Caroline Stockford: Manual for mourning a great poet

Hüseyin Özdemir, küçük İskender, 2006. Source: instagram.com/huseyinozdemir1

“Because life is the most tragic, most magnificent, most merciless trick death can play on us.”

küçük İskender, “Someone Call an Ambulance”

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When you first hear of his illness, you should be in the company of a genius journalist at seven at night and still at work. Upon going into the underwater world of shock, you should walk with said visiting journalist to the fountain that the ravens frequent in Vienna’s Volksgarten. Sit on a bench.  As you watch the cascades of crystal beads streaming from between stone wreathes and sculpted longing you might say,

“I can’t cry yet.”

You may regret not having published books with the great poet and letting him have his own way with the stage play you wrote as a canto of his lines.  But you didn’t finish it. Now, this is finishing it.

“When the question is asked: ‘Is there death, after life?'”

küçük İskender, “Necromantic”

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Julian Gallo: Animals

USA. New York City, NY. 2015. Bronx Zoo.

Christopher Anderson, Bronx Zoo, 2015. Source: magnumphotos.com

“Come this way, Luca,” Carlo says, reaching out for the boy’s hand.

“But I’m not finished looking.”

“Okay. Take your time.”

Carlo eyes one of the boys in the group next to them. There’s one in every crowd, always one other kid that somewhere in the deep recesses of his not yet developed frontal lobe who felt so inadequate that he must find fault in another. This is the kid who will one day start bullying others, the one who will become a complete douche bag by the time he reaches middle school. Okay, so Luca is a little off but that’s no reason to stare, no reason to snicker behind your hand and elbow the kid next to you to get him on your side. Because that’s the way it’s going to work in the future: so inept are you to think for yourself, even at this young age, that you will need to gather an army around you to, in essence, do your fighting for you. Leader of the Pack. The Alpha Male. Perhaps, but clearly a zeta brain in development.

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Julian Gallo: Hoxha’s Children

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Alex Majoli, Scutari, Albania, 1997. Source: magnumphotos.com

Tirana, Albania — April 11th 1985

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The foremost leader has died.

National mourning. Black flags flutter from the windows along side our national flag. Tears, agony, grief, everywhere one looks.

The television shows nothing but tributes to our fallen comrade.

I sit in the café, sip my coffee, watch the grief stricken faces of my fellow comrades. I look out the window at everyone just standing around, consoling one another, seeking comfort in another’s embrace.

I turn my attention back to the interior, continue to sip my coffee, occasionally watch the old films of our foremost leader when he was young, healthy, strong.

The café is crowded but most people don’t speak, most sit with their own thoughts, grieving, as if a member of their own family has passed. In a lot of ways, one had.

A woman sits by herself at the far end of the café. She isn’t crying or gazing at the television. She simply stirs a spoon in her coffee cup, smokes a cigarette, gazes out the window with no expression. She looks sad but there are no tears. Thin and pale, deep lines  crease the corners of her mouth. I can tell that she must have been very beautiful once but either time or hardship had nearly erased all traces of it. It isn’t until she glances my way that I realize who it is.

I can’t look at her.

If it weren’t for those eyes, I would have never believed it.

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Youssef Rakha Translates Sargon Boulus

The refugee tells

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Chris Steele-Perkins. Refugees in a sandstorm, Sha-allan ONE camp, Jordan, 1990. Source: magnumphotos.com

The refugee absorbed in telling his tale

feels no burning, when the cigarette stings his fingers.

He’s absorbed in the awe of being Here

after all those Theres: the stations, and the ports,

the search parties, the forged papers…

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