot thunderstorm
catching us up in it so I couldn’t breathe,
causing her sister to cry tiny tears and whisper
“I can say nothing.”

They were shifty, textured mirrors of one another,
energies moving in tandem,
and private broken windows
into different experiences of survivorship
that only they could look through,
sharing desire across the borders of Armenian-“ness,”
their way of protecting self and sister
from angry alcoholic rants,
sleeping in a cold car out of frustration,
or collapsing, a sudden wild breath
of memory, loneliness, a death in the family,
tortured at not remembering how to play chess,
too intimate to talk about
but so loud the thunder and lightening: “When
is it going to be enough?”

I can say nothing.

Copyright 2016, Melissa King

Monday, May 30, 2016

Melissa King: Akhtamar Effect

Copper, warm, and silent on the wall,
Akhtamar stares east and I write
my academic body, 
thinking of her desperate desire for the other 
that she’s taken as a bridge, and the power
of time travel. 

She looks different here at home, 
frail and insecure with slim hips
not like by the black lake there
where she towers a Soviet warrior woman
over the forested shore and highway,
hands together above her head, looming,
ready to dive, fly in an arc over us
with our raisin buns at a red picnic table,
splash into that wormhole to save 
what remnants are left and bring 
back what was lost and drowned
in forgetfulness, remembrance, and the silences
of so many similar words over and over,
point the way to intimate communion, 
but she still doesn’t, waiting
like she has all these hundreds of years 
obedient and frustrated.
I understand that part.

When I remember the activists’ chant,
I rethink Akhtamar’s mythic patience, 
the waiting and watchfulness of a survivor 
for the crane of justice to hoist it all out of the water.
I raise my hands together over my head, 
in my dining room, where I write, 
My toes grasp sandy rocks under the table. 
I sense her tension 
and put her body into my words.


Copyright 2016, Melissa King


Melissa King is Faculty Chair of the Anthropology Department at San Bernardino Valley College in San Bernardino, California. Her anthropological research has concerned memory of genocide within Armenian American youth activisms in the Los Angeles area. She received her doctorate from University of California, Riverside, in 2013, and has both published and presented her ideas through such organizations as the American Anthropological Association. She has previously published poetry in Anthropology and Humanism


Sunday, May 29, 2016

Անդրանիկ Ծառուկեան։ Ուխտ Արարատին

Պիտի հասնինք, սրբազան լեռ, կատարիդ,
Երբ ջրհեղեղը ռումբերուն գտնէ վերջ,
Ու արիւնի ծովերն հագնին ծիածան...
Երբ մորթուած խաղաղութեան աղաւնին Վերադառնայ արհաւիրքի վիհերէն՝
Ձիթենիի հաշտարար ճիւղը բերնին,- Պիտի հասնի՛նք կատարիդ...


Քաղաքներէն, ճամբաներէն, դաշտերէն,
Աքսորի խուլ գռիհներուն խորերէն,
Պիտի շարքերը մեր խրոխտ փոթորկին
Մեր պապերուն խնդիր սուրբ երազին...
Պիտի փշրին մեզ իրարմէ անջատող Ճակատագրին սեւ պատնէշները բոլոր,
Պիտի հասնինք՝ մեր ջուրերուն ու հողին՝
Ամենասուրբ ըրած կարօտը շեփոր,
Պիտի հասնինք, թէ արեւներն իսկ փլին,
Եւ ճամբաներն ըլլան դժոխք ու արիւն,-
Պիտի հասնի՛նք կատարիդ...


Տե՛ս մեր շարքերը խանդաբորբ ու արի,
Տե՛ս մեր կարօտը՝ խոյանքով Վահագնի,
Տե՛ս մեր հոգին՝ քու ձեռքերուդ պէս մաքուր,
Ու կամքը մեր, տե՛ս, ժայռերուդ պէս ամուր,
Եւ հաւատա՛, գրանիտեայ ո՜վ աստուած,
Սրբազան լեռ, հաւատա՛,
Որ կը հասնի՛նք, մենք կը հասնի՛նք կատարիդ...





A Vow to Ararat


We will reach your summit, oh Holy One,
When the flood of bombs desists,
And the seas of blood are draped in rainbows.
When the butchered dove of peace
Returns from the abyss of distress
With the olive branch of amity in its beak,
We shall make it to the mountaintop…


From the cities, the streets, and the fields,
From the depths of the blind alleys of exile
Our people shall gallantly storm
And make our forebears’ dream a fact,
And the black walls of fate, which separate us
Shall disintegrate.


We will reach our waters and lands,
Trumpeting our Holy-of-Holies,
We shall reach, even if all stars crumbled
And all roads turned to blood and hell—
We will reach your summit…


Come, see our ranks flaming with fire and fervor,
See our yearning that soars on Vahagn’s* wings,
See our spirit, spotless as your hands,
See our will, solid as your stones,
And have faith, oh God of Granite,
Oh Holy Mountain, have faith—
We shall make it to the summit!



Antranig Dzarougian
Translated by Rupen Janbazian and Tatul Sonentz


* Vishapakagh Vahagn (Vahagn the Dragon Reaper) was a god of fire and war worshiped in pre-Christian era Armenia.


The following passages are taken from Antranig Dzarougian’s 1980 memoir, Ethereal Aleppo (Երազային Հալէպը). One of the foremost writers and editors in the Armenian Diaspora, Dzarougian lived and worked in the Armenian communities of Syria and Lebanon. Born in 1913 in the Ottoman town of Gurin (modern Gürün), Dzarougian was rescued during the massacres and brought to Aleppo, where he was raised in an Armenian orphanage. He is best known for a memoir about that period in his life, People without a Childhood (Մանկութիւն չունեցող մարդիկ), as well as for his long poem, Letter to Yerevan (Թուղթ առ Երեւան), and for the various pieces of prose and poetry published in Nayiri, the Aleppo-based, and later Beirut-based, literary journal that he founded and edited.-- Jennifer Manoukian, The Armenian Weekly

Friday, May 27, 2016

James Najarian: Kleptomania

Start simply. Thieve small.
And stay on the ball.
Take nothing that matters—
     lost screws, ticket stubs, French fries from platters.

Now steal something better:
a breath or a letter.
Then take someone’s time.
     Practice makes perfect, and the perfect crime.

Then swipe the covers,
(the names of old lovers
will give you some tips).
     Kisses for others you take on the lips.

Loot tongues for secrets—it’s
using your wits,
and occasions abound.
     Astounding what people leave lying around!

Why not go on?
Be a Pro of a Con—
filch a heart for a day.
     as soon as you’re done with it, throw it away—

or keep it for longer.
Your skills will get stronger.
Who’s keeping tabs?
     Everything, everyone, is up for grabs.


© The Author 2015. Published by Oxford University Press on behalf of the Association of Literary Scholars, Critics, and Writers. All rights reserved.

Thursday, May 26, 2016

James Najarian: The Dark Ages

I
For years, my mother shuttled from her garden
to the stove, from barn to sewing room to sons,
her life like an unopened work of history.
Then came the silences. Was she tired? Bored?
She hovered in her kitchen the whole day.
Skillets and glassware tumbled from her hands,
her face a cast of lead. Her garden shrank
to towering, weedy greens and wiry vines.
We did not plow it for the coming year.

II
Late Roman Britain had begun to turn
even before the soldiers were withdrawn.
With the seas unguarded, little was brought in.
Ale and lard replaced Rome’s wine and oil.
The towns dispersed, as townsfolk headed to
the countryside to try the earth. At first,
the city fathers decently tore down
deserted baths and temples. Villas crumbled.
Those who stayed grew barley in the ruins.

III
She had trouble walking, or rather starting
walking -- her feet seemed bolted to the ground,
the brain not ordering its provinces.
She spoke a rote “no, thank you”; rarely “yes.”
Her kingdom dwindled to a bed and toilet--
a quilt she planned still hanging from the wall,
bright calicoes once basted to white flannel,
seed-packets, knitting, quiet as offerings --
her life now archaeology around her.

IV
Eventually, Rome took its army home.
With Rome went every skill. The coarse pots made
in native kilns, declined, then disappeared.
Foundries halted, and with them nails vanished.
The people foundered barefoot in the mud
as shoes could not be made--or coffins either.
The dead were thrown directly in the ground.
Silt clogged the cities’ sewers. Canterbury
dwindled to a pasture, York a marsh.

V
In daylight she may keen for hours, unaware.
All night she shrieks, but does not hear her sounds.
She grips a toy she’s had since she was small,
a drowsy chimpanzee whose eyelids close.
Nurses have put her in a safe low bed;
half-buried in her sheets, she is a baby
lost in a little boat. She knows my name,
but wails, and can’t say why. At times I can
make out a single word: “no, no, no, no.”

VI
The towns and villages have emptied out.
We gather in our clans amid the dregs,
atop a hill-crest or a crumbled fort,
dwelling among the swine we kill each fall,
gorging because we cannot let them waste.
Our women scrounge for bits of bead and bronze.
They roast our gritty roots right in the fire,
or cook in cauldrons dug from ancient graves,

sepulchri: pots that once held human ashes.

James Najarian Wins 6th Annual Frost Farm Prize for Poetry

Reprinted from the Armenian Weekly

DERRY, N.H.—The Trustees of the Robert Frost Farm in Derry, N.H., and the Hyla Brook Poets announced that the winner of the 6th Annual Frost Farm Prize for metrical poetry is James Najarian of Auburndale, Mass., for his blank verse poem, “The Dark Ages.”


The prize was judged by David J. Rothman, Director of Western State Colorado University’s Graduate Program in Creative Writing. Najarian receives $1,000, and publication in The Evansville Review. He will also be a featured reader at the Hyla Brook Reading Series at the Robert Frost Farm in Derry, on Fri., June 17, at 7 p.m. The reading kicks off the second annual Frost Farm Poetry Conference (June 17-19).
“‘The Dark Ages’ participates in what has become, over the last several decades, a recognizable sub-genre of the elegy, even if it is an elegy of death-in-life: the Alzheimer’s poem. This poem differs from all others on this theme I have ever read, however, in its successful use of an extended metaphor, in which the poet implicitly compares the mother’s loss of memory to the aftermath of the Roman departure from Britain. The poem’s six stanzas of blank verse, each nine lines long, alternate starkly between painfully clear-eyed description of the mother’s decline, and comparably evocative reimagining of the advent of ‘the dark ages,’ with the loss of wine and oil, the abandonment of towns, the vanishing of nails and so on,” said Rothman about Najarian’s poem, adding, “The result of such a strategy might have seemed predictable, but with an unsentimental eloquence and restraint that only make the unstated pain and loss that much more powerful, the poet never rhetorically asserts the connection between the alternating sections, but simply lets them stand and resonate with each other until the personal and the historical merge in ways that illuminate both. This is compelling, masterful work, not only technically adroit but also thematically fierce and focused, and emotionally profound: an intense yet also measured depiction of destruction and grief.”
Rothman went on, “With more than 600 entries, this year’s submissions to the Frost Farm Prize for Metrical Poetry presented a tremendous range of subjects, themes, tones, styles and techniques. After spending many hours with them, my overwhelming impression is that hundreds upon hundreds of poets continue to care about craft.”
Najarian grew up on a goat farm near Kempton, Pennsylvania. He teaches nineteenth-century poetry and prose at Boston College, where he directs the Ph.D. program in English and edits the scholarly journal Religion and the Arts. His poetry has been published in West BranchChristianity and LiteratureTar River Poetry, Southern Poetry Review, The Literary Imagination, and other journals. He also published a scholarly monograph, Victorian Keats, with Palgrave Macmillan. His manuscript of poems, An Introduction to the Devout Life, has made finalist several times at volume contests, and is seeking a publisher.

The judge read all 646 anonymous entries and, in addition to selecting the winner, chose six poems for special recognition as Finalists and Honorable Mentions:
Finalists 
“Julia Hungry” by Hannah Poston of Ann Arbor, Mich.
“The Chromatist” by Aaron Poochigian of New York, N.Y.
“Crush” by Brian Brodeur of Richmond, Ind.

Honorable Mentions
“Memento” by Catherine Chandler, Saint-Lazare, Quebec, Canada
“Black Impala” by Jon Volkmer of Telford, Pa.
“The Undersigned” by Aaron Poochigian of New York, N.Y.

About Frost Farm Poetry
Frost Farm Poetry’s mission is to support the writing and reading of poetry, especially metrical poetry. The Hyla Brook Poets started in 2008 as a monthly poetry workshop. In March 2009, the monthly Hyla Brook Reading Series launched with readings by emerging poets as well as luminaries such as Maxine Kumin, Sharon Olds and Richard Blanco. From there, the Frost Farm Poetry Prize for metrical poetry was introduced in 2010, with the Frost Farm Poetry Conference beginning in 2015.

http://www.frostfarmpoetry.org/prize/

Thursday, May 19, 2016

Խոսրով Ասոյեան։ Բագին

Վանի կողերը
կ՛այրին,

ատրուշաններ
խողազուրկ
յոգնած,

կ՛որոնեն կանչը
կոչնակներուն.

կռունկներ
կտուցներով
կարմրաթաթախ
կարկամ
կ՛ողբան,

բերդաքարեր
մորթիներով
բեռնաւորուած
պղծուած
անտուն,

մայրավանքեր
խոշտանգուող
տառապող
ամէն օր,

Արեւագալի
շողերուն հետ
շողերուն պէս
կը դողան,

մեղեդիներ
շրթներով
շնչաթաղ
շնչահեղծ

«Տէ՛ր, ողորմեա՛…»
կը մուրան,

Նարեկի
էջերէն
թաց
տողերէն
խոնաւ
մոռցուող,

Խորանին վրայ
արիւնլուայ
բռնաբարուող…

Հացեկացի
կողերը լքուած
մամռապատ,

հառաչանքով
աղերսանքով
բեռնաւոր կ՛ողբան,

Մաշտոցի Սուրբ
տառերը
որբ,

Ժամանակի
որոգայթին դէմ պայքարող,
բառերուն պէս
բառերուն հետ
հնչիւններուն

կը պղծուին
կը կորսուին
ամէն օր,

էջերուն պէս
կողերուն
մգլոտած
մսող…

Ծիածանի
օրերը
կը խախտին,

կը մերժուի
խորհուրդը
գոյներուն,

կը բոսորանայ
երկնակամարը,

կը մթնի,

կը փշրուի
համակարգը,

կ՛օտարանայ
համանուագը…



Խոսրով Ասոյեան, ԿԱՆՉԸ, 2011