after Seferis
Yes. I have seen the end, and yes,
I was disturbed by what I saw.
That I yet glimpse occasional
and frankly stirring satisfactions
in the way the paper draws the ink
may prove one mode of consolation.
That I continue to appreciate
a morning walk, an evening’s
intercourse should also speak
encouragement, no? The end
appalls. Quite so. Though I wouldn’t say
the end appalls more fully
than the interim. The present
situation—electoral
absurdity, real TV, unprovoked
slaughter thoroughly explained—such
assaults attain a state insisting
that the end arrive, and quickly.
The past is ever with us, but most
have pared it to a less demanding
heft, utilitarian. For me, the past
has become lately my own
articulation of that scene
I saw, just now, as very like the end.
To read the rest of this piece, purchase the issue.
Bernardo Atxaga, Pirpo and Chanberlán, Murderers
Ben Fountain, The Lion's Mouth
Hiromi Kawakami, Mogera Wogura
James Lasdun, An Anxious Man
Rick Moody, The Omega Force
Shirley Hazzard, The Art of Fiction No. 185
Les Murray, The Art of Poetry No. 89
Charles Simic, The Art of Poetry No. 90
David Bergman, A Hard Rain in Hartford
Don Bogen, Two Poems
Constantine P. Cavafy, Four Poems
Jeff Dolven, This Is a City of Bridges
Sarah Getty, To Speak with the Dead
Kate Light, Skipping
Gianmarc Manzione, Three Poems
Deborah Pease, Ballad
Elizabeth Brewster Thomas, Two Poems
Pimone Triplett, Last Score
Sidney Wade, Two Poems
Stefi Weisburd, First In Vitro Photograph of a Human Embryo
Joel Whitney, Croatoan
Kyle Wills, Looking for the Lost
Charles Glass, Democracy in Arabia