To Hell With Poets by Baqytgul Sarmekova

She put the pieces of dry dung into the sack, brought it to the house, opened the wood stove door, and emptied the sack into the firebox. My siblings and I had gathered the dung over the summer, often getting into fights with other kids. There was a story behind each piece of that dung. That thin whitish piece, dipped in diesel to make it ignite at once, had been produced by the cow with a broken horn that belonged to our neighbor Qambar. After finding old Qambar's cow eating the hay saved for our own cows, I chased it away, telling, "Botflies on you and blackleg too!" and every other curse I knew. When the wet flop she'd dropped as she walked away dried up in the sun, I picked it up and placed it against the wall of our cow pen. Yes, each piece of dung had a story like that.

In "The Black Colt," the story that opens Kazakh writer Baqytgul Sarmekova's collection To Hell With Poets, a man arranges a wedding for a longtime local bachelor, for which he is paid a fine black horse. He's never owned a horse before, but it becomes his pride and joy; no longer does he care for his many cows. But when the bachelor dies before the wedding, his brother comes to reclaim the horse. When the man demands the cost he paid in keeping the horse, he's paid by the brother--in horse feed. It's these little ironies, the kind that might happen all over the auls of the Kazakh steppe outside of where most literary eyes can see, that are the subject of To Hell With Poets.

An aul is a kind of fortified hillside village, as I understand it. Sarmekova's collection, which is more a collection of character sketches or vignettes than a collection of short stories, I think, goes back and forth from the aul to the city, whether Almaty or Astana, and the tension between the two is often at the book's center. The title story is about a naive young girl from the aul who dreams of being a poet (her poem is pretty good: "There's life in you, hard-shell egg. / Make the most of it. / In a moment, I'll smash you to pieces. / I'll have you over easy.") and who becomes caught in the whirlwind attentions of an older male poet from the city. Their tryst disillusions her from pursuing poetry; in a post-script, she has become a successful urban woman when she recognizes the former poet as her taxi-driver. The despair, the sense of inadequacy--which, it must be said, cannot entirely be blamed on the poet in the first story, whose attentions seemed genuine enough--are flipped around. The poet-taxi-driver looks at the now elegant woman, who is flipping him off, and thinks, "How could a fingernail be this long? Bright-red, as though dipped in blood, and pointed like a spear, the fingernail seemed to pierce his heart."

Overall, both book and stories have a slightness that prevents them from being truly memorable. But I appreciate the way they never try to do too much; "The Black Colt" is, even with its simple one-two-three plot, the most complex of them. Taken together, they offer a really fascinating glimpse into the tensions and contradictions of modern life in Kazakhstan. Which, by the way: with the addition of Kazakhstan, my "Countries Read" list is up to 104! I have to say, I really appreciate the work of Tilted Axis Press, which goes to such lengths to find translated literature from places not usually represented on American bookshelves.