Translations

Translation Tuesday: “Cleaning Matters” by Alba E. Nivas

You don’t need to read poetry, or believe in myths and prophecies, to sense that humanity is undergoing a relentless metamorphosis.

For this Translation Tuesday, we’re bringing you an essay by Spanish writer Alba E. Nivas, translated by Annuska Angulo Rivero. Beginning with a simple daily greeting, Nivas ponders what it means to be anchored to the world; she plunges into a meditation on the invisible rhythms of care, labor, and waste that sustain a city and a society. She deftly travels between personal and planetary scales, tracing connections from a Parisian courtyard to colonial legacies, domestic chores to Hindu cosmology. What forms the core of human consciousness, and what can we gain by giving up the idea of “humanity” entirely—instead, embracing an awareness of the myriad lifeforms that surround us and constitute our earth? It is an attempt to uncover, out of contemporary life, glimpses of a profound, interconnected vitality.

“Bonjour,” she greets me every morning. Sometimes we cross paths in the entry hall of my building, other times on the corner where I lock my bike near the subway entrance. At that hour, Paris streets are just beginning to fill with people on their way to work, parents holding their children’s hands, heading to school. Gradually, the pale morning light thickens with purposeful human motion. Eyes still heavy with sleep, most people avoid looking at each other, as if trying to hold on a little longer to the warmth of oblivion before surrendering to the strange rituals of routine. This woman, though, always smiles at me with a clean, direct gaze, as if we knew each other, even when she’s chatting away on her phone in what might be Urdu or Punjabi, probably with someone in a very different time zone. Every time, she seems more awake than I am. Somehow, the kindness of her greeting snaps me back to planet Earth. My day starts. 

Even though municipal policies have drastically reduced traffic in the city center, at this hour delivery vans crowd the streets, supplying shops, hotels and restaurants. Reluctantly, drivers of buses and cars suppress their impatience as the vans load and unload, blocking their way. We cyclists, driven by haste, dart around them, sometimes swerving onto sidewalks to a chorus of verbal abuse from pedestrians. There is tension in the air. We all feel like cogs in this hungry, about-to-wake-up machine, propelled by a relentless rhythm and wrenched from our quiet, domestic time and space. Our tiny, electrified Parisian lairs will sit empty for a few hours. Hundreds of thousands of men and women head out in pursuit of a paycheck, leaving disarray behind to rule their homes. 

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Translation Tuesday: “Their Eyes are Like That” by Jayant Kaikini

The market at dawn rubs out a night with its feet

Have you ever slept with your eyes open? In the Kannada verses of Jayant Kaikini, what might seem like a curse is re-conceived as a gift: in the strange spectacle of people who sleep with their eyes open and unblinking, the speaker of the poem finds a symbol of the slow, deliberate attention we might bring to every second of our waking lives, missing nothing, finding something holy in every mundane thing, “every plant, pillar, post.” Writes translator Carol Blaizy D’Souza, “I have tried to pay special attention to the play woven into his poetry, to preserve the tenderness, the supple freshness of the narrator’s gaze.” Read on!

Their Eyes are Like That

People who are asleep with half-open eyes
Do not wake them up just in jest; their eyes are like that
Like a looted marketplace

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Translation Tuesday: “A Full Meal” by Nam Cao

How simple life would be if people didn’t have to eat. But food never just jumps into your mouth—you have to work for it.

For this week’s Translation Tuesday, we bring you a short story by Vietnamese writer Nam Cao, translated by Brett Wertz. Detailing the twilight years of an old woman, it lays bare the brutal calculus of a life spent in poverty, where maternal labor is an investment that yields few returns. Betrayed by her aging body, and unable to make a living in a world that has no use for her, she slowly gives into starvation. Nam Cao’s unflinching style, with its refusal to moralize or dole out happy endings, can make for a discomfiting read—but it presents a realistic portrait of the harshness of village life. A year after “A Full Meal” was published, the worst famine in modern Vietnamese history would begin, eventually claiming the lives of up to two million people, including one of the author’s own children.

The old woman cried out for her dead son all through the night. It was always like that—whenever she came to the end of the road, with no more ways to make ends meet, she would cry out for him. She wailed as if it was his fault she should be hungry now. And indeed it was. Her husband had died just as the boy slid from her womb, and so she raised the tiny little toddling thing on her own. It was her hope that she might be able to rely on the boy when she was old and weak. But before she had the chance to ask for even the smallest thing, he up and died. Her labor had been wasted.

The boy’s wife was inhuman. She had no compassion at all for her old mother-in-law! She remarried at once, hardly pausing to mourn her dead husband. Then, she abandoned their five-year-old daughter, leaving her with the old woman to raise, stooped and bent as she was. Thus, at nearly seventy years old, the old woman had no choice but to take her granddaughter in. She’d already given both flesh and bone for her son, and now would give all that was left for her granddaughter. What more could she hope for?

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Translation Tuesday: “Stray Dog” by Sadegh Hedayat

Two winters had passed since he’d sunk into this hellhole, since he’d had a proper meal, a comfortable sleep.

One person’s suffering is, very often, someone else’s joke. Pat, the dog at the center of this week’s Translation Tuesday, has never spoken with a human being, but he understands this well. Following an accident that separates him from his owner, Pat’s life is reduced to a pathetic spectacle in Varameen square, begging for scraps of food from a crowd of shopkeepers and street vendors who think it good luck to beat him often, their enthusiastic cruelty only escalating as Pat’s body and mind deteriorate. What follows is, at once, a powerful meditation on the suffering of non-human animals and an indictment of human cruelty in the face of nature’s capriciousness. Written in blunt, sensuous prose by Sadegh Hedayat and elegantly translated by Manoo Mofidi, “Stray Dog” is sure to haunt and alarm. Read on.

A few small stores—a bakery; a butcher shop; an apothecary; a coffee shop; and a barber shop, all of which there to halt hunger and provide life’s basic daily needs—formed Varameen Square. The Square and its people, under the brutal sun, half-burned, half-naked, longed for dusk’s first breeze and the evening shade. The people, the shops, the trees, the animals were all lethargic. The hot air weighed heavy, and a soft dust haze undulated in the cerulean sky, with the car traffic adding to its density.

On one side of the Square stood an ancient sycamore tree, trunk hollowed, bark frayed, but which, with ever more stubbornness, had stretched out its crooked and sickly branches. A wide platform had been set up under the shade of the dusty leaves of the tree, where a couple of kids were selling rice pudding and pumpkin seeds, lyrically beckoning passersby. A thick, muddy water toiled its way through the brook in front of the coffee house.

The only structure that stood out was the famous tower of Varameen, half of whose cracked cylindrical body could be seen with a cone on top. The sparrows nesting in the crevices of its fallen bricks were napping, having been silenced by the heat. Only the intermittent cries of an approaching dog broke the quiet.

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Translation Tuesday: An Excerpt from Seven Seconds of Air by Luca Mael Milsch

When I hear the keys, I have to be quick.

Do you remember your childhood fondly? Selah doesn’t. In this week’s Translation Tuesday, the nonbinary protagonist of Luca Mael Milsch’s novel Seven Seconds of Air reflects on their childhood, on the inadequacy and guilt fostered by their constant separation from their working-class mother, on their inability to communicate with a parent whose ability to care for them is limited as much by the economic necessity of constant work as it is by moments of plausibly deniable cruelty.  Brilliantly translated from the German by Han Smith, these sections, written only in the present tense, capture the mind of a child forced to grow up too quickly yet nevertheless committed to a sense of optimism. Writes Han Smith, “The word that I feel is central to Selah’s voice in this section is eigentlich, or actually / really, as in: ‘everything’s actually quite okay’ – it is an attempt at self-reassurance that surely things are fine, with the ‘but’ that follows often only implied.” Read on.

1995

She’s almost never there when I get home: she’s nearly always working late. So today I heated up a frozen lasagna and I sat with my apple juice and watched TV. The little bottles are really only for going on trips, and I’m not supposed to drink them at home. But still, I just like those bottles, and it means I don’t have to wash an extra glass. I sink right into the sofa sometimes. My mother says: melt into it. If I’m still hungry I go and check in the kitchen to see what else we have to eat, and today there was an open pack of crisps and ice-cream too, but my mother can always tell if something’s missing so it’s better to wait and see what she says. In the fridge there was a yoghurt, and I thought she might be fine with that. That was what I hoped, that it wouldn’t be too bad. Then I headed back to the living room.

Sometimes I like to touch the screen with my fingers, even if I know it isn’t allowed. I’m really not meant to go near it at all, because it isn’t safe and I might also somehow break it. But when I touch the surface, when it’s on, that is, it crackles out and I jump back with the shock. Even though I know it’s going to happen – somehow I just forget every time. I’ve actually thought quite a lot about falling through time or even disappearing completely, and I wish something could maybe pull me into the TV, into the programme I’m watching, and then I’d just be gone.

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Translation Tuesday: “Priest without Judgment” by Sara Munizaga

Reconciling Jessica with the faith was perhaps the task God had entrusted to me in this life, the reason I had been preparing for years in silence.

For this week’s Translation Tuesday, we present a short story by Chilean writer Sara Munizaga, translated from Spanish by the author herself. In it, a Catholic priest reflects on the frustrations of his vocation, recounting numerous examples of so-called believers whose behavior belies their professed faith. His suppressed anger conflicts with his desire to embody God’s all-encompassing forgiveness. This all comes to a head when he is asked to officiate the wedding of Jessica, a former object of infatuation who, in his telling, led him on and then cruelly rejected him. Munizaga’s story is a cynical and clever exploration of religion, gender relations, and above all, the self-deceptions that control our lives.

This vocation makes you indolent: deaths, births, and people in general cease to matter, because nothing is more demoralizing to the soul than speaking of God’s love to those who are not listening. We know they come here, to the church, as a last resort—without hope and without any genuine desire to hear the Lord’s message.

They convert to religion at the last minute, under pressure, for on their deathbeds they have no salvation plan other than the one I can give them. I feel their trembling hands clutch at my cassock, trying to keep the fate of a hell they so carelessly secured for themselves from swallowing them whole. Now they fear facing the devil when death is imminent, but when they were healthy they felt immortal and could not be bothered to live virtuously or serve others.

For that reason I spare no one in my funeral sermons. It is the only time I obtain an audience held captive by grief, and I lecture them with tedious catechism texts as a punishment for their superficial and agnostic lives. I am unmoved by the widow’s inconsolable weeping or the mourners’ emotional speeches. I know they are hypocrisy; and I will not worship any god but the God of truth, my Lord Jesus Christ. It is so simple to understand: one need only look at the life of Doña Patricia. Five children, twenty-five grandchildren, six great-grandchildren, and every day she arrived alone at the noon mass, accompanied only by a nurse hired by the family—who preferred to pay a stranger to take charge of the woman who gave them everything. The Christmas before last, Doña Patricia confessed to me that she had kept all her relatives’ gifts, still wrapped, there at the nursing home where she lived; her family never came to see her, and she was left alone during the holidays. And yet, a year later, at her funeral, the church was overflowing—not a single seat left empty. Then she achieved the full attendance she would have desired. I wanted to have the nerve to throw those still-wrapped gifts at their faces from the very altar, but that is not the Lord’s way. He is almighty and teaches us to find forgiveness. A greater crisis will come to that family that will rouse them from the selfish stupor in which they conduct their lives.

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Translation Tuesday: “Cicada Green” by Ju Donzelli

The giant cicadas came and went, hurling themselves at Iturbe. He kept waving his arms, trying to scare the bugs off.

A languid summer vacation takes a distressing turn in this short story by Argentine writer Ju Donzelli, translated from the Spanish by Grace Penry. A group of high school friends abscond to a nearby town to swim, drink, and hang out, but the relaxed atmosphere slowly grows more tense, leading to an altercation between two boys—one of them being the slender, soft-spoken Flaco Luna, an anomaly among the guys and beloved by the girls. The sudden outbreak of violence reveals the unspoken tensions of adolescence, when masculinity must be achieved through publicly dominating others, including your own friends. Between the electrifying fascination of otherness and the terrorizing brutality of conformity, the boys’ fragile ecosystem is fiercely shaken by the incident.

I don’t go on vacation with the guys from high school anymore, but with Flaco, I’d go again. The last time we were all together we went to Guayamba, one of those towns where we Santiagueños will spend a couple of days because it’s nearby, because there’s a river, because it’s cool and cheap.

In the evening, the giant cicadas started getting on our nerves. It’s always like this, but on this day in particular they screeched and screeched. They look like other cicadas, only much bigger and rounder, the area around Santiago is full of them because of the carob trees. They’d zoom past us and hit things like projectiles, making a dry sound when they slammed into the wall. That’s what’s so funny about them: they sound empty when they bang into something and they’re always acting like they want to kill themselves. If there’s a pool, the first thing they do is head straight into the water and buzz their wings until they drown and die. And if you take them out, they’ll jump right back in. It’s an infinite loop lasting half the summer. 

Whenever we’d go to Guayamba, we’d stay in Manso’s parents’ house because it’s pretty big and has a pool. Us guys had taken our clothes off, it wasn’t that hot out, but we were drunk, the humidity made the air dense, and during the siesta we’d sunbathed at the river. Plus, the power kept cutting out because it had rained, and the fans kept turning off. The girls were still in their shorts and bikinis, with their feet in the pool and hair dripping with the smell of chlorine. 

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Translation Tuesday: Beanstalk by Dominika Słowik

On Thursday, a beanstalk started growing out of my nose.

Today’s Translation Tuesday Feature “Beanstalk”  is taken from Samosiejki (Self-Sowing, Wydawnictwo Literackie, 2021), an eco-critical short story collection by the emerging Polish author Dominika Słowik. Compared to the other stories within the same collection, translator Jess Jensen Mitchell says this particular piece “has an especially light comic touch as it riffs on  bodily sensations, capitalism, and the whims of a quirky midlife woman-turned-plant. It is an ASMR for the soul, an ode to joys vegetable, animal, and mineral.” Need we say more? Read on!

On Thursday, a beanstalk started growing out of my nose.

On Saturday, it reached halfway up my forehead.

On Sunday, I was overcome with the desire to dip my feet in a cool tub of water.

On Tuesday, the first leaves appeared.

On Wednesday, without realizing what I was doing, I ran out into the rain, turned my face to the sky, and just stood there like that with my mouth agape for a good fifteen minutes.

Then I remembered how I got an F in my third year of grade school because I didn’t hand in my environmental science project. I was supposed to grow a bean sprout on a piece of moistened gauze. As luck would have it, the bean disappeared. We blamed our dog at the time, because I couldn’t have stealthily inhaled a seed, right?

I did a brief round of soul-searching. Of course I could have. I never liked my environmental science teacher.

It explained a lot. Whenever I got sick, only one of my nostrils would leak. If I started to run, I’d lose my breath immediately. I had an excellent tolerance for unpleasant smells and I was always picking my nose—despite forty-odd years on this planet, I never kicked the habit. READ MORE…

Translation Tuesday: “To Banvard’s Madness, Everyone” by Paola Silvia Dolci

The encounter / is fleeting / and momentary.

How closely can a poem capture the experience of seeing a film, and seeing one cut up at that? For this week’s Translation Tuesdaywe bring you an answer: a cycle of seven poems by Italian poet Paola Silvia Dolci, translated into English by the author herself. In these almost-ekphrastic verses, Dolci seeks not to describe the literal content of the film, but rather to capture the experience of seeing a film fragmented, reduced to a string of disconnected images—by damage to the film itself or constant interruption of the audience, we do not know. What we know, instead, is the hypnotic effect of the sequence, the dreamlike state induced by each isolated vignette, the plangent feeling that lingers as each slips away. Read on!

In the cinematic text, the scenes are fragments of a film; reality is never whole, but always broken down into details, movements, images that slip away.

It is a meeting between strangers, there’s a sense of waiting, of possibility, that intersects without ever belonging to one another.

1

In this scene of the film,
the two strangers
meet
at an abandoned little table
in front of the Splendid Mayer.

It’s almost winter, it’s cold,
and the sails are in regatta.
“By now November feigns nothing.”

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Translation Tuesday: “Cinderella” by Kārlis Skalbe

When she had looked at the new moon, she saw a huntsman, who had gotten lost in the green forest and blew his horn with a golden cornet.

For this Translation Tuesday, we’re bringing you a new riff on a familiar story—minus the glass slippers and pumpkin coaches. In Latvian writer Kārlis Skalbe‘s reimagining, which draws on traditional folklore, Cinderella is a haplessly put-upon girl relentlessly bullied by her cruel stepmother. Forced to meaninglessly labor day and night, she nonetheless cultivates an inner life through song and fantasy. While there’s no fairytale ending to be found here, her emotionally rich, sensorial connection to the world offers a salvation of its own. Translator Ian T. Gwin would like to thank Marianne Stecher, Guntis Smidchens, Līga Miklaševica, and the students at the University of Washington for their assistance reading and translating this text.

Cinderella did dirty work and ate dirty bread. None of the tomcats in Riga came for her kļiņgeris, like they did for girls with real mothers. Cinderella’s days were bitter as bread baked from chaff. Morning and evening she sat by the stove, her hair uncombed, picking flaxseeds from the ashes. The ashes were hot, but she patiently sieved through them, blowing through her fingers and gathering the brown kernels in her palm. These her stepmother threw back into the cinders, so she would always have work to do.

Real daughters gathered dowries and took care of the folk. Stepdaughters worked from dawn to dusk, and slaved over nothing but tears and embers. She liked to sing when she stayed by the hearth, so as not go get weary from gathering her dowry of dust.

“Spinning a wreath, a wreath,
so I gathered my dowry,
Dressing my youth in cinders,
I spun a dowry of dust.”

She couldn’t hope to marry the sons of honest men. For who would want to dress in cinders and what young buck would throw ash back at a wretched child of loneliness? But Cinderella sang, imagining herself:

“When the bell of the suitors rings,
My prince in gold will sing”

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Translation Tuesday: “A Scorpion in February” by Guillermo Fadanelli

Further knocking ensues, irritable and unseemly. I’ve been tempted to answer with barks, but I’m no good at imitating animals.

Who’s waiting on the other side of the door? In this week’s Translation Tuesday offering, a darkly comic short story by Mexican author Guillermo Fadanelli, the anxiety of being seen overwhelms our narrator—even when there’s no one else around. It’s for that reason that the threshold, the thin barrier between inside and outside, becomes a sacred space, protecting his tranquil sanctum. From a safe distance, he surveys his surroundings with a mixture of fear and curiosity. But when a neighbor comes calling, he must cross that boundary and confront the bewildering, savage world outside. Translated from the Spanish by Helena Dunsmoor, this story examines what it costs to exist alongside others.

When some person comes to my house and knocks on the door with their knuckles, my heart suffers a strange tremor. Suddenly paralyzed, I can’t move at all or answer out loud that yes, I’m in here hearing your knocking. Then I start thinking about the possibility of opening the door to find out who’s on the other side waiting for a reply, at least. I’d love to own a dog whose bark would let intruders know that things aren’t so easy in here. But the gaze of dogs is unbearable, and it would be hard getting used to looking him in the eye every day. So many times in my life I’ve had to call something off just because a damned animal is watching me.

Yesterday, while I was writing a letter to the director of a charity, three blows—flat, dry, free of reverberations—slammed against my apartment door. I tensed up right away. My spine lost its usual curvature and my fingers curled like seashells. I always nurse the hope it will be a mistake. The individual standing just feet away, separated from my person by nothing more than a thin wall, looks up to confirm the error. The metal figure on the door is quite clearly the number 5. It could look like an S, but I truly doubt anyone would come into this building looking for an S. Things never go that way. Instead, further knocking ensues, irritable and unseemly. I’ve been tempted to answer with barks, but I’m no good at imitating animals. When I was a boy I could moo like a cow, bleat and even trumpet, but those days are gone.

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Translation Tuesday: “The Mountain Hut” by Dragana Kršenković Brković

"Who approached you in Paris?” he asked again, his tone flat, not giving anything away. “You met up with someone. Who?”

For this week’s Translation Tuesday, we bring you a timely tale of intrigue, political paranoia, and mortality from Montenegrin writer Dragana Kršenković Brković, deftly translated by Andrew Hodges and Paula Gordon. In the hills just outside Titograd (now Podgorica), a doctor, Dušan, is held captive by three members of Yugoslavia’s secret police—three men who refuse to believe his relationship with a Czechoslovakian woman, Janika, is merely an innocent love affair. What follows is a story by turns fantastically surreal and punishingly spare; relief may await Dušan in his dreams, but in the real world the mindless, brittle cruelty of the state returns his every truth with a blow. Writes Andrew Hodges, “Brković’s style is literary and fantastical, mixing surreal scenes full of abstract, dreamlike imagery with everyday encounters. This imagery, which here draws on contrasts between peaceful forest scenes and a violent human (political) encounter, is woven in alongside reflections and emotions that point to the futility and alienating power of politics. “The Mountain Hut” blends dreamlike imagery with Slavic mythological themes and enduring cultural motifs, all viewed through the prism of a specific political moment—the fallout from socialist Yugoslavia’s split with the Stalinist block.” Read on!

Forest on a mountain outside of Titograd. October 1948: Three months after the Tito-Stalin Split.

The weak light of the battery lamp moved through the dark, in sync with the short man’s heavy, uneven strides. Occasionally the light reflected off the glassy surface of the October snowdrifts, which had arrived earlier than usual, and sometimes it penetrated the thick needles of pine and fir, their snow-covered crowns drooping. The feeble beam sank into the depths of the wood, creating a trembling play of slender, spindly, dark blue-black shadows.

The frost tightened its grip.

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Translation Tuesday: Two Poems by Antti Salminen

Insurgent, effective, obedient stronghold... And we built it all.

This Translation Tuesday, we present fragments of poetry found embedded in text and in testimony, pried from their source and polished to a sheen. Two poems by Finnish poet Antti Salminen, translated by José Luis Rico,  “Autoethnographical Sketch of the Pipe” and “Reminiscence of Settlement History” , evoke a diamond mine deep in the Siberian hinterland, a cold hell: the frost, the sludge, the desolation of the frozen pit, the hasty brutish ingenuity of the Soviet mining engineers, and the miners’ deadly toil.

Autoethnographical Sketch of the Pipe, Fragment from the Second Chapter

Mir, Mirny, open pit mine, mineshaft. 62º31 45.95 N 113º59 36.74 E: funnel-shaped ravine and artificial crater, the abyss the last people dug for themselves.

A small airport with its brief runway on the massive mining landscape’s earthwork. A glider hangar. There, where a small mining town had been, now a silent, mossy, pebble beach made of cement. No building was left standing, the purpose being to render the place as repulsive as possible for at least a thousand years. The magnitude of the risk was unknown, but there was no alternative.

When the place was initially dug, says Junifer, the mining engineers melted the winter frost from the ground with turbojets. There’s no rush to go further down, we’re already at the bottom. Work continues underground, slowly. Now we work with our hands, in small gestures. The shovels are less than weapons, and the excavators sit idle like a mighty beast’s skeleton at an open-air museum.

The serpentine road leads downward to the funnel, down to the bottom, to the pond’s gravelly beach. The road is ridden with sinkholes, which are patched and driven over however possible. In the molten-ground season: sludge, sludge everywhere. From October to April the amount of ice is impossible. The struggle against the ground frost can’t be won. But when you live through a permanent sinkhole, you learn to harness gravity. READ MORE…

Translation Tuesday: An Excerpt from Lord of the Waters by Giuseppe Zucco

So, this was where all the rain we’d been missing for months had got to...

For this week’s Translation Tuesday, we bring you a story of the calm before the storm. Picture the sky moments before a fierce downpour: dark, oppressive, hanging over your head like a threat. This excerpt, taken from Italian writer Giuseppe Zucco‘s novel Lord of the Waters, imagines a life suspended in that moment, where the rain never comes. As the external world slows to a standstill, one family’s internal world begins to change. Freed from the obligations of social conventions, work, and school, they quickly descend into a chaotic, easy existence of games, junk food, and neglect, rewriting their familiar dynamics. Beneath their frantic cheerfulness is a persistent anxiety, as they wonder when the amassed rain will finally hit. Translator Antonella Lettieri smoothly captures these currents, refracted through the child narrator’s unaffected voice.

Amongst all the children, I was the first to look up at the sky and see it rear up. I didn’t quite see but rather felt a vast wave soar above me.

I ducked immediately, covered my head with my arms, and, thus crouching, prayed that that wave would not pull me under and wreck me upon the lamp posts and the buildings.

As I closed my eyes, I tried to picture my mother and father, hoping it would help me muster up some courage. All I could see, though, was that gurgling scene, which yet had a certain cheerfulness to it: all the other children and I doing mad somersaults inside the roiling heart of a wave fallen from the sky, our little heads bobbing atop the horrific crests of that brilliant white foam.

My sorrow lasted a second or two; then, since no water came upon us and no dreadful flood crashed down on my head, I opened my eyes again.

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