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collaboration IALA x h-pem | In Memory of the Country We Once Recalled What happens to our connection with a home after we have left? This question haunts the elegiac explorations of “In Memory of the Country We Once Recalled.” Bookended by a dialogic line of longing—“You haven’t returned home in years”—the poem explores the meaning of a home laced with loss and love. The idea of home is, in this case, Armenia, yet the poet’s specific rendering of that home points to universal tensions relatable to anyone who has ventured toward unknowns. Whether in a new town, state, or country, there looms the inescapable shadows of the past—the people, the places, the possibilities—that facilitated leaving and establishing a new home where traces of the old echo. If home is the lingering shadow, then we’re inspired to ask: What does home even mean? Perhaps it’s a history to preserve, or a prison of paralyzing nostalgia, or something between those polarities. In the Armenian experience of countless migratory waves, definitions of home face assimilation pressures in the new setting. “And somehow, in our youthful innocence,” the poet observes, “we / replaced culture with rapture / Baklava and lahmajoun morphing all too quickly / into cupcakes and Domino’s Pizza.” Cuisine is not the only cultural idiom distorted by the dynamics of migration. Annual visits to Armenia render the homeland a mere “tourist destination,” where the mayrenik is “Straining under the weight of a new, more developed, homeland.” As a painter layers color, here the poet layers identity with “homeland” as a term both firm yet fluid, as something that can be layered, mixed, and morphed by forces beyond one’s control. Through cuisine and tourism, the poem builds to a striking moment where the desire and need to assimilate cannot escape the internalizing of cultural erasure. Writes the poet: “We ask / mama and papa to ‘please speak in English / when my friends are here’ So that our cheeks don’t blush / pomegranate red in humiliation.” This line shows the poet’s powerful capacity to confront efforts to conform with a dominant culture that simultaneously reveal an inner “pomegranate red” essence that no amount of assimilation can erase. We do not know why the person with whom the poet converses, presumably the poet’s mother, left Armenia, or what economic hardships, political pressures, or regional conflicts she sought to escape. Her disconnect—physicalized with “lips recoiling, disgusted,”—point to a justifiable need to let go of what was in order to embrace what is and what can be. And yet for the youth, like the poet, caught in such calculations, these lines of separation are hazy. In this obscure space, the poet mines the riches of these tensions, using the pen to stake a compelling claim: “my home is no longer hers.”  Commentary provided by YAPA contest judge Raffi Joe Wartanian

feature Celebrating Armenian culture at the Smithsonian Folklife Festival 2018 has been the year to be Armenian. From a political revolution in April/May to a full Armenian village in the middle of the U.S. capital in June/July, to the upcoming Metropolitan Museum of Art’s (Met) exhibition on Armenian art in September, Armenianness has never been more in the spotlight. As the political discussion around immigrants grows increasingly hostile here, at home, the Smithsonian Folklife Festival’s decision to shine a light on Armenian heritage and culture this summer in our nation’s capital is a proud occasion for our community to showcase, as the President of Armenia calls it, “the cradle of civilization—after Africa.”