Christine Orchanian Adler: Middle Space

Early Sunday I hug my son off

to school; his cool-skinned arm

wrapped around my back, a warm,

whiskered kiss against my cheek.

After he’s left I get the call:

his cousin, a passenger,

car crash last night. At high

speed, tether-free, they rolled,

were thrown. “No survivors,”

my brother breaks down.

Devastation splits me open

like a rock in summer sun.

I imagine his son, the same

young age as mine; man-boy

with parenthetical freckles around

an ever-ready grin.

Evidence of another statistic,

the roadside stone, heavy

and unyielding as grief

is already laden with flowers.

In coming months I will drive

by the site. My heart

will clench as sunlight strikes

the stone without warning, glints

like a flare: there

then gone.

My son drives toward

his dorm, alive, still

in the world

of before, his future

stretched ahead like the bright

clear sky, awash with light. Dry-eyed

before absorbing the weight of my brush

with a mother’s greatest loss

I reach slowly for the phone

to bring him home.

This poem has appeared in Tipton Poetry Journal, Issue #15, and is reproduced by kind permission of the author.

Introducing Christine Orchanian Adler

Christine Orchanian Adler is a writer and editor whose poetry has appeared in Coal: A Poetry Anthology, Penumbra, Tipton Poetry Journal, and online at Bird and Moon, Damselfly Press, The Furnace Review, LiteraryMama and elsewhere, and is forthcoming in Inkwell Journal. She holds a Master’s Degree in Creative Writing from Manhattanville College. Her articles, essays and book reviews have appeared in various publications throughout the Northeastern United States and Canada. She blogs at www.feedalltheanimals.blogspot.com, and lives in New York with her husband and two sons.

Christine Orchanian Adler: Mine

The year my dad’s back

gave out, Doc Hadden read the tests

and sighed, “black lung” while mother

stood apron clad with hanky-pressed mouth,

dry eyed. Some months later came

her call, a blinking light left, found

upon my tired return from

a medical research cram.

I pulled the indexed notes, stacked

so neatly in my bag and sat,

listened to her words and flipped

through detail-crowded cards,

each a meticulous list

of disease and lethal symptoms.

I’d read their names, drop my eyes

test myself: Scrofula: tubercular

infection; impacts throat lymph glands.

At twenty, he’d followed his father

into the seams, ceilings dripping water. He’d lie

in mud, supine, nineteen working inches

lit only by his miner’s lamp.

Yaws: chronic, relapsing infectious

illness; spirochete caused; cannot penetrate

skin. Influenza: virus; changes by mutation.

The day he told me the story of Macbeth,

the mine that blew a dark March day

and took his father’s life, I knew the chain

would break. Pneumoconiosis: also known

as black lung disease; two forms—

simple and progressive massive fibrosis.

Miners who’d once gone below

in dark of early morning trudged

over those same entries bearing

stretchers, mangled corpses of family men.

He’d rushed the vast black cavity of Macbeth

Mine that day, stood among the town waiting.

They’d remain long, dark days, edge

the mine’s mouth while rain poured down,

a town of immobile kin. The mournful

cable whine brought them to the surface

body after body

but the screams of widows rising

at each man’s recognition haunt

my father still. “It’s all we knew.”

He shrugged his burly shoulders, pointed

his eyes downward when I made

medical school my goal

instead of coal. “It’s over,”

her voice fell flatly in the room.

Cards fluttered to the floor

while I sat, eyes down understanding

that the only life I’d saved

by breaking the chain was mine.

This poem has appeared in Coal: A Poetry Anthology, and is reprinted by kind permission of the author.

Արամ Քէթէնճեան: Կեղծիք

Քո դէմքը նուրբ է, շողշողուն, պայծառ.
Ինչ է օգուտը երբ սիրտըդ է քար...

Խօսքըդ հոտաւէտ, արեւաբոյր է.
Ինչ է օգուտը, արմատը ժահր է:

Մեծ է քո խելքը, մտքերով վարար.
Բայց օգուտն ինչ է երբ հոն կայ խաւար...

Ջերմ է ժպիտըդ, ձիւնն անգամ կիզող.
Բայց օգուտն ինչ է, այն կեղծ է, քանդող:

Իրանըդ փափուկ, մետաքս է քնքուշ.
Ինչ է օգուտը, երբ խորքըդ է փուշ:

Դու էակ մըն ես զմայլիչ, սիրուն.
Բայց օգուտն ինչ է... հպարտ ես, փքուն:

Դու հրեշտակի պէս տեսք ունիս դիւթիչ,
Բայց՝ հոգիդ չար է եւ օգուտըն ինչ...


Արամ Քէթէնճեան
2012թ. ( նախապէս անտիպ)

Michael E. Stone: Grigor’s Name

The monastery is gone,

except for parts

cut out of bedrock.

A cistern,

deep and dark,

raised stone edge,

round mouth,

no cover now.

Crumbling white mosaic,

missing partly,

frames for designs

marked but empty.

Grigor left his name

in coloured stones,

at the cistern’s edge.

Hot, sun burns,

desert spreads below,

all the way to the Jordan

and the road to Jericho,

past Euthymius’ lavra

at the Red Khan.

May 2009, Jerusalem

Celebrating the publication of Armenian Poetry of Our Time

Sunday, July 22nd, 2012 at 4pm



Celebrating the publication of Armenian Poetry of Our Time

with

DIANA DER-HOVANESSIAN, translator
and other poets reading in English


VICTORIA AVETISYAN, soprano, Boston Lyric Opera
and
YEGHISHE MANUCHARYAN, tenor, Metropolitan Opera
singing in Armenian

Longfellow National Historic Site, East Lawn
105 Brattle St., Cambridge, MA

Helene Pilibosian: Á LA COURBET

The Armenian language

did its line dance

while melding with Marseilles,

its alphabet shimmering

like 39 placemats

in gold or silver,

depending on fact

and weather in Gardanne.

The Armenian language

informed us of aunts

with silvered hair,

of an immigration

that was the foundation of a home,

of meeting open markets

with rabbits hung

on rungs of the practical turn.

The Armenian language

spoke its embrace,

heaved a sigh

for what was

and what could have been,

gave its enunciations

to some craggy tales,

then let us go on.

This poem was appeared in G. W. Review

Helene: Pilibosian: NO BOUNDARIES

I set Armenian miniatures

on a table before me,

their colors not muted by years,

their shapes worshipping centuries.

Their kneeling figures

spoke to my fears,

words they might have uttered

not always teaching by treading lightly.

The application of haloes

was faded in scope

but not in hues transfigured

by their original approach.

Reds and blues dominated

and conformed to the brush

as dark gold of haloes

drew the symbol of circles.

Their women, few, crossed my paths

as if some ancient memory

redrew them here

or took my consciousness back

to where I was searching

for their daily walk,

perhaps searching then and still

for a mother-figure.

Boundaries were blank

to this celebration,

this silent conversation

I had with the art of saints.

This poem has previously appeared in  Bibliophilus

Helene Pilibosian: HOUSE OF TOYS

I

I crank
the old phonograph
in a dream,
the song of Caruso
having slowed.

The past
is such a show,
a dream with a window
to open and close,
screened, cleaned.

I adjust
its cadence
to the song of life,
putting time
under the microscope
and spinning
with the stars.


II

The room is
large enough,
painted an accurate
shade of pink
to complement
the lights.

Dreams are toys
here. They
run on batteries
or they pretend
to prattle
at the children.

I throw a net
over those dreams,
metallic as the old
black stove that
seemed so perfect
when the trolley
ran on its track.

The clock strikes
midnight as children
of mothers become
adults and mothers
become grandmothers.
The clock strikes
upon the hour
of a life that is
wound for measure.


III


It is quarter past 10.
Business of the day
stirs baseball talk,
the exercise walk,
a change of counters,
calculations of painted
rooms and canvases
that draw lines
around the bronzing
of the sun.

It is quarter past
the dream
and a Magnificat
is playing,
praying,
evaporating into
a mystical mist.

It is quarter past
reality and
crickets of an August
that hugs us
are chirping.


This poem was a finalist in a Half Tones to Jubilee contest.

Razmig Davoyan participating in Poetry Parnassus in London

Razmik Davoyan is Armenia’s most prominent living writer, with 17 collections of poetry, three children’s books, three prose works and a novel published in his own country, and many translations published throughout the world. He published a dozen books in Armenian during the Soviet era, but three significant titles were blocked. His children’s poetry book, Winter Snowflake, Spring Blossom (1980), published in Russian, sold 450,000 copies in just two weeks throughout the USSR.


Born in 1940, he studied philology and history at university, and worked as an editor for a literary magazine before being appointed to a series of government posts, including Advisor to the President of the Republic of Armenia.

Razmik Davoyan has received numerous literary awards, including the Order of St Mesrop Mashtots (1997), the President’s Prize for Literature (2003), First Degree Medal for Services to the Motherland (2010), and the CIS Interstate Prize for literature (2012).

His official website is http://www.davoyan.name/bio.php







Եսենին

Տառապանքում կա ձայն,
Եվ ձայնի մեջ կա լույս,
Եվ լույսի մեջ ոգի.-
Եվ ոգու մեջ ահա դու կանգնած ես մենակ
Որպես տրուբադուրը չթվարկված զորքի:

Բարի՜, եղբայրորե՜ն ինձ ասում ես ապրիր,
Թող բուքը քեզ երբեք չհալածի,
Թող չծեծի՜ քամին, մտրակ չիջնի՜ վրադ,
Ոչ ոք քեզ ճորտության
Համար թող չվարձի,
Ասում ես ինձ՝ ապրիր ուրախ ու երջանիկ,
Առանց հարստության, առանց փառք ու գանձի,
Ասում ես ինձ՝ ապրիր անխարդավ ու աննենգ,
Ասում ես ինձ՝ ապրիր,
Ապրիր ՝ որպես բույրը ցորեն հացի,
Եվ մեկ-մեկ էլ կրկնիր ՝ «Եղբայր ենք մենք»:

Ոչի՜նչ, ասում ես դու: Մի՜ տառապիր, ոչի՜նչ,
Լեռները չեն չոքում քամիների վախից.-
Եվ օրորվում ես դու՜,
Եվ շնկշնկում ես դու՜,
Որպես տափաստանի մի անկյունում բուսած
Հավերժական թախիծ:

Ոչի՜նչ, ասում ես դու, ոչի՜նչ, ոչի՜նչ, ոչի՜նչ,
Տե՜ս, չի եղել ոչի՜նչ, չի լինելու ոչի՜նչ,
Մի պուտ եղբայրություն պահիր կրծքիդ խորքում,
Եվ չեն մթնի երբեք աչքերդ ջինջ:

Ես հավատում եմ քեզ, երբ նայում եմ ցավիդ
Եվ հավատում եմ քեզ, երբ նայում եմ ահիդ,
Եվ քո խաչը ահա ես տանում եմ հլու.-
Եվ չգիտեմ՝ վաղվա խաչերի մեջ
Մեր խաչն ո՞վ է արդյոք շալակելու:

Ոչի՜նչ, ասում ես դու, մի՜ տառապիր, ոչի՜նչ,
Լեռները չեն չոքում քամիների վախից.-
Եվ օրորվում ես դու՜,
Եվ շնկշնկում ես դու՜,
Որպես տափաստանի մի անկյունում բուսած
Հավերժական թախիծ:


YESSENIN

There is sound in suffering
And there is light in sound
And there is spirit in light

And within the spirit you stand alone
As the troubadour of some endless army.

With kindness, as a brother, you tell me to live,
May the storms never get you,
May the winds never strike you, may no whip ever hit you,
May no one ever hire you
As a slave.
You tell me to live happily
With no wealth, glory and treasures,
You tell me to live a good and honest life,
You tell me to live
As the sweet smell of wheat bread
And to repeat now and then 'we are brothers'.

It is all right, you tell me, do not suffer,
Mountains never kneel in fear of winds –
And you swing
And you rustle
Like some eternal sorrow
Born in some corner of the wide plateau.

It is all right, you tell me, all right, all right, all right,
Look, there was nothing and there will be nothing,
Keep a drop of humanity in your heart
And your clear eyes shall never dim.

I believe you when I look at your pain
And I believe you when I look at your fear
And I carry your cross faithfully
Not knowing who will carry ours
Among tomorrow’s crosses.

It is all right, you tell me, do not suffer,
Mountains never kneel in fear of winds
And you swing
And you rustle
Like some eternal sorrow
Born in some corner of the wide plateau


NOTE: Sergei Yessenin (1895-1925), Russian poet, one of the most lyrical
figures in Russian classical poetry, who committed suicide in a hotel in
St. Petersburg (then Leningrad) a few years after the Russian Revolution.

• Translated from the Armenian by Arminé Tamrazian

• ‘Yessenin’ from Whispers and Breath of the Meadows,
tr. Arminé Tamrazian (Arc Publications, 2010)

Michael Minassian: Grief Was A Stone

My grandfather never told me
about his life before he came to America;
instead, we watched boxing matches, cartoons,
and cowboys & Indians on a b & w TV;
he taught me how to play cards and crack walnuts,
how to hammer a nail and saw wood;
summers, he showed me how to pick
grape leaves and ripe tomatoes from the garden.
As seasons passed, I watched his hair gray
and clothes hang loose on his body
At his funeral, my aunt told me
that he had been married once before,
his wife and infant son slaughtered
by a band of Turkish soldiers,
and for half a century he kept it hidden
protecting me and his own sorrow
until I finally could see the dead reunited,
as if time were a blanket you could pull over your head
and grief was a stone you could turn over
like a pillow that was too hot to bear.


This poem has appeared in Coal Hill Review in their (vol. 9) Autumn 2011 issue and appears here by kind permission of the author.

Տիրան Չրաքեան։ ԳԻՇԵՐ

Գիշեր է. երկինքը կը փայլփըլի
Անդո՜րր ահագին, ու պատկառելի.
Նըշոյլներն անգամ ա՛յնքան, վիհերէն երկնային
Կը ժըպտին հաճոյքէ, հացումէ կու լան:

Իբրե՛ւ թէ բոլորն ալ իմանային
Անցնող հծծիւն մը յաւիտենական՝
Վերէն՝ հեռուէն, անհուն խորհուրդէն.
Սարսռալէ՝ կարծես թէ կը վերանան,
Իմաստութենէ կարծես կ’աղօթեն:

Աշխարհքը լուռ է. տանս մէջ խաւարին՝
Յետին ճրագներն ահա կը մարին.
Սեւ տանիքներու տակ մեղաւորներ
Կը քնանան հիմա իրենց քունը հէգ:

Ո՛չ մէկ սուրբ երազ զիրենք դէպ ի վեր
Մեծ խաղաղութեան կ’ամբառնայ երբէք
Հոն քաղաքն ամբողջ սեւ կոյտ մ’է թշուառ
Նիրհող կիրքերու. վերն ամենուրեք՝
Լուռ անբըծութեանց օրհներգ խանդավառ:




Տիրան Չրաքեան (Ինտրա)