Forms

The Refugee

Denis Ferhatović translates from the Old English. Original from the Exeter Book.

The Refugee

A transcreation from Old English by Denis Ferhatović

A lone refugee, often I must say I am blessed

By the mercy of Al-Rahman, Al-Rahim

Even when I am in the back of a truck

In a ship’s freezing hold

Jammed in the cattle class of an airplane.

Qadar is inescapable.

 

Praise be to the Lord of the Judgment Day.

 

A refugee spoke thus, aware of everything that has happened to them

Of shelling at dawn, of entire families dying (maybe even his own).

 

Often I must awake before everyone

For the red-eye shift, murmur complaints to myself.

No one would understand, they might call the police.

In this dark city we are all but ants

Delivering food, cleaning gutters, providing sex.

It is the way of our ancestors to suffer

In dignity, not to scream, not to mourn

To tie up what can be tied

To tighten your jaw, to discipline your thoughts,

Worrying does not help, therapy is for the native-born.

Just stay tranquil, do your work, close your eyes.

This is what I usually have had to do,

To be locked and loaded, calm and collected

Moisturized, unbothered, in my lane

When the pain of longing for my land overtakes me,

Everyone I knew and held dear

Held to my chest, abuzz with warmth

Because my beloved protector died some time ago.

I dragged him out of the rubble, buried him, read the Fatiha,

My upturned palms a calligraphy of scars, empty.

Then I crossed the sea, the land, any number of borders,

Thought of a small apartment with all the amenities,

Someone who would embrace me at the door,

Split a meze sampler, give consolation,

Land a small kiss on the back of my neck.

In this I am not alone, if you know – you know:

The earth is teeming with those in our predicament,

All of us followed in step by our troubles,

Work permits on our mind, not a garage of Porches,

Bodies in piercing cold rather than high-thread cotton.

How we remember going to the secret club after work,

Groups of friends, your crush with a new bracelet.

He kisses you in an underground locale

With everyone swaying to Western pop,

Levantine remixes, our own voices karaoke-hoarse.

How our beloved protector took care of us,

Salaries, health insurance, rent control,

Entire constellations bombed out of existence now.

In sleepless nights, when melancholy hits

Me and us, while we lie awake thinking,

A memory of my protector enlivens my psyche.

I see him spread open, his legs up, his face eager,

Waiting to receive from me my carnal tribute,

Plentiful treasure, liquids poured inside and on top of him,

His shapely abdominals gleaming with quivering seed.

Those days are far in the past.

My iPhone returns them to me stamped by month and year.

I shake myself awake, rain lashes the windowpanes,

Snow trickles down the sides of buildings,

Pigeons, rats, and squirrels of the city shudder and shriek.

It is all the harder for me then to recall

His warm welcoming gifts of hole and hall.

Before my eyes passes that beloved entourage,

Club mates and work friends: Farid, Aisha,

Farid Number Two, Sumayya, Zulaikha, Yusuf,

Aziz, Salma, Mohammad Rafiq and Mohammad Ali.

I say salaam, I kiss and embrace, pat the shoulders

And admire the outfits, whisper-gossip-take selfies.

They disappear suddenly as frost-bitten birds outside cry,

As vermin scuttles across the cracked kitchen floor,

As creaky ancient radiators try not to breathe their last.

No consolation from my dearest scattered across the world:

In Italy, Sweden, Austria, Turkey, Canada, the US,

Carrying bags of cement in Dubai, washing the elderly in Bonn,

Dead on the bottom of the sea somewhere off Sicily.

 

Only to You do we pray and from You we ask for help.

 

Why is life to me merely a record of our losses?

It has always been thus, and thus will it continue.

Every day so many bodies and souls fade, caught in the mill.

We ignite briefly like fireflies, then go into the night.

A person has to be patient-understanding-strong,

Not easily discouraged-not anxious-not (completely) depressed.

They should measure the storehouse of their words.

They should savor small moments, but know they are transient.

They should know that worldly wealth means nothing,

That they need just enough to survive day by day.

The bosses’ mansions will stand like Roman ruins.

Everything in their lives will be destroyed.

All that is left is their formerly magnificent graves.

The Great Leveler will level, God be thanked

That is our only consolation and relief.

We are just tasting existence, it is how it should be.

Their palaces, villas, corporate headquarters will rot.

Our companions in labor and pain taken out, too:

Hypertension, diabetes, cancer, AIDS, accidents,

Heart attacks and strokes, brain hemorrhages,

Falling off buildings, self-slayings, drug overdoses,

Killed by a mugger in an alley, shot randomly by the police,

Or maybe a natural disaster will squash them.

With this mind, bearing the hoard of our experience,

With images of massacres, dispossessions, deportations,

Imprisonments, starvations, checkpoints,

I add myself a link to the old chain of Ubi Sunt:

Where has the beach gone where we swam on that July evening?
Where has my best friend gone, all dimples and clove smell on her fingertips?

Where have my three boyfriends gone, one a jock, one a prep, and one salt of the earth?

Where are the iftars with chosen families?

Alas, wanderings through the mall. Alas, evenings at the Cinémathèque.

Alas, reading in the National Library, slightly high. Alas, the smell of my mother’s kitchen.

Alas, all our cousins in one place talking at the same time.

I should spare you another list of horrors.

Open your phone and you will see them, updated.

Maybe some great architectural structure will remain,

Something perceived from the heavens by reluctant aliens,

Elaborate serpentine designs, patina on intermittently surviving gems.

Here, the bicycle repairman on Lilac Street is on loan. Here, the smiling waiter balancing the mother-of-pearl encrusted tea tray is on loan.
Here, the laughing group of bridesmaids ululating are on loan. (Qaftans in the wind.) Here, the youths flirting in a park by a Greek statue are on loan. (Their fragrant sideburns.)

Everything we have and see and love will vanish without trace.

 

Thus spoke a refugee before going to his cold bed,

After taking his magnesium and applying his retinol,

Whispering a prayer, looking for divine embrace,

Mystical annihilation in God.

 

I seek refuge with the Lord of Daybreak.

The Wanderer

From the Exeter Book

Oft him anhaga are gebideð,

metudes miltse, þeah þe he modcearig

geond lagulade longe sceolde

hreran mid hondum hrimcealde sæ,

wadan wræclastas. Wyrd bið ful ared!

Swa cwæð eardstapa, earfeþa gemyndig,

wraþra wælsleahta, winemæga hryre:

“Oft ic sceolde ana uhtna gehwylce

mine ceare cwiþan. Nis nu cwicra nan

þe ic him modsefan minne durre

sweotule asecgan. Ic to soþe wat

þæt biþ in eorle indryhten þeaw,

þæt he his ferðlocan fæste binde,

healde his hordcofan, hycge swa he wille.

Ne mæg werig mod wyrde wiðstondan,

ne se hreo hyge helpe gefremman.

Forðon domgeorne dreorigne oft

in hyra breostcofan bindað fæste;

swa ic modsefan minne sceolde,

oft earmcearig, eðle bidæled,

freomægum feor feterum sælan,

siþþan geara iu goldwine minne

hrusan heolstre biwrah, ond ic hean þonan

wod wintercearig ofer waþema gebind,

sohte sele dreorig sinces bryttan,

hwær ic feor oþþe neah findan meahte

þone þe in meoduhealle min mine wisse,

oþþe mec freondleasne frefran wolde,

weman mid wynnum. Wat se þe cunnað,

hu sliþen bið sorg to geferan,

þam þe him lyt hafað leofra geholena.

Warað hine wræclast, nales wunden gold,

ferðloca freorig, nalæs foldan blæd.

Gemon he selesecgas ond sincþege,

hu hine on geoguðe his goldwine

wenede to wiste. Wyn eal gedreas!

Forþon wat se þe sceal his winedryhtnes

leofes larcwidum longe forþolian,

ðonne sorg ond slæp somod ætgædre

earmne anhogan oft gebindað.

þinceð him on mode þæt he his mondryhten

clyppe ond cysse, ond on cneo lecge

honda ond heafod, swa he hwilum ær

in geardagum giefstolas breac.

ðonne onwæcneð eft wineleas guma,

gesihð him biforan fealwe wegas,

baþian brimfuglas, brædan feþra,

hreosan hrim ond snaw, hagle gemenged.

þonne beoð þy hefigran heortan benne,

sare æfter swæsne. Sorg bið geniwad,

þonne maga gemynd mod geondhweorfeð;

greteð gliwstafum, georne geondsceawað

secga geseldan. Swimmað eft on weg!

Fleotendra ferð no þær fela bringeð

cuðra cwidegiedda. Cearo bið geniwad

þam þe sendan sceal swiþe geneahhe

ofer waþema gebind werigne sefan.

Forþon ic geþencan ne mæg geond þas woruld

for hwan modsefa min ne gesweorce,

þonne ic eorla lif eal geondþence,

hu hi færlice flet ofgeafon,

modge maguþegnas. Swa þes middangeard

ealra dogra gehwam dreoseð ond fealleþ,

forþon ne mæg weorþan wis wer, ær he age

wintra dæl in woruldrice. Wita sceal geþyldig,

ne sceal no to hatheort ne to hrædwyrde,

ne to wac wiga ne to wanhydig,

ne to forht ne to fægen, ne to feohgifre

ne næfre gielpes to georn, ær he geare cunne.

Beorn sceal gebidan, þonne he beot spriceð,

oþþæt collenferð cunne gearwe

hwider hreþra gehygd hweorfan wille.

Ongietan sceal gleaw hæle hu gæstlic bið,

þonne ealre þisse worulde wela weste stondeð,

swa nu missenlice geond þisne middangeard

winde biwaune weallas stondaþ,

hrime bihrorene, hryðge þa ederas.

Woriað þa winsalo, waldend licgað

dreame bidrorene, duguþ eal gecrong,

wlonc bi wealle. Sume wig fornom,

ferede in forðwege, sumne fugel oþbær

ofer heanne holm, sumne se hara wulf

deaðe gedælde, sumne dreorighleor

in eorðscræfe eorl gehydde.

Yþde swa þisne eardgeard ælda scyppend

oþþæt burgwara breahtma lease

eald enta geweorc idlu stodon.

Se þonne þisne wealsteal wise geþohte

ond þis deorce lif deope geondþenceð,

frod in ferðe, feor oft gemon

wælsleahta worn, ond þas word acwið:

“Hwær cwom mearg? Hwær cwom mago? Hwær cwom maþþumgyfa?

Hwær cwom symbla gesetu? Hwær sindon seledreamas?

Eala beorht bune! Eala byrnwiga!

Eala þeodnes þrym! Hu seo þrag gewat,

genap under nihthelm, swa heo no wære.

Stondeð nu on laste leofre duguþe

weal wundrum heah, wyrmlicum fah.

Eorlas fornoman asca þryþe,

wæpen wælgifru, wyrd seo mære,

ond þas stanhleoþu stormas cnyssað,

hrið hreosende hrusan bindeð,

wintres woma, þonne won cymeð,

nipeð nihtscua, norþan onsendeð

hreo hæglfare hæleþum on andan.

Eall is earfoðlic eorþan rice,

onwendeð wyrda gesceaft weoruld under heofonum.

Her bið feoh læne, her bið freond læne,

her bið mon læne, her bið mæg læne,

eal þis eorþan gesteal idel weorþeð!”

Swa cwæð snottor on mode, gesæt him sundor æt rune.

Til biþ se þe his treowe gehealdeþ, ne sceal næfre his torn to rycene

beorn of his breostum acyþan, nemþe he ær þa bote cunne,

eorl mid elne gefremman. Wel bið þam þe him are seceð,

frofre to fæder on heofonum, þær us eal seo fæstnung stondeð.

Translator’s Note

Do we need another version of The Wanderer? I would rather see it another way: why should we not add to the wealth of translations, adaptations, imitations, or transcreations of this canonical poem? The voice of someone suffering stoically while moving through an inhospitable landscape, bolstered by happy memories of his lord and fellow warriors, has stubbornly survived demanding many iterations. It may now be the time for a queer, Muslim, refugee Wanderer. Several elements of my particular approach are not unprecedented, but their combination might be. Others like Greg Delanty have already recognized and marked the echoes of warfare in our own time. Yet others like Jane Holland (who turns the speaker into a woman) have extended the physically close image of fealty to a heterosexual act of oral stimulation. Queer approaches to translation from Old English are becoming a field of their own slowly but surely; witness the work by Miller Oberman and Ophelia Hostetter. Old English is no stranger in translations from Arabic, as Ange Mlinko uses fragments of the language, including from The Wanderer, in her rendition of pre-Islamic poets, and Tarif Khalidi mentions Heaney’s endeavor to “find the tuning fork” in his Beowulf as an inspiration in the preface of his translation of the Qur’an.

I have decided to draw on all these strands – echoes with modern-day war devastation, infusions of strong eroticism, queering of early-medieval materials, and fusions with elements of Arabic and its literature and scripture – thus creating something new. My wanderer comes from an undescribed location in the Levant, is queer and Muslim, lives in an undescribed location in the West, and instead of relying solely on his memories like his early-medieval counterpart, has access to photographs on his smart phone. I had Auður Ólafsdóttir’s novel Ör (Scar, translated into English and other languages as Hotel Silence) in mind, specifically its way of suggesting a location in the Middle East or the Mediterrean without giving away too many details. I went further, however, giving lists of names for the refugee’s companions and geographic places where they have scattered to. Reading Rabih Alameddine’s The True True Story of Rajah the Gullible (and His Mother) has given me courage to include sexual frankness and a measure of humor (“warm welcoming gifts of hole and hall”) alongside unflinching examinations of suffering, in all-out war and seeming peacetime.

Another bittersweet and delightful process was modernizing the ubi sunt (where are they?) passages. I strove for a combination of meaningful, everyday memories of friendship, companionship, erotic pleasure, enjoyable states heightened by cannabis, music, books, food, or film. This voice lives in our world and, in addition to his more lyrical modes, has access to the global vernacular through the Internet; one passage corresponding to the maxims in the Old English says “To be locked and loaded, calm and collected/ Moisturized, unbothered, in my lane.” Alliteration, that ancient way of linking words and thoughts, still persists in our most recent sayings, while “locked and loaded” with its suggestion of weaponry clashes with the metaphors that deal with skincare and orderly operation of a motor vehicle. Yes, the meze platters and qaftans and Qur’anic verses (italicized) and the Greek sculpture the park ground the poem in a certain cultural setting, painfully lost to the protagonist, but at the same time, my wanderer’s journey is a more universal phenomenon. He is certainly a part of our own world. You might have listened to the same music as he, and seen the same memes. If you do not see him in your midst, just look at your phone.

BIBLIOGRAPHY:

Alameddine, Rabih. The True True Story of Rajah the Gullible (and His Mother). New York: Grove Press, 2025.

Delanty, Greg, trans. The Wanderer. In The Word Exchange: Anglo-Saxon Poems in

Delanty, Greg and Michael Matto. Translation. New York: Norton, 2011. 57-63.

Holland, Jane, trans. “The Lament of the Wanderer.” In Camper Van Blues. Cambridge, UK: Salt, 2008. 33-37.

Hostetter, Ophelia E., trans. The Queer Life of Riddles: (Re)Translations from the Exeter Book. Brooklyn: Punctum (forthcoming).

Khalidi, Tarif, trans. “Introduction.” In The Qur’an. New York: Penguin, 2009. ix-xxii.

Mlinko, Ange. “Translator’s Note: ‘Lament’ by Labid.” The Poetry Magazine (June 1, 2011). https://www.poetryfoundation.org/poetrymagazine/articles/145840/translator39s-note-lament-by-labid (Last accessed on February 15, 2026).

Oberman, Miller. The Unstill Ones: Poems. Princeton: Princeton University Press, 2017.

Ólafsdóttir, Auður. Hotel Silence, trans. Brian Fitzgibbon. New York: Grove Press, 2018.


  • Like the great majority of surviving Old English literature, this poem is anonymous. The only attestation for it, the Exeter Book (Exeter Cathedral Library, Dean and Chapter MS 3501), a miscellany dated to the tenth century, contains no titles, but modern scholars usually call it The Wanderer. The Wanderer appears in folios 76v-78r. After Beowulf, it is among the most canonical vernacular literary works from early-medieval England, along with other lyrical, meditative, and melancholy lyrics, The Seafarer, The Wife’s Lament, and Wolf and Eadwacer, also found in the Exeter Book.

  • Denis Ferhatović is a Bosnian-American scholar and writer. His essays, poems, reviews, translations, and co-translations have been published in Rumba under Fire, Index on Censorship, The Riddle Ages, Iberian Connections, Turkoslavia, Trinity Journal of Literary Translation (JoLT), DoubleSpeak, Asymptote, Grouchy Medievalist Substack, Ellipse Magazine, Reading in Translation, Hopscotch Translation, and Strane. His scholarly work appears in various journals and essay collections. His monograph Borrowed Objects and the Art of Poetry: Spolia in Old English Verse came out in 2019.