Because the faces in our photographs have been bleached to cataracts. Because the authorof our oldest surviving chronicle ended his days in exile, composing to mountains. Because I once mistranslated a line of poetry as loosely created creature.Because no one witnessed those tongueless, swollen ghosts dragging themselves onto new soil. Because someone I love told me it is sometimes safer to let things go untranslated. Because forgetting is a military tactic.Because, when a word is removed, all we have is the air it displaced. Because what goes unrecorded, unbodied, is still part of the architecture. Because to disperseis to each break off a corner of a country, to keep it below the throat. Because the redness and fish smell of memory is uncitable.Because we do not need proof of our women to build their temples, to light fires inside.Because no one is ready to map a city as it buckles. Because a soundless escape requires you to take only what will fit against your skin. Because official death counts change, depending. Because our personal effects are makeshift altars, the cores of cut fruit,our most favoured sources of light.
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Feature Date
- July 5, 2022
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Copyright © 2022 by Natalie Linh Bolderston.
All rights reserved.
Reproduced by Poetry Daily with permission.
Natalie Linh Bolderston is a Vietnamese-Chinese-British poet. In 2020, she received an Eric Gregory Award and co-won the Rebecca Swift Women Poets’ Prize. Her poem ‘Middle Name with Diacritics’ came third in the 2019 National Poetry Competition and was shortlisted for the 2021 Forward Prize for Best Single Poem. She is an alumna of the Roundhouse Poetry Collective, the London Library Emerging Writers Programme and the VanThanh Productions Development Programme. Her pamphlet, The Protection of Ghosts, was published by V. Press in 2019. She is now working on her first full-length collection.
Spring 2022
London
England
Poetry Editor
André Naffis-Sahely
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Isabelle Baafi
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