THE BACK ALLEY

by Shirin Jabalameli

AI-generated graphic by NightCafé for The New Verse News.

The Moon

picks up a broom

and sweeps the sky clean of war’s shadows.

My dream carries me

through a back alley,

wearing a coat of dust

and a backpack of unfinished paintings.

The rusty cart on the corner

rattles with the echo of nameless days,

and the wind has tucked

passersby’s whispers

into the pockets of rain.

I, with a hand

that may not even be mine,

stir the silhouettes of missiles

into my coffee.

At the bottom of the cup,

a world exhausted by politics

fills and empties

the bowl of “what now?”

And when nothing ever ends,

only

the shape of staying changes.

---

Shirin's Poem in its Original Persian:

کوچه پشتی

ماه،

جارو را برمی‌دارد

و آسمان را از سایه‌های جنگ می‌روبد.

خوابم، مرا از کوچه‌ی پشتی عبور می‌دهد

با لباسی از غبار

و کوله‌ای از نقاشی‌های نیمه‌کاره.

گاریِ زنگ‌زده‌ی سرِ کوچه

صدای رفت‌و‌آمدِ روزهای بی‌نام را حمل می‌کند،

و باد، بوی پچ‌پچِ عابران را

در جیبِ باران پنهان کرده است.

من، با دستی

که شاید از آنِ من نباشد،

تصویرِ موشک‌ها را در قهوه‌ام هم می‌زنم.

تهِ فنجان،

جهانِ ذله از سیاست

کاسه‌ی "چه کنم" را

پُر و خالی می‌کند.

و آنگاه که

هیچ چیز تمام نمی‌شود،

فقط

شکلِ ماندن‌ها عوض می‌شود.

شیرین جبل عاملی

۲۱ مهر ۱۴۰۴

Shirin Jabalameli is an Iranian poet, painter, photographer, and writer. She has authored Crows Rarely Laugh, Apranik, and 101 Moments. Her latest illustrated poetry collection, 25 Fell from the Frame, was recently published. Her poems have appeared in international journals including Braided Way Magazine (USA), The Lake (UK), The New Verse News (USA), and Poetry Super Highway (USA), where she was selected as Poet of the Week.

THE SOUND OF THE WELL

by Shirin Jabalameli

Beneath a cracked and ancient dome,

the wind slips through fissures,

circling the hull of a stranded ship.

Coffee grows cold upon the table,

and the Sufi, in quiet prayer,

speaks to the blackness of a crow.

From the dragon’s mouth

a rope of light leaps forth

onto masks that melt, one by one,

their cracking faces ringing

like a forgotten church bell

through the air of poverty’s hell.

The city,

a fractured mirror,

sees its own face in a thousand shattered pieces

and screams.

The broken tick-tock of a clock

scratches the latch of time’s doors,

and from a silent well

the voice of a child rises,

still remembering the name of their mother.

The crow spreads its wings,

and the wind carries the scent of stale bread.

The Sufi stirs the coffee in a whirlpool

and with a sip drinks the world anew.

Shirin Jabalameli is a multifaceted Iranian artist, poet, painter, photographer, and writer. She has authored books including Crows Rarely Laugh, Apranik, and 101 Moments. Her latest work, an illustrated poetry collection titled 25 Fell from the Frame was recently published. Her poems have appeared in international journals such as Braided Way Magazine (USA), The Lake (UK), and The New Verse News (USA).

Shirin’s poem in its original Persian follows:

صدای چاه

زیر گنبدی ترک‌خورده

باد از شکاف‌ها عبور می‌کند

و بر شانه‌ی کشتی به گل‌نشسته می‌چرخد.

قهوه روی میز سرد شده است

و صوفی در سکوت

با سیاهی یک کلاغ مناجات می‌کند.

از دهان اژدها

ریسمان نور می‌جهد

بر ماسک‌هایی که یکی‌یکی

ذوب می‌شوند،

و صدای ترک‌خوردن چهره‌ها

چون ناقوس کلیسای فراموش‌شده

در هوای جهنم می‌پیچد.

شهر،

چون آینه‌ای ترک‌خورده،

چهره‌اش را در هزار پاره‌ی مخدوش می‌بیند

و جیغ می‌کشد.

تیک‌تاکِ از کارافتاده‌ی ساعت

کلون درهای زمان را می‌خراشد

و در چاهی خاموش،

صدای کودکی می‌پیچد

که هنوز نام مادرش را از یاد نبرده است.

کلاغ بال‌هایش را باز می‌کند

و باد بوی نمِ نانِ کهنه را می‌برد.

صوفی قهوه را در گرداب می‌چرخاند

و با جرعه‌ای جهان را دوباره می‌نوشد.

THE RED LINE

by Roger Sedarat 
 




                “We will not allow Iran to develop a nuclear
                weapon.” -- Leon Panetta (former US Defense Secretary)

“Where’s all this terror they find in Iran?”
She asked, over the New York Times. “They act
Like it’s the Nazis or the Soviets.”
Long married, they’d had this same talk before.
He wanted to take notes on what they said,
Banal reporter instead of poet.
“They mean the military threat.” He poured
More coffee, pleased to stir the pot again.
“Okay,” she said, the iPad in her hand:
“A single missile on a transport truck.
I saw one of these last time in Shiraz;
They brought it out in some stupid parade
To show their military might (such men).
It’s really all they fucking had besides
Teen soldiers, bearded boys who looked hungry,
As if they missed their moms.” It was his turn
To launch a counterstrike, antagonize
The enemy like Ahmadinejad.
“How do we know what they might be hiding?”
She dropped her breakfast bar and rolled her eyes.
“Oh sure, a nuke! Just like Bush with Iraq;
I think the threat’s completely overblown,
A bluff in poker.” “But Muslims don’t bet,”
He interjected. Using his smug tone
She knew belonged in academia.
“Oh Roger! You’re just looking for a fight!”
“I know,” he said, ‘performing’ my Iran.”
“I know,” she said with heavy sarcasm.
“It all comes down to art for you, who cares
About reality as long as it
Becomes a poem.” “Life is just a dream,”
He said in Persian. “Just a dream?” she asked.
“Suppose we drop real bombs and people die.”
“But you yourself keep saying it’s a game.”
He knew this last comeback had gone too far.
“You’re being difficult!” She slammed her fist.
“I know, and so are you,” he said in kind.
“It’s like we’re taking turns at acting like
The U.S. and Iran, always at war.”
She sighed, frustratingly, and he sighed back,
Aware how much she hated being mocked.
In silence they went back to the paper,
Avoiding talk of new conflicts they read.


Roger Sedarat is the author of two poetry collections: Dear Regime: Letters to the Islamic Republic, which won Ohio UP's 2007 Hollis Summers' Prize, and Ghazal Games (Ohio UP, 2011). He teaches poetry and literary translation in the MFA Program at Queens College, City University of New York.