Cooking with My Father

Materialized by Svetlana Litvinchuk on Saturday, December 21st 2024.

Artist statement:

“Cooking with My Father” is an exploration of the common practice of teasing out the meanings of words through context, a tool so many immigrants use to navigate their new American realities as they gain English proficiency. At the same time, grammar and sentence structure are frameworks so deeply ingrained that small errors often make it obvious when someone isn’t a native English speaker. In this poem, I wanted to see, given enough context clues, if it would be as easy for an English-speaker to “codeswitch” as it is for an immigrant, intuiting the names of foods and translating them for themselves from Russian to English. I’ve always admired how seamless this dual-language element appears in the poetry of Spanish speakers and I was curious about whether this would work with languages less familiar to American ears. In the process, I decided to write this piece without the use of any articles, so you will find that, in the true spirit of a native Russian speaker, this piece is completely devoid of words like “the” and “a.” To this day, after 30 years of living in the United States my mom is still unsure about when these articles are useful or what they’re for. So, aside from a narrative poem exploring immigrant family dynamics, my goal was also to create a piece that sounded completely natural without the help of these small words.

His gift to my mother on Saturdays was sleeping in. Saturdays were for rest that children didn’t need. His gift to my future husband was to train me into proper wife material, as in, woman who cooks. Each week my father threw open my bedroom curtains, splashing weak tea of morning light onto walls as he shouted, <<Up, up, up!>> I opened one, then second weary eye with quiet groans, peeled myself slowly out of bed, <<Ready.>>

In morning’s empty oven we made omelets, soup, bread, honey cakes, thin blini with red caviar, salaty without lettuce— empty filler, if you asked him— karp, that lowly fish. While beneath American palates it was most delectable in tomato sauce, considered delicacy by many, especially if you caught it yourself. Kuritsa, roasted smothered in mayo, secret ingredient to crispy skin. Kartoshka boiled, grated, fried into pancakes. Lots of chesnok in everything, antiseptic & tongue-sharp, held over from days of inadequate refrigeration & long, cold winters.

We’d stop to sprinkle sol at every step, on every wound, every knife-cut intentional— cuts numbering thousands, each suitable for different cuts of meat, different trails of tears. Luk was to be grated with spunk, vigor, anger— you did it fast enough if you clipped your thumb’s knuckle— it infuses food with meaning, with feeling, makes it pan-tender, makes it <<nice.>> Sprinkling more sol, until it hurt, until you tasted it. At times we cooked with too much spice; my novice hands with too much heat, his experienced ones with too much force. <<Sahar is spice, sol is mineral>> he’d say every Saturday— our weekly sermon, wisdom applicable to every cooking lesson— as pickles fermented in our bathtub, as if we dragged it all that way in our trans-Atlantic migration. Vodka sitting on our table already by 7am. His guitara— every Slavic home’s guest of honor— resting on our sixth chair, where my great- grandma used to sit.

Two wedges of omelet basted with slices of pomedory & bologna— known as Doktor sausage, once so rare to find on market shelves during Perestroika, but so common in American grocery store aisles. I carefully plated slices for each member of our family, half speaking no English, youngest already forgetting Ukrainian. On those Saturdays, he taught me dozens of ways to cook dozens of eggs— two always remaining raw for my father, eggshells discarded in kitchen sink for my mother to find every night but Saturday— that secret ingredient in his special recipe for hangovers, covering up all those bitter flavors, covering up all those things that shouldn’t have been family secrets but we felt forced to swallow anyway. Four generations in one apartment, just like in our homeland, as if revolution never changed anything.

Svetlana Litvinchuk graduated from University of New Mexico. She is the author of a debut poetry chapbook, Only a Season (Bottlecap Features, 2024). Her work has been nominated for Pushcart and Best of the Net. Her poetry has appeared in Sky Island Journal, Apple Valley Review, Jet Fuel Review, About Place, Plant-Human Quarterly, Arkana, and elsewhere. Originally from Kyiv, Ukraine, she now lives in Cape Girardeau, MO. Her first full-length poetry collection will be out in 2026. She is the Reviews Editor with ONLY POEMS. She plants a garden everywhere she goes.