Fisherman's Village
Squinty, salt-dusted windows face the distance.
They all look seaward.
Every third person here has the same name:
perhaps the name of a godparent
who cut her first lock of hair
before the wind thickened it,
or a stranger’s name …
The locals, by the way, welcome the strangers,
because they were told
that one of them who once walked barefoot on water
used to load the sardine boats
with swift hands.
Foreigners are easily identified;
unlike the locals, their clothes are white, blue, jet black.
And sometimes,
they make you a gift of rosaries or cigars.
Once, one of them
left a pair of shoes behind
and the whole village gathered to play the lottery.
When someone with an already good pair of shoes won,
the young men who had been keenly following the show,
kicked the sand in anger,
“What the hell? It’s not fair!”
Sand everywhere. All day long,
overturned boats on the shore
eat sand. Night stars feed on the sand.
The boats beached here since the last war
people remember brought
Omega watches strapped
to soldiers’ wrists, and herpes
that spread from flesh to flesh
faster than wind
and faster than famine.
Cats purr behind doors.
Streets reek of fish and yet there are no fish.
Noontime, a man dozes on a sofa in the yard.
His wife sits at his feet, mending
the net with needle and thread,
which she cuts with her teeth.
Eyes half-open, he gazes at her
realising here is the real cause: the large hole in the net,
a hole first torn two thousand years ago after a prosperous fishing night,
when things were sorted out much like they are today:
some cursed with luck and some blessed with mercy.
Fshati I Peshkatarëve
Dritare të picërruara
nga kripa dhe vështrimi larg;
të gjitha shohin në det.
Një në tre vetë, ka të njejtin emër. Emrin e nunit,
të atij që i preu cullufen e parë të flokëve
para se të trasheshin nga era. Ose emrin e një të huaji.
Meqë ra fjala, vendasit sillen mirë me të ardhurit
se u është treguar
se njëherë
njëri prej tyre, ai që ecte zbathur mbi ujë
me një lëvizje dore
barkat ua mbushi plot me sardele.
Të huajt, dallohen lehtë;
Ndryshe nga vendasit, veshjet e tyre kanë ngjyra
të bardha, blu, apo të zeza sterrë. Dhe nganjëherë,
ndodh të bëjnë dhuratë rruzare apo puro.
Njëri prej tyre,
njëherë harroi një palë këpucë,
të cilat fshati u mblodh për t’i ndarë me short.
Dhe shorti, i ra, të vetmit që kish një tjetër palë këpucë.
E ata më të rinjtë, që po ndiqnin shfaqjen
shkelmuan rërën të nxehur:
“Si, mutin?! Kjo nuk është e drejtë!”
Rërë gjithandej. Barkat e përmbysura në breg gjatë ditës,
hanë rërë. Në darkë, janë yjet që hanë rërë
të ngecur këtu, që prej luftës së fundit,
e cila me sa mbahet mend,
nxori në breg orë “Omega” me krahë ushtarësh.
dhe herpes,
herpes i përhapur në rrugë verbale
bashkë me zakonin e të thënit “nesër”.
Macet mjaullijnë pas dyerve.
Rrugicat kundërmojnë peshk, dhe peshk nuk gjen.
Në mesditë,
një burrë dremit në kanape, në oborr.
Në fund të këmbëve të tij është ulur e shoqja,
e cila, me një gjilpërë, ngushton grackën në rrjetë,
duke këputur perin midis dhëmbëve.
Ai hap sytë dhe vështron përgjysëm gruan
dhe kupton se pikërisht ky është shkaku: vrima e madhe në rrjetë,
një vrimë e hapur rreth dymijë vjet më parë
pas asaj nate të vetme të begatë peshkimi.
Ani Gjika is an Albanian-born poet, literary translator, and author of Bread on Running Waters (2013), a finalist for the 2011 Anthony Hecht Poetry Prize and the 2011 May Sarton New Hampshire Book Prize. Gjika is the translator of Kosovar poet Xhevdet Bajraj’s play Slaying the Mosquito (Laertes 2017), and her translation of Luljeta Lleshanaku’s poetry collection Negative Space (Bloodaxe Books, New Directions, 2018) received an NEA grant, an English PEN Award, and was a finalist for a PEN Award for Poetry in Translation. She teaches at Framingham State University and Massachusetts International Academy.
Luljeta Lleshanaku was born in Elbasan, Albania. She grew up under house arrest during Enver Hoxha’s Stalinist regime. Lleshanaku has worked as a lecturer, literary magazine editor, journalist, and screenwriter, and is currently the research director at Tirana’s Institute of Studies of Communist Genocide. She is the author of eight poetry collections published in Albania. Her books have received many national and international awards and have been translated into several languages. The collections Fresco: Selected Poetry (2002), Child of Nature (2010), and Negative Space (2018) were published by New Directions. In 2018, Negative Space was nominated for a PEN Award for Poetry in Translation.