In Brazil they say you can make food fall from someone’s fork just by longing for it. Tatiane dismissed this notion, but only after thorough experimentation. Once certain, the failure became liberating, providing her with ammunition to sever the bonds with her clingy heritage. This need for cultural unfettering is real in America. Modern judgments being instantaneous, folkways are disadvantageous to retain. People are busy. Nobody has time to listen to anyone’s explanations, especially in outlandish accents. So when it happened, she told no one. Of course it wasn’t just the forks. Errant forks would have been fine. The voices were the problem. Spirits of candomblé manifested, circling storms around her, cavorting while she slept, following her to classes and her night shift. There she buttered bread. She poured her love into each delectable slice, adding fresh garlic, sliced green onions, and parmesan cheese browned like her skin’s caramel brûlée. “How come you care so much?” her coworker said. “It is just a side.” Tatiane shrugged. How could she explain she made them for Oxumaré, a scarred buxom black woman hovering nearby in the ether? She saw more details now: three wedding rings, the wailing child in her arms, and her beating heart rent by a dagger, blood splashing the unaware passersby. La Pasta Pronto customers stood in a queue while servers prepared their food. Besides gnocchi, meals always came accompanied by her delicious toast, but before the patrons could bite, Oxumaré’s quick tongue would arrive to sample its perfection. The customers always came second. Her love life was non-existent. How can you be romantic beneath rings of chanting white-clad celebrants? Sometimes she risked it only to erupt in a coughing fit when the Preto Velho, a spirit of a deceased slave, blew cigar smoke in her face. Her partners would have a hundred unanswerable questions. Why trade what remained for mere silence? “Go outside maybe? It’s bitter cold here,” she said, uncertain whether she meant his church or America. She headed for the sea, that same ocean washing the sunny shores of her native land. Sprawled upon the warm crunchy sand, beside the crashing surf where her spirits frolicked in the spray, Tatiane slept, peaceful at last.
Wazimbo's "Nwahulwana" Found this on a German site: Warum wanderst du von Bar zu Bar? (“Why do you wander from bar to bar?”) So, the first time I heard this I thought I recognized some Portuguese, but it’s illusory; the language is actually Ronga. I suppose it was just the echoes of Brazilian music. I found, though, a translation into Portuguese, which I will translate to English, but here’s the thing: this transcription of the words isn’t correct. Also, I’m almost certain I hear “vôce” which means “you” in the lyrics. First, “nwahulwana” itself is a soft expression for prostitute, hence “night bird” is the poetic meaning. I thought it was a love song. My wife thought it was a prayer (probably because of the way Wazimbo lifts his eyes to the sky when he sings “Maria”). So, it is something like this, but there are mistakes, because the lines don’t match up. Also, I wonder if he is singing “Nwahulwana” when the song starts - . It’s hard to know since I don’t