Novels by Bruna Dantas Lobato and Katie Kitamura, a story collection by Jana Egle, and poetry by Daniel Halpern and Małgorzata Lebda

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Besides plain white bedsheets and a pillow, the only thing I bought for the room was a desk lamp: dark blue, with an adjustable neck, a bit of color standing out against all the shades of beige. When my mom called me on Skype from our apartment on the outskirts of Natal, that's what she saw.
—From Blue Light Hours, a novel by Bruna Dantas Lobato (Black Cat/Grove Atlantic, 2024). 

I saw a flicker of surprise cross [the host's] features as a I pointed [at the young man seated at the back of the restaurant]. He looked quickly from my face to my coat to my jewelry. It was my age, above all. That was the thing that confounded him. He gave a tight smile and asked me to please follow him.
—From Audition, a novel by Katie Kitamura (Riverhead Books, 2025). I listened to this as an audiobook narrated by Traci Kato-Kiriyama, and I would also recommend it in that format. 

Should we take a trip?  
—"Invitation," a poem by Daniel Halpern, The New Yorker (March 11, 2024, pp. 44-45).   

Dita is standing at the window in her home, an opened letter in her hands, waiting for Niks to drive up with their two smallest children. That morning they'd gone to Niks's mother's places to get some potatoes—they didn't have any of their own left.
—From Birthday, a short story collection by Jana Egle, translated from the Latvian by Uldis Balodis (Open Letter, 2025). The book was originally published as Dzimšanas diena (Latvijas Mediji, 2020). This segment is from the story "The Debt," which appears on pages 25-44 of the trade paperback. Please note: this book contains at least two stories that may not be suitable for everyone. 

Night here in the valley spreads out its vigil,
night of one place following after another.
—From "Faithful Animal," a poem by Małgorzata Lebda, translated from the Polish by Mira Rosenthal. Six of Małgorzata Lebda's poems from her book Mer de Glace were translated into English and included, along with a personal essay, in the eleventh installment of the "Literature and Democracy" series from New England Review.

Novels by Wioletta Greg and Auður Ava Ólafsdóttir, and three poems from The Southern Review

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A christening shawl decorated with periwinkle and yellowed asparagus fern hung in the window of our stone house for nearly two years.  It tempted me with a little rose tucked in its folds, and I would have used it as a blanket for my dolls, but my mother wouldn't let me go near it.
        "Don't touch the shawl, Loletka.  It's a memento.  We'll take it down when your dad comes back," she'd say.  And when her friend who lived nearby would pop in "for a moment"—meaning two hours—she would repeat the story of how, a month after my father was arrested for deserting from the army and two weeks before her baby was due, she received a summons to start a work placement at Cem-Build.  Together with a dozen other women, she had to make paving slabs as part of the new five-year plan, so that the district government could create new squares in front of office buildings, schools and health centres within the allotted time.  In the end, Mum couldn't take working outside in the freezing weather.  She hid behind a cement mixer, and when her waters broke into a bucket full of lime they drove her to the maternity ward.
        She brought me home in February.  Still bleeding after childbirth, she lay down on the bed, unwrapped my blanket, which reeked of mucus and urine, rubbed the stump of my umbilical cord with gentian violet, tied a red ribbon around my wrist to ward off evil spells and fell asleep for a few hours.  It was the sort of sleep during which a person decides whether to depart or to turn back.
--From Swallowing Mercury, a novel by Wioletta Grzegorzewska (writing as Wioletta Greg), translated from the Polish by Eliza Marciniak (Transit Books, 2017).  Originally published as Guguły, which means "unripe fruit" according to the translator's note at the end of the book (Wydawnictwo Czarne: Wołowcu, Poland, 2014).

A day so happy.
Fog lifted early, I worked in the garden.  
--From "Gift," a poem written and translated from Polish to English by Czeslaw Milosz, reprinted in "Regarding Happiness," an essay by Charles Baxter, The Southern Review, Volume 44:2 (Spring 2008), p. 248.

My old man rings me on my cell.  The garbage can is beside the road
and needs to be rolled back into the carport.  
--From "My Father's Garbage Can," a poem by David Bottoms, The Southern Review, Volume 44:2 (Spring 2008), p. 220.

Water opens without end
At the bow of the ship
--From "Voyage," a poem by Samuel Menashe, reprinted in "No Small Feat" by Robin Ekiss, a review of Samuel Menashe: New and Selected Poems (edited by Christopher Ricks), The Southern Review, Volume 44:2 (Spring 2008), p. 365.

On my way down Skothúsvegur I reflect on how one should go about borrowing a hunting rifle from a neighbour.  Does one borrow a weapon the same way one borrows a hose extension?  What animals are hunted at the beginning of May?  One can't shoot the messenger of spring, the golden plover, who has just returned to the island, or a duck hatching from an egg.  Could I say that I want to shoot a great black-backed gull that keeps me awake in the attic apartment of a residential block in the city centre?  Wouldn't Svanur find it suspicious if I were to suddenly turn into a spokesman for ducklings' rights?  Besides, Svanur knows that I'm no hunter.  
--From Hotel Silence, a novel by Auður Ava Ólafsdóttir, translated from the Icelandic by Brian FitzGibbon (Black Cat/Grove Atlantic, 2018).  Published by arrangement with Éditions Zulma, Paris, France.  Originally published as Ör (Scars) (Benedikt Bókaútgáfa: Reykjavík, Iceland, 2016).