Poems / September 16, 2024

[“I knew almost for certain…”]

Vasyl Stus

I knew almost for certain:
he had robbed all my friends,
had made my mother miserable,
and had ruined my wife’s health,
leading her to consumption.
And, full of resolve,
I set out to find him and take my revenge.
“Where are you, my torturer?”
I called through the deserted hall
in which he lives.
In response, four roars
reflected from the walls,
hit the ceiling
and, lifeless, fell to my feet.
“Where are you, my torturer?”
I called to him twice.
Each time, the four roars
arose from the dead,
went up, and hit the ground.
“Has he died?”
I decided so, happily.
But on my way home,
I saw two legs, two arms, and a torso
had stopped near my door.
(There was no head.)
“What are you doing here?”
I took him by surprise.
Out of fright, the two arms,
the two legs, and the torso
united into a headless body.
I grabbed him and shouted
into the empty pipe of his neck,
“Tell me where my torturer is!”
“Don’t beat me,” said the pipe.
“Go to the same building
where you’ve just been.
People without a head sit in the first room.
In the second one, they also lack legs.
In the third, they also don’t have arms.
In the fourth, you’ll see isolated torsos.
In the fifth room, you won’t see anything—
that’s where your torturer is.
You won’t find anything in there,
but repeat, and repeat, and repeat, ad infinitum,
everything you want to tell him.
But don’t believe your eyes:
he is where he isn’t.”

(Translated from the Ukrainian by Alan Zhukovski)

Vasyl Stus

Vasyl Stus (1938–1985) was a Ukrainian poet, translator, and literary critic. He spent over a decade—1972–1979 and 1980–1985—in prisons (labor camps) and internal exile for “anti-Soviet activities.” His poetry collections include Joyful Cemetery (1970), Time of Creativity/Dichtenszeit (1972), and Palimpsests (1973–1980).

More from The Nation

View of apartment buildings in Manhattan

Bad Mothers and Monstrous Children Bad Mothers and Monstrous Children

Jordy Rosenberg’s “Night Night Fawn” offers a multigenerational tale of Marxists, Zionists, and estrangement.

Books & the Arts / Emmet Fraizer

The New York premiere of “Girls,” 2012.

Growing Up With “Girls” Growing Up With “Girls”

Lena Dunham and her generation enter midlife

Books & the Arts / Grace Byron

A still from “I Love Boosters.”

Boots Riley’s Communist Heist Film Boots Riley’s Communist Heist Film

Yes, it even has Marxist teleporters.

Books & the Arts / Jorge Cotte

The Obama Presidential Center.

The Nostalgic Architecture of the Obama Presidential Center The Nostalgic Architecture of the Obama Presidential Center

Where hope even has a gift shop.

Books & the Arts / Kate Wagner

John Edgar Wideman’s American Vernacular

John Edgar Wideman’s American Vernacular John Edgar Wideman’s American Vernacular

The master novelist offers a view of a United States defined by its cultures of improvisation.

Books & the Arts / Walton Muyumba