Teaching Transnationalism as an Identity: Expressions of Simultaneity in Looking Both Ways: An Egyptian-American Journey by Pauline Kaldas. By Layla Goushey

In her latest book, Looking Both Ways: An Egyptian-American Journey, Pauline Kaldas expresses the synchronous, connected, simultaneous experience of the transnational individual. Where distance once allowed Arab-Americans a certain amount of time to shift from their Western realities to their Eastern roots when communicating by handwritten letters and expensive long-distance phone calls, now with the benefit of communications technology and air travel, they experience a singular situation in multiple ways while contending with their own and others’ multiple perspectives.

Kaldas articulates the subtle concept of simultaneity, of living in a transnational migratory space. She expresses this sense of simultaneity in her description of her experience during the Egyptian protests of the Arab Spring of 2011. She writes “As soon as the protests begin, I call my family in Egypt. All of them are staying at home, hoping that things will calm down soon. The emails and phone calls tumble into my house almost simultaneously with friends and colleagues asking about my family.”

In physics, simultaneity refers to the perceived relation of events to each other. John Walker, founder of Autodesk, Inc. and co-author of AutoCAD offers a definition.

One of the most fundamental deductions Albert Einstein made from the finite speed of light in his theory of special relativity is the relativity of simultaneity—because light takes a finite time to traverse a distance in space, it is not possible to define simultaneity with respect to a universal clock shared by all observers. In fact, purely due to their locations in space, two observers may disagree about the order in which two spatially separated events occurred.

Pauline Kaldas invites readers to understand the impact transnational simultaneity has on everyday lives and perceptions. For Kaldas, this phenomenon starts with a name. Her name. Soon after her birth, there was a hint of what was to later come. Her name, Pauline, was awarded to her after several days of thoughtful consideration by her relatives. Her parents were forward thinkers who were interested in new ideas and in the promises of the West. The name Pauline was suggested by her Aunt Vicky, who had studied French. While the name Pauline was an oddity in Egypt, it is familiar to Europeans and Americans. This name was meant to “satisfy the needs of tradition and modernity,” Kaldas writes, “This name, with its foreign pronunciation, its removal from the Arabic language – still perceived as inferior in this post-colonial society – must have caught my mother’s ear.” She goes on to write “This name marked my place at the periphery of the world I was born into and which became mine.” So, at birth, Pauline Kaldas was situated in a conceptual, simultaneous space at the border of the Western world that she would later enter and make her own, while still being immersed in her Egyptian homeland. From one vantage point, she possessed a unique name that set her apart in her home country; from another perspective, her name foretold her entry into the world her name symbolizes.
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International travel is increasingly accessible to many people, but not everyone. Through literature, such as Kaldas’ book, readers are inspired to consider how instant, global communications are impacting all communities, whether or not the reader is aware of the emergence of individual experiences of transnational simultaneity. These are important concepts for readers to consider if only to decipher how their experiences link with others in the world.

In the chapter “Make it Like the Recipe” Kaldas discusses her inability to follow a precise recipe. She explains, “Perhaps it’s my winding life path that makes it so difficult for me to follow rules – there is always another way to get there even if it involves a lot of stumbling.” She expresses transnational embodiment more fully as she describes a conversation with an Egyptian friend who tells her that her entire body transforms as she switches from English to Arabic. He says, “you become a different person with each language.”

Those who express secure transnational cultural embodiments have spent extensive time in two or more countries as children or adolescents. Multiple language acquisitions contribute to their personal characteristics, and they embody transnational simultaneity by expressing themselves through multiple cultural norms. For multilingual and multicultural individuals, those internalized “different persons” mentioned by Kaldas’ friend will have different views of the same events. They will find alternate paths to the same destination. Differing cultural understandings and interpretations live within transnational individuals and are also external to them, simultaneously.

After teaching teenagers and young adults for over twelve years, I have learned by trial and error that teaching writing and teaching Arab Studies requires a scaffolded approach. There is a well-known teaching axiom that says, “We have to start from where students are.” Kaldas’ work is accessible to readers who are new to topics in Arab studies, and to Migration, Diasporic, and Transnational Studies. She offers numerous well-told vignettes that can be launching points for richer discussions on immigration, on intercultural competencies, on the Arab Spring, and of Egyptian and Pan-Arab history. I will use this book to introduce readers to new ideas in Arab and Transnational studies, and I recommend this book to anyone who seeks a rich and enlightening literary experience.

Fragments of Libya By Nour Naas

The air is hot and heavy when you walk out of the plane and you know that you are finally home because you should not be smelling cigarettes this deep inside the airport, but you do. The windows are big and the sun is pouring inside and it looks like no one ever sweeps the tile floors because what would even be the point? Everyone is carrying sand between their toes through and through. The employees are all wearing sandals, even the ones with guns, and you realize that you have never actually been to an airport like this. You realize that there is only one place that can feel like home, and it is right here, in this liminal space where we are always parting and uniting and making promises and breaking them again and again and again. The security officers and the men at the information desk are slumped against the walls, blowing smoke into the faces of men, women, and children. No one seems to mind it but us. It is our first time back in three years, and our first time back after the civil war, and we are directed into an office where three men are standing in either corner, staring us all up and down. I think it is because we have American passports, that we are brought in for questioning. Mama already told us not to say anything before we even landed. Our accents would give too much away, and we do not know what that would mean for us. So Mama talks, and Jalal and I just stand there and listen. The country has been rattling with violence since the war began, and there are signs of it before we are even outside of the compound. Plainclothes security officers have AKs slung across their shoulders, and there are bullet piercings on the off-white walls and the ceilings. The sense is different now, but it never stops feeling like home. When we head outside, I catch a boy about my age smiling at me, and I look away, but I must have smiled, too. Khali picked us up from the airport and drove us home to Hay al Andalus. On the way, we do not drive past one block without passing a revolutionary mural — murals reminiscent of Omar al Mukhtar, of Libyan resistance against Italian colonialism. In others, Gaddafi’s face is quashed under a boot; red, black, and green fill in quotes in calligraphic script by resistance leaders: we do not surrender, we win or we die. There is even a mural of Che Guevara near the Internet cafe we begin to frequent when the cable at home grows too unreliable for what we are used to.

Hnena and Jdeda are home and Mama is crying again, kissing their hands and their foreheads and caressing their heads, holding them like she is afraid she will never see them again once she leaves, and my heart is so full and it feels like I made it to the place that I have aimlessly been running toward for so long. By some stroke of luck, I am finally home. I have a place here and it is bizarre in the most beautiful way. This agonizing absence of homeland, followed by return, makes me want to feel and smell and hear everything and so I take off my shoes and let my feet sweep the hot sand. I kiss Hnena and Jdeda and I kiss my uncles and smell Khali’s cologne that he probably bought in Rome and I am tickled by their rough mustache against my cheek and I kiss my aunties and we hold each other for a long, long time, until they feel like they have compensated for all the years they were exiled from my life when I am in America. I run up the four flights of stairs with the black railings until I am finally opening the door to get out again and I see the city, a city that looks like everything and everyone was made from the earth. There are construction workers a few houses down, and I am with Sijoud when they wave in our direction and smile. We smile back and return our salutations. I do not feel like I have been away for all this time. It feels like these men working the house, like Hnena and Jdeda, like the boy from the matar, have been holding this story for me, just waiting for my return. I want to stay here forever. I beckon to Sijoud to go for a walk with me, and she seems as excited as I am. We go back downstairs and beg our mothers to let us go out until they finally do. We are only allowed to walk around the block once, then we have to go back inside. Aunty told Mama that a lot of girls have been getting kidnapped since the war ended. There are even gunshots and they come at random times of the day, so I am already grateful for this walk and no one is out now in the neighborhood but I get happy when I see somebody because I am home I am home I am home. And no one is sitting on the block, waiting for me to walk by to ask me where I’m from. Everyone already knows. My hair is curly and frizzy and the humidity is making it bigger like it is a flower that is blooming and that is when one of the men on the street calls me shafshoofa, but I do not mind. I do not even know what it means until my cousin laughs and fills me in.

I love everyone here like we are all family. This is exactly what it feels like. I am imagining my life with him and him and her and them and us and I want Mama to stay here. I want her to tell us that we are not coming back to America. She is talking about the possibility of this happening, and I am already talking about cutting up my passport, of throwing it into the sea. Mama tells me not to make jokes about that. The country is too unreliable, she says. We could be stuck here forever. But I do not miss America. Everything I miss, everything I have missed, I am finally here for. Sammy’s wedding is going to be at the end of August and this is the first family wedding I am going to be here to go to.

I am looking at Khaltu Sharifa and her body is moving like someone is shaking her in a fit of rage. She is not able to drink from her small glass of water without spilling the half of it first, and that is when Mama weeps. Mama told me stories about Khaltu, stories that I have a hard time picturing in my head because the only picture I have is the one that is in front of me now. Who was she before? There is a piano in her house and it feels strange to see this, but I am not sure why. Khaltu has dozens and dozens and dozens of books that decorate the walls of the house. My favorite thing, though, is the painting of Omar al Mukhtar right by the doorway to the living room. Khaltu’s husband left her and her kids. I do not know the whole story, but it makes me sad because Khaltu did not deserve to be left. I stare at her, trying not to stare too long, trying not to stare in the wrong sort of way. Khaltu tells me she loves me for the first time, and my heart goes in a circle. I do not know what or who I am or why or how she loves me, but I am flattered and I want to tell her that I love her, too, but for some reason I do not think that she will believe me. I am spending most of my time there talking to her caretaker, Zaytouneh. She is from Somalia and she speaks English, so we talk. And I ask her lots of questions and we only stop our conversation when it is time for salatul maghrib. Zaytouneh tells me that she is trying to get to Europe. She is trying, but what she really wants is to find her way to America. She says, Libya is not my final destination.
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We leave Khaltu’s house and the sun is so close that it is beating our backs. I look out in the distance because I see water and I think I see rocks too but I’m not sure. Mama laughed the kind of way that you do when you are sad. They are not rocks, it is trash that people dumped on the rocks, sitting for the water to pick it up tonight. A lot of things are different here but it is home. And I am learning how to love it in a different way because you just cannot love Libya in the same way that you did before the war happened, because people changed, the country changed, the landscape changed. I am falling asleep to the sounds of bullets but the gunshots and the fighting is happening so routinely these days that it is impossible for me to be afraid anymore. Hada al haya.
I am sitting on the beach in Khoms biting into the peaches that I washed in the ocean. I am standing tall on the rooftop breathing in the air of Hay al Andalus. I am buying that pink-beige mumtaz brand ice cream from the guy next door and my skin is all sweat and the heat is making it taste better than it probably actually is. I am sitting in al dar al arabiyyeh eating kusksi with usurti and nothing else matters. There is no war, no murder, no refugee camps, no kalashnikovs, no gangs, beyond this moment.

I am here.
We are home.

The House Between Two Rivers by Christina Yoseph

Recently, my girlfriend and I met up with our two closest friends from law school to catch up over drinks and pizza. She and I left school after completing our first year, so when the four of us get together, our conversations usually abide by a similar format: how is school going for them, how is life going for us, and what drama have each of us missed out on between hangouts?

Because we’re all nonwhite and of varying socioeconomic backgrounds, related topics likewise arise. On this particular Friday night, our friend Doug, who is given to discussing the ways in which his socioeconomic background has shaped the person he is today, went into greater detail on the subject. In describing the false comradery his peers sometimes attempt to forge with him simply by virtue of their shared Asian-ness, Doug said, “They’re rich but because their parents were working class back in the day, they think they know what it’s like—well, I’m still living it.”

When we all get together, we talk about white folks and their ignorance. Doing so seems natural because we’re all children of diaspora. Doug’s parents are from Vietnam. Our other friend Chase’s parents are from the Philippines. My girlfriend and I are each mixed-white: her mother is from the Philippines; my father is from Iraq. We bond over our brownness. We are alike, yes. But we are also not, and in more ways than I had taken care to analyze up until that point—because we had all gone to the same school, because we all dressed the same, and, in many ways, because we all looked similar on the outside.

Aside from the fact that almost no American-born person perceives me as Asian, Doug’s comment applied perfectly to me. I had heard, read, and engaged in countless dialogues with friends of color about colorism, but this was different. Yes, skin color was very much a factor in Doug’s economic background.

But there were so many other factors influencing his family’s status, their inability to move up in the ranks of a society that classifies Asian folks, in one fell swoop and in all their cultural, ethnic, and religious diversity, the “model minority.” His parents emigrated from Southeast Asia. His mother struggles with mental illness that she never received help with, and his father is a veteran dealing with the fallout of his service in the Vietnam War.

Whether he intended it to or not, Doug’s comment acted as a mirror for me. In recent years, I have begun to consider—and needlessly dissect—the economic struggles of my parents and my grandparents. I have gone so far as to mistakenly attribute, if only partially, my inability to fit in with some of my former friends, who’d descended from several generations of well-to-do white folks, to these struggles.

Moreover, this dissection has confusingly coincided with my inability to suppress painful yet critical realities that have informed my identity: my American-facing upbringing has been more white-coded than it has anything else. For example, although my parents guarded me ferociously against school bullies, they were each conspicuously hands-off when it came to the taunting I was subjected to by my white classmates post-9/11.

My father’s side of the family, in many ways, fits the ideal immigrant narrative nearly to a T: Christian, hardworking, and constantly vocalizing their gratitude for the country that gave them a chance at a better life. While they do not favor Republican politicians who push Islamophobic agendas (a phenomenon far more common in the Assyrian American community than I was once comfortable admitting), their relationship to politics in the United States is complicated. In Iraq, they were a religious minority, and although they live in America, they still feel connected to their community back home, and to their complex relationship with a religious majority the U.S. has branded the enemy.

In short, my family’s desire to seamlessly blend into the fabric of America has rendered them apolitical in certain ways—particularly because it has required that they differentiate themselves from a religion whose adherents we in the U.S. consider inherently dangerous.

I believe it is this unique condition upon which my family’s assimilation has been predicated that has prevented us from engaging in meaningful discussions about our individual experiences with xenophobia, though I am certain I am not the only one who has experienced it—especially considering my brother and I are the only ones on our dad’s side who are “mixed.” In fact, en route Greece in 2006, my parents, brother, and I were subjected to a lengthy TSA inspection. When I brought this up with my mother a few weeks ago, she couldn’t quite remember the incident.

My mother was raised by a family to whom adopting and abiding by American customs was imperative. Her father is a racist, and although she works harder than anyone I know to challenge the toxic beliefs she was taught, my grandfather was an abusive and controlling man, and many of his prejudices made their way into her ideas about the world.

I was, at first, offended by what I had initially interpreted as her refusal to acknowledge a memory which was so vivid and shitty to me for the nonsensical way in which it crystallized my state of otherness: the agents had searched my belongings in an effort to determine whether I was carrying anything dangerous aboard—to determine whether I, at age fifteen, travelling with my white mother, was dangerous.

But then, I realized that this experience for my mother hadn’t been sandwiched by other disorienting moments of xenophobia. This moment wasn’t even about her. And because my mother and I have always been so close, it was easy for both of us to ignore the ways in which xenophobia affected me, because I was of her. She could pretend that ugly things like white American suspicion of American-born, part-nonwhite folks like myself didn’t apply to me, because I came from her, and she and I were cut from the same cloth, and being viewed with contempt or suspicion simply for being had never been her experience, so how could it ever have been, or ever possibly be, mine?

Being so close with my mother while simultaneously nurturing this unspoken part of my lived experience because it is uncomfortable, because it is what separates us, has created a painful disconnect in our relationship. I think it has been more comfortable for my mother because it does not disrupt the course of the conservative American way of living she was raised to believe is proper.

However, she and I have been talking about these experiences, about our differences, and about the lack of understanding that has permeated not only our relationship, but her upbringing, and she is exceptional in her willingness to open her mind and to embark on a mountainous journey of learning and unlearning, all on her own, despite the chorus of naysayers by whom she is surrounded.

Last year, when I told her about how my Trump-supporting coworker said she “understood” that Americans don’t want people from my dad’s country coming to the United States because “they’re the ones doing most of the bombings,” my mother suggested I complain to HR and management or quit after seeing how unhappy I was with the hostile work environment.

My father’s reaction, on the other hand, was silence. Certainly a thoughtful one, but silence nonetheless. While I had raged about my coworker’s comment—and about other such comments made throughout the office in the aftermath of the election—my father’s reaction to my experience was subdued and made me feel a bit like I was howling my frustrations into a void. However, the sensation was not new to me, because I had long been aware of the vast differences between our experiences with otherness.

Internally, my family has abided by its culturally conservative traditions, inherent to which, on both sides, are religion; my father’s side of the family is Assyrian, and my mother’s, Greek Orthodox Christian. Though I am in my late twenties, bringing a male partner as a guest to a family function on my father’s side is still out of the question (marriage would need to seriously be on the table).

My being in a queer relationship, then, is, to put it mildly, out of the question on both sides. Although the United States lags far behind dozens of countries when it comes to the acceptance of queerness, both of my parents’ ethno-religious backgrounds are still significantly less forgiving.

For a time, I opted to dis-identify with my Assyrian heritage. This is due to the fact that—to put it lightly—I don’t get along with my dad. My issues with my father are deeply personal and I will not explain them here. My unhealthy relationship with my father has long served as a source of insecurity for me when it comes to my Assyrian heritage: because he is cut from the same cloth as his family, and from their community of friends, I am not close with them either.

The nonexistence of my relationship with my father and his family has often made me feel stateless. This feeling has been compounded by the fact that there is often pressure on the children of diaspora to offer family members unconditional acceptance, love, and understanding under the basic premise that “sticking together” is crucial to our survival.

What gets left out of this equation, however, are important relational nuances, such as abuse, and the ways in which it is coded (for example, along the lines of gender and sexuality). And while some might choose to forgive family members who impose abuses of that nature upon them, I am absolutely against the concept of pressuring others to do the same for the sake of preserving one’s heritage. In short, I do not believe that one has to compromise their own psychic survival in order to maintain their cultural and ethnic ties. That being said, while I am not by any means close with my Assyrian family, I have valued learning about our history.

Before my grandparents brought my father and his siblings to the U.S., they were wealthy. When they did arrive here, the adjustment, which involved a lengthy financial struggle, a severe climate change (from Baghdad to San Francisco), and a loss of community, led to my grandmother’s developing mental health issues that to this day have, unfortunately, gone untreated. Eventually, however, they recovered financially and became economically stable, with my grandfather making a living for their family as a wine and spirits salesperson.

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At first, I had trouble wrapping my mind around this concept; admittedly, I was skeptical, as questions about racial profiling by the cops and Homeland Security percolated through my head. It took learning about the foundations of our country and understanding that they have not been eradicated, but rather, that they have merely mutated to disguise themselves as examples of “progress” for me to grasp the what hooks was saying.

The successful employment of money-making schemes—like our country’s private prison system and unilateral wars that begin and end with our invasion of countries in the Global South—requires know-how on the parts of our country’s wealthiest members (such as the heads of arms dealing companies, for example) when it comes to choosing scapegoats. Members of our country’s white majority who do not stand to profit off of these systems are nonetheless determined to see that genocide is done to these scapegoats, either through incarceration, deportation, or murder. They subscribe to the patriotic rallying cry, Keep our country safe! (read: white).

The point is, my failure to understand the reality of hooks’ claim—instead willfully conflating my brownness with that of my friends’, whatever our economic backgrounds—equated to my trying to force a square peg into a round hole. When my brown friends made comments about my seeming white, my liking white things, or my not being a real brown person, I felt an infuriating mixture of confusion and anger which only ever distilled down to resentment, because I couldn’t understand where their resentment was coming from. They all knew that I was white, yes, but they also knew that I was Assyrian.

More than half of them had initially asked, Syrian? before I’d explained that no, this was different. I thought, You don’t even know what I am and you’re telling me what I’m not? Many of them didn’t speak a lick of their own native tongues—and true, I barely speak my own, but I fought my insecurity over my lack of fluency with regularity, reminding myself that it was the result of my parents not sharing a common language, that I was shy growing up, and that learning a language as an adult is hard enough as it is, let alone one that is practically dead. It drove me even crazier when folks who were similarly light-skinned or ambiguous—or even white-passing!—made these sorts of comments. What the fuck? I would think. You and I are not different. But in reality, we were. We are.

Before my family and I moved to our Pleasantville-like neighborhood, we were living in a smaller, lower-income town. Nonetheless, my brother and I wanted for nothing, and as far as I knew, my childhood was the stuff dreams were made of. All the adults on our street were friends; so were the children. We had block parties regularly, and there was a true sense of community. I was a child living in an idyllic, multicultural neighborhood. And because of this, the differences in skin color between my childhood friends and I didn’t matter.

But once I changed schools, they did. Because I was new, and because I was a question mark—not only not white but unfamiliar for my not-whiteness—my new brown classmates and I didn’t seem to have much in common. I was, however, excited to find out that we liked a lot of the same music. Like me, they had grown up watching shows like 106 & Park. Every once in a while, one of us would get excited because the other was singing a song that the other liked. Otherwise, we really just didn’t have much in common.

Admittedly, most of the music I’ve become meaningfully attached to throughout my life has been introduced to me by someone that was important to me at some point. While I do hold dear some of the songs and artists people from my past have shared with me— because I see music as a reflection of one’s personal growth, which necessarily includes their community—my music tastes have evolved significantly. For example, because I grew up listening to hip hop and R&B exclusively with my closest childhood friend, the combination of (mostly) losing touch with her over time and having no friends who listened to such music resulted in my listening to it far less as I aged.

I eventually made a friend in junior high whose music interests skewed “alternative,” and it was through her that I was inducted into the overwhelmingly white punk rock community. At the time, I was barely a teenager, and I didn’t perceive the music I listened to through the lens of skin color. I liked my new friend, and she was the only one I had, and I liked the music she liked. It was new to me. And no one I was hanging out with in Pleasantville liked the music that I grew up listening to. Looking back, this switcheroo in my taste in music made sense—though some of the albums I grew up listening to remained fixtures on my playlist.

My tastes simply changed as a result of my environment. I was suddenly surrounded by mostly white kids whose parents had evidently filled their heads with shitty ideas about folks who didn’t look precisely like them. The music I listened to and the cable television shows I watched as a teenager, for example, are the results of my upper-middle class upbringing which, despite by no means being reserved for white folks, I see now are white-coded. But being a member of a minority that was foreign even to the other brown children rendered me even stranger to the white children.

However, I wasn’t properly assimilated into my own family, on either side, either. I was truly an island. But I didn’t want to be. Enter my “white girl music,” introduced to me by my white friends. Nonetheless, I felt it spoke only to me, to my complex brown girl feelings, and to my experience of feeling isolated in my brownness while coming of age in a white world. TV was my best friend, providing me with all the refuge I needed as I learned to make sense of my family’s abrupt and drastic ascendance into the upper-middle class.

Even when some of my brown friends from my hometown and I reunited in high school, they were no longer interested in my friendship: I had officially and sufficiently whitened up. Even though I was perfectly happy with my new friends, it stung, and I couldn’t understand what had changed in two short years; although we had ceased to correspond via phone and email nearly as regularly as time went one, we had once been so close. I’d expected them to be as excited to see me as I was to see them. Throughout high school, I witnessed them maintain their friendships with each other and expand their peer group, never making an effort to include me. The sting became a dull ache that was increasingly anchored in a nagging curiosity: What happened? But eventually, it all made sense.

My being called a white girl is in part a reference to my having light-skin, my being white-passing, and my being mixed-white. But it is also largely, I believe, a reference to the socioeconomic class from which my family and I hail, and the ways in which I carry myself.
I am not, never have been, and will likely never have to be familiar with so many of the institutional barriers that have been erected before some people of color at every turn when it comes to attempting advancement in our capitalistic society. The discrimination I have faced in relation to my nonwhiteness has not come in the shape of institutional and therefore capitalistic barriers, but rather, for the most part, in the form of completely manageable micro-aggressions.

I erred in living first, by believing that these micro-aggressions put me on the same plane of experience as my light-skinned peers simply by virtue of the fact that our skin tones were similar, and second, by becoming resentful when I felt judged by them because I felt entitled to spaces that were theirs despite my undeniable class privilege.

I am well-aware that racism and xenophobia do not come with one-size-fits-all approaches: dominant classes have come up with coded language and systems, for example, that apply to specific cultural, ethnic, and racial groups. In other words, I am not saying that the xenophobia I experience—whose undercurrent is that Middle Eastern and North African folks, particularly if they are Muslim, are dangerous simply by virtue of their national origins—is the same as that an East Asian person might experience.

In this way, of course, it is possible that not all of the folks who have deemed me white could have understood my experience of being othered, just as I could not have understood theirs. However, I did not want to share my experience with them, because, again, I felt as though they were judging me, positioning me as a member of the dominant class.

My partner told me about a song called “Don’t Call Me White,” which is basically what I was screaming in my head whenever I felt that way. I was screaming, Do you know how people fucking see me? But truth be told, I really don’t know how people see me. A lot of the time when I look at myself in the mirror, I don’t know how I see me. It’s a strange sensation, because for a time, I felt secure in my nonwhiteness, in my “mixed”-ness, in my me-ness.

But my lack of understanding as to exactly why I wasn’t the same as my peers—why our brownness didn’t magically render our experiences unequivocally identical—and my failure to examine the resentment it cultivated, separated me from my own experience with nonwhiteness. I had rushed out of my vaguely country, inland bubble and straight into drawing a false equivalency between myself and my peers solely based on our skin color—and the result was a lack of clarity. Eventually, I begun to feel that I had only ever been imposing on the identities I had once claimed as my own.

I was angry at not ever having had anyone to share my shitty experiences with—not even within my own family. And now, brown people were making me feel like I was white. I guess if I’d realized sooner that they were perhaps taking note of more than my skin color, I would have let my guard down—and engaged in a much-needed release of this resentment—much sooner than I did. What I learned eventually was an invaluable lesson: in order to see yourself, you have to see—perhaps not first, but simultaneously—more than just yourself.

Earlier this year, I wrote a personal essay while I was still in the thick of my resentment over feeling excluded from communities of color. Reading back on it, my bitterness jumps right off the page. But I don’t cringe as much as I’d expect to while reading it, because navigating white America—particularly without any frame of reference for how to claim agency over one’s diasporic and queer identities—is tricky as fuck.

I am grateful for the loved ones I do have, like my mother, my friends, and my partner. I am always learning from them, and they, from me. They trust me enough to mine my own experiences and to independently evolve my ways of thinking. They care for me enough to extend their patience to me when I am growing, even when I take my sweet time doing so—though they may not have had the same luxury.

Whether Doug intended his comment to resonate with me or not, it undoubtedly sent me into a tailspin of self-reflection. And although I don’t know if I will tell him so, I do know his words have changed the way I interact with others, even if this change is barely perceptible. His remark catalyzed somewhat of an epiphany for me, and I can only wonder how my externalized lack of perspective has grated others, and for how long.

One thing is for sure: if my friends and loved ones can be soft with me, then I can be soft with me, and with them too.

Favorite SWANA Poetry Books of 2017 by George Abraham – Poetry Book Reviews

As 2017 comes to a close, I cannot help but reflect upon the words of Kaveh Akbar: “we are living in a Golden Age of poetry.” The poetry world is alive & thriving, but I think there’s further dimensionality to this statement outside of today’s exciting breakthroughs in poetic craft. We are living in a day and age where poetry is becoming increasingly diverse, with poets of color subverting euro-centric norms and traditions; a day and age where my children will grow up actually being able to see themselves in English Literature.

In comprising this list, I have chosen to use the word SWANA, i.e. Southwest Asian/North African, as an identifier to not legitimize the term “Middle East” for its white colonial undertones. I also chose this term because, while there may be some linguistic & cultural threads among SWANA narratives, this term allows space for this unification simultaneous to the complexity of individual narratives, as we are not a monolithic entity. That said, I am proud to present my favorite SWANA poetry books of 2017!

  1. Louder than Hearts by Zeina Hashem Beck (Bauhan Publishing LLC)

Louder than Hearts, for many reasons, is the perfect starting point for this list. Being an Arab-American reader, I felt like I could both live & die with these poems; the relatability of poems like “Ode To My Non-Arabic Lover,” is very different from that in “3Amto.” In the former, Beck writes, “how will I ever translate my Arab anger, my alliterations, those rough sounds that scratch their way out of my throat, which you will merely find sexy?” and gives voice to an annoyingly familiar fetishization. The latter is a portrait of an elder family member with cancer, and is written in a voice that is eerily familiar, interspersing of Arabic and English throughout phases of sickness & dialogue with different family members. While both pieces left me feeling simultaneously breathless & rebuilt all at once, Beck’s poetry shines in its ability to encompass a versatile array of emotions, which paint a portrait of her experiences which is not only visceral, but human. The urgent drive of this work is felt from the very first poem, “Broken Ghazal: Speaking Arabic,” and the book never loses momentum thereafter. Even through the manuscript’s conclusion, Beck’s imagery never ceases to surprise and captivate; for instance, Beck writes, “for a moment, it seemed the bird was choking, the fish diving upward for air. By this I mean do you see us dance?” at the ending of her piece, “Piano,” which was arguably my favorite in the book. With Louder than Hearts, Zeina Hashem Beck has produced one of the most exciting, dynamic poetry collections I have read in a long, long time.

  1. The January Children by Safia Elhillo (University of Nebraska Press)

“verily everything that is lost will be // given a name & will not come back // but will live forever.” So begins Safia Elhillo’s The January Children – a book I have not been able to stop thinking about since the beginning of the year. Elhillo’s lyrics are haunting in a manner that is both fluid & immortal, weaving across time, and language. From portraits with famous singer Abdelhalim Hafez, to erasures from interviews with members of the Sudanese diaspora, Elhillo gives a multiplicity of languages to diasporic wounds, in a way which questions her very relationship to the English and Arabic languages themselves. Elhillo writes, “the lyrics do not translate// arabic is all verbs for what// stays still in other languages,” and “no language has given me // the rhyme between ocean & // wound that i know to be true,” hence turning questions about giving language to displacement & trauma into questions of language itself. This collection simultaneously develops a lyrical reclamation of self & body, of praise, despite; Elhillo writes “our mouths open & a song falls out   thick// with a saxophone’s syrup” and finds a music amidst the sorrow. In perhaps my favorite work in the book, Elhillo writes “& what is a country but the drawing of a line       i draw thick black lines around my // eyes & they are a country     & thick red lines around my lips & they are a country” & so a reclamation of the body becomes a reclamation of everything the body was born into. The January Children is the type of book that transcends time & space; the type of book that will still be taught in classrooms decades from now; the type of book I will pass onto my children & their children & their children to come.

  1. the magic my body becomes by Jess Rizkallah (University of Arkansas Press)

In a similar spirit to Elhillo’s book, Jess Rizkallah’s the magic my body becomes does the work of building countries. Rizkallah writes, “i was born an arm   with a hand at both ends// holding a knife     maybe i am a knife,// always spinning slicing// … // where the ancient humming organ// never made its home.// maybe i am this organ myself.// maybe this organ will be my country,// & everyone i love// is safe here.” The urgency and velocity of Rizkallah’s imagery is not lost at the expense of tender, intimate moments; in one poem of a larger sequence of poems in the voice of her mother, Rizkallah writes, “never forget that softness is strength, unflinching// against the knife     and it is also the knife,” and creates a space in which softness can be a revolution. Softness carries the weight of inherited trauma from the Lebanese Civil War in the family portraits throughout Rizkallah’s manuscript; in “when they ask me who i pray to,” she writes, “saint of the lemon tree his father put there… saint of the blue peaks by the ocean where we began// saint of the way we say what again,” and paints the softness of her family in a light that is nothing less than divinity. But at the core of this manuscript’s heart is the body, in all its imperfection, in all its holy: “Ghada says, the spine is a river the rest of you will always return to.”

  1. I Am Made To Leave I Am Made To Return by Marwa Helal (No Dear/Small Anchor Press)

Marwa Helal’s debut chapbook, I Am Made To Leave I Am Made To Return, was such an immaculate success that it sold out within days of releasing. Helal is not afraid to take risks with form, from “)[[:”.’.,:]]( REMIXED,” written after Phil Metres’ abu gharib arias, to “if this was a different kind of story i’d tell you about the sea,” a poem which repeats that phrase for its entirety with different emphasis, and even “poem to be read from right to left,” written in the Arabic – a poetic form Helal invented. Helal’s work not only subverts expectation, but actively resists & decolonizes both the space it takes up and the space it cannot occupy. For instance, in the poem “photographs not taken,” Helal writes “the light the day i left; mezo’s big toe// before i left; all the dawns i slept through// before I left; my own face// looking back at his// before i left,” and constructs a portrait of an inaccessible past; a space which is definable but not constructible in some sense. A similar use of negative space is seen in “the middle east is missing,” which uses the Oulipian beautiful outlaw form to bring an extra dimensionality to the physically missing “the middle east” in this work. Helal’s I Am Made To Leave I Am Made To Return proves, beyond a shadow of a doubt, that Helal is one of the most brilliant, and necessary voices in American Literature. If you missed your chance to buy this chapbook, stay tuned for her first full-length collection, Invasive species, forthcoming with Nightboat Books.

  1. Calling a Wolf a Wolf by Kaveh Akbar (Alice James Books)

“I’ve given this coldness many names   thinking if it had a name it// would have a solution   thinking if I called a wolf a wolf I might dull its fangs,” writes Akbar in the titling poem of his manuscript, “Calling a Wolf a Wolf (Inpatient).” This manuscript is divided into 3 sections: Terminal, Hunger, and Irons. The first (Terminal) throws us into the world of the speaker, taking us from an intimate portrait of praying with his father wherein Akbar writes, “I knew only that I wanted// to be like him,// that twilit stripe of father// mesmerizing as the bluewhite Iznik tile// hanging in our kitchen, worshipped// as the long faultless tongue of God,” to moments of rage and confusion: “it felt larger than it was, the knife// that pushed through my cheek,” begins Akbar in “Portrait of the Alcoholic with Home Invader and Housefly.” Akbar’s voice shines not only in these personal, intimate moments, but even in writing outside the self. His poem, “Heritage,” written for Reyhaneh Jabbari, an Iranian woman who was hanged for killing a man attempting to rape her, gives voice to an erased history: “there is no solace in history   this is a gift// we are given at birth   a pocket we fold into at death   goodbye now you mountain// you armada of flowers… despite all our endlessly rehearsed rituals of mercy     it was you we sent on.” Akbar’s work interacts with spirituality, as it intersects with not only his family and culture, but with addiction as well; his poem “Thirstiness is not Equal Division” begins with the lines, “I swear to God     I swear at God   I won’t// mention what He does to me.” Poems like this and many others in section II (Hunger) are haunting, intimate portraits of addiction & its cyclical, resurgent nature; Akbar writes, “at twenty-four my liver was// already covered in fatty// rot my mother filled a tiny// coffin with picture frames,” and there is never a moment when this urgency is lost on us as readers. As the book draws to a close, Akbar reminds us that sometimes healing is the hardest route of all: “I won’t lie this plague of gratitude// is hard to bear   I was comfortable// in my native pessimism… I had to learn to love people one at a time,” writes Akbar. I am left with no words upon finishing Calling a Wolf a Wolf; it is rare that a single book can haunt, live, and breathe with me as much as this book does. Kaveh himself once said that we were living in a golden age of poetry, and to that I say, “yes, Kaveh Akbar is the golden age of poetry.”

  1. Into Each Room We Enter Without Knowing by Charif Shanahan (Southern Illinois University Press)
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The word stanza is derived from the Italian word for room; I’d like to think of Charif Shanahan’s book as a collection of rooms, brought under one unified house, wherein the rooms themselves travel fluidly through space, time, and history. Each room is decorated and structured in its own manner; some rooms are even left empty, such as part III of “Homosexuality,” a suite of poems where each is a small vignette of the speaker’s experience in a different city. Some rooms are brief but haunting & beckoning return; for instance, in “Little Saviors,” Shanahan writes, “So many men playing god. // Father left a wounded child// Cavorting in the public bathroom.// So many holes being filled” and creates an entire universe, a specific smallness, in just four lines of text. Shanahan is aware of shifts in perception & landscape as he invites us into each room. In “Self-portrait in Black and White,” he writes, “If I said I did not want to live anymore,// Would you understand that I meant like this?… I see in colors because they are always so much// A part of the problem,” and the entire perceptual universe of this poem is given a new meaning. Many of Shanahan’s poems deal with the intersection of blackness and queerness within the context of SWANA culture. In “Asmar,” a poem written for Safia Elhillo, Shanahan discusses some of the difficulties with internalized colorism: “Our mothers tell us we are not like them: les Africains sont la bas!// Our mothers defend what oppresses them…// Our mothers defend an idea of a self that is not their own.” Into Each Room We Enter Without Knowing transcends space in a manner that is both timely and timeless; every time I re-enter this collection, I come out with new meanings and insight. Shanahan’s book is absolutely required reading for everyone reading this list.

  1. Water & Salt by Lena Khalaf Tuffaha (Red Hen Press)

Lena Khalaf Tuffaha’s Water & Salt is also a manuscript that fluidly travels through space & time, from Palestine where the speaker would “coax fruit from the trees, press it into liquid gold,” to Damascus wherein a poem about a dowry chest, she writes, “paradise, carved meticulously, mother-of-pearl inset into a landscape of wounds,” to Jordan where Tuffaha writes “every day we are picture-perfect in Amman,” and beyond. Tuffaha also travels backwards into history, saying “we travel back so that you can become who you are.” Tuffaha resurrects historical wounds in poems like “Intifada Portrait,” which is about her conversations with a Palestinian friend over coffee; Tuffaha writes, “who can erase those days from the memory of time? The land will never forget our footsteps, pounding against bullets and tear gas. My skin remembers it,” and gives the readers access to memory of an erased history, a history the land will remember even when the body cannot, even when the oppressor writes it into nonexistent. Tuffaha also meditates on the generational distance between these historical wounds in “My Mother Returns to her Childhood Home,” which ends with the lines, “we are not from here anymore. We too will die on foreign shores.” But amidst the memories of diaspora, Tuffaha finds nostalgia, light, and comfort despite the traumas; images of war and displacement are given weight and presence simultaneous to the familiar nostalgia in the smell of zaatar, the grinding of coffee, and the harvest of an olive tree. In one of my favorite poems of the collection, Tuffaha writes, “I love to tell you where I am from. I look forward to the moment when the nine letters I utter evoke a contortionist’s masterpiece on the faces of polite company.” There is power in naming our narratives, in naming history, in giving these things the name they earned, which is not always the name they are given. Tuffaha’s collection is the language diasporic readers, especially of Palestine and Syria, need, today and every day.

  1. My Arab World & Other Poems of the Body by A. T. Halaby (jubilat)

Halaby’s chapbook, My Arab World & Other Poems of the Body, also contemplates the weight and distance of diaspora. Halaby writes, “Lebanon// I can hear your love// I came for your gifts// Take this fury from inside me// I want to be filled with you.” And while there is a longing and desire to belong & to know the separated homeland, Halaby approaches this topic with newfound excitement and wonder; she writes “a beauty I haven’t met// but I’m curious about your form// a ghazal, whirling like a leaf…// a ghazal told me// ghazals are all around me// like a wind storm,” and brings to life a poetic wonder amidst the inaccessibility of home’s sounds. Halaby does the work of making every question about home a question about the body itself; “what does a home do for the body,” Halaby questions. In the opening poem, which is one of my favorites of the entire collection, Halaby writes “these hands// want// Arabic, its body// its everything,” and later continues to say, “I don’t// know// how// to put// Arab// in a // familiar// space.” One of the qualities I love most about Halaby’s chapbook is its ability to make space for softness within the context of diasporic bodies; “Degrees of The Delicate and Body” opens with an image of “the space between// your // lips// as they stop// after my name.// This measurement// of your body// is what I feel// I will// become.” The short line-breaks and fragmentation, in this poem & throughout, force the reader to pause & slow down to take in the narrative in its most authentic form. My Arab World & Other Poems of the Body were part of a limited edition print run of 50. If you missed your chance to get these immaculate poems, stay tuned for Halaby’s forthcoming work; she is most definitely one of the voices within Arab diaspora whom I am most excited about!

  1. Bone Light by Yasmin Belkhyr (Akashic Books/the New-Generation of African Poets Series)

As is usually the case with SWANA people, this too is something to end in light. Bone Light, a chapbook of prose poems from the New-Generation of African Poets Box Set, undeniably positions Yasmin Belkhyr as one of the most urgent, and necessary voices of our diaspora and generation. In one of the most memorable and intense opening poems I’ve read in a while, “Surah Al-Fatiha,” Belkhyr draws us into the world of Bone Light through a portrait of her earliest memory of seeing a goat slaughtered in her house. Like many artists on this list, Belkhyr interacts with distance and diasporic wounds; she writes, “I was sick every visit… I would cry and everyone else would tsk, murmer American. Once, I kissed someone and I’m afraid it ruined the world. I’ve learned that it’s not what you do with the knife – it’s how you hold it after,” and the question of diasporic distance becomes a question of the body. In “Eid Al-Adha,” Belkhyr writes “When I speak of bodies, I mean: there is too much inside of me. I mean, burn the car and all its histories.” The body, within the context of cultural & gendered violences, comes into question through various means, including that of myths and retelling of religious stories; the haunting ending lines of “& the song of the crow shrieks” read, “In myth, they called the dead girl River and she bled and bled and bled.” Belkhyr shines best in her ability to hone in on single moments, albeit wounds or praise, and expand them into an entire universe of complexity. Every word and lack thereof is precise, and not a bit of momentum is lost anywhere throughout this spectacular manuscript. In the final poem, Belkhyr writes, “the story begins and ends here, a mouth unopen, the girl buried as she is born,” and gives voice to historical, ancestral, and ever-present erasure. Belkhyr’s voice is doing the work of country-building, and carrying an ancestral weight despite an active erasure. I will never stop thinking about these poems.

    1. The Future

As this list draws to a close, I want to mention some of the SWANA books I am most looking forward to, rounding out 2017 and entering 2018, are Ruth Awad’s Set to Music a Wildfire (Southern Indiana Review Press), Noor Hindi’s Diary of a Filthy Woman (Porkbelly Press, 2018), Hazem Fahmy’s Red//Jild//Prayer (Diode Editions, 2018), and 2 chapbooks forthcoming from Leila Chatti: Tunisya-Amrikiya (Bull City Press, 2018), and Ebb (New-Generation African Poets Series, 2018). We are living in a truly exciting era of poetry, and I know there are people reading this list who needed these books as much as I have. Bless every SWANA poet for existing & writing in spite of colonization & everything this language has taken from us. Bless every word, every page fragment, every unsung lullaby that refused to burn.

 

My Father’s Daughter by Kathy Shalhoub

My father once told me that women were all the same; they made promises they didn’t keep.

I was a freshman sitting cross-legged on my dorm bed holding the receiver to my ear.

“They’re full of bullshit,” he said. I couldn’t remember his face but his voice sounded so much older than his fifty-seven. It sounded like someone else’s and very far away.

“I really will come see you this summer,” I said again after his declaration. I was ready at last.

“Whatever. Happy Birthday. I love you,” he said.

I didn’t reply because I didn’t want to lie.

I am four years old and I’m a Princess. Dad is the King. In a house of six people I see only him. My brother and sister are invisible. My mother is at work and Teta, my grandmother, busy in the kitchen. We sit on the marble steps that connect upstairs with downstairs. He soothes my knee where I have fallen. A dark blue bruise is brewing beneath the skin. The tiles are cold. He picks me up and carries me up the stairs.

“Is my Princess okay?”

I am safe and warm in the throne of his arms so I smile and nod.

“You know, your Grandfather was a Count,” he says. His English is accented. “You have blue blood. Royal blood,” he says, his chest swelling and his eyes looking deep into mine. Teta passes by and rolls her eyes.

I lift my chin an inch higher. The blue knee makes sense now. Some months later, I am in the garden carrying a box of tools for my brother. It is too heavy and my hands are sweaty. It starts to slip and I can’t hold it. I drop it on my ring finger and the finger splits open. I bleed crimson.

I am five years old. I am bouncing on my dad’s leg and laughing. The TV is on and a blonde Miss Universe struts around the stage with her diamond crown. The perfume of tobacco on his fingers is warm and delicious.

“You will be Miss Universe one day,” he says, gripping his pipe between tea-stained teeth. Maybe, but I have yet to see a Miss Lebanon on the show.

But when he lifts me up and sits me in his lap I feel like Miss Universe. I am loved. That summer we are on the beach, me in my one-piece stripy bathing suit and blue floaters sucking at my arms, him in his Speedos. He is so tall and handsome. His hair is dirty blonde. The tips curl perfectly around his ears. Golden body hair sparkles on his bronze skin. He gives me change and lets me go buy a Merry-cream. I feel like a grown up.

I hurry back to share my ice-cream with him but he’s not on the slippery white benches that surround the pool. His blue towel is still damp with sweat. I look up and scan the tall hairy bodies all around. I see the back of a man in Speedos standing near the wall overlooking the crashing waves. The oil on his bronze skin glistens in the sun.

He is talking to Miss Universe in a tiny turquoise bikini. The chocolate and vanilla swirls melt onto my hand and drip down to the hot cement.

I am six years old and it’s been a long, sticky summer. The electricity is out again. This is normal in Lebanon. It is late afternoon and my sister and I have exhausted our list of games. Mom is still at work. Dad is awake and better today.

“Get changed,” he says. “Let’s go outside and take pictures.”

My sister doesn’t want to participate. I run to change out of my nightie and into my new ballet outfit. Outside in the dimming sun, hibiscus flower in my hair, I am the most beautiful girl that ever existed.

“My prima ballerina,” he says.

I preen.

That school year I begin ballet classes – a gift from Aunt Hoda. At home after class, I dance in front of the mirror, sing to myself, do a plier, a pirouette. My father wobbles in the doorway.
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“You want to be ballerina?” His voice sounds strange.

“Yes!” I screech, and jump at him to pick me up. He squats down instead.

“Then you gonna be a poor starving artist all your life,” he says.

Dad likes taking photos but he is an engineer. We are poor anyway.

I am seven years old and we are in the red-tiled kitchen. My father is very angry with my brother for not eating his tomatoes. The number of tomatoes does not equal the amount of anger. My brother puts a slice of tomato in his mouth and gags immediately. It’s a texture thing. My father thinks he’s being difficult. He undoes his belt, and in one move whips the leather from his pants and across my brother’s back.

My brother flinches but says nothing. I run out of the kitchen and into the living room. My father comes to find me. I shrink into the corner of the couch. He sits next to me and drops an arm across my shoulders.

“Don’t be scared.” He knows I am because I’m crying. “I would never hurt you.”

I know he wouldn’t but I am sad for my brother, and relieved it’s not me.

A bottle of Smirnoff and a row of beer bottles later, my father staggers into the kitchen in his underwear and grey robe. It feels like he’s been away for a long time but there’s war and I know no one can travel these days. I hurry in after him wanting us to spend time together. I want to hug him but hang back in the doorway. He struggles to open the refrigerator, sways in its mist, still gripping the handle while he scans the inside.

He stoops and plucks the bottle of French’s mustard from the door, wobbles, spins a little then falls on his bum, legs spread out. Laughter bubbles over his lips.

I do not go closer. I do not look into his face. I do not hug him. I focus on the bottle of mustard he still holds. It is very yellow. The King begins to fade and his Princess does too.

I am 10 years old. The man standing next to me outside is my father. I am crying because there’s a dead kitten on the concrete underneath his car. Or maybe I’m crying because Teta died so recently. He pats my shoulder like a baby pats a dog. Stiff. Awkward. Pat, pat, pat. We both seem disconnected, an old toy put together with improvised pieces.

“It’s okay, I’ll take care of it,” he says. “Daddy will always be here for you.”

He hasn’t been anywhere else, but I still miss him. I have never called him Daddy either. I take his words and carefully wrap them up. I put them inside my heart where they still burn.

A few months later, Aunt Hoda is dropping me off at home after a day at her place. A Red Cross ambulance is parked outside our house, the siren is off but the orange lights are spinning. Something happened to Teta? No, Teta died months ago. I sprint inside. A man is lying facedown on the floor next to my parents’ bed.

Mom tells me he’s going to hospital to get better. After that I sometimes see his name embroidered into towels I help mom hang outside. Then one day the towels stay home. I don’t say goodbye and I don’t say I love you because I don’t see him again. He is back in his country, getting better.

My father told me once that women were all the same, they made promises they didn’t keep. I don’t know if he was talking about my mother or me but in either case, he was right.

I was an engineering freshman sitting cross-legged on my dorm bed holding the receiver to my ear. I couldn’t remember his face but his voice sounded so much older than his fifty-seven. I promised him I would visit that summer. Winter got there first.

 

 

 

Left

By Lena Zaghmouri

What struck me most about Mom’s family was how their pictures looked so different from what Mom told me they were actually like. They looked so put together and all-American, untouched by any troubles. Just two white married parents and one cute kid that always stood in front of them in pictures with a big smile and her arms open, embracing the world and the photo that would capture that emotion forever.
In reality, though, Mom’s parents were divorced, and Mom said Grandma’s main concern was finding her next boyfriend or husband, Grandpa’s the new family he inherited from marrying his second wife, which was soon after he divorced Grandma.
Grandma looked sweet and virginal with blond hair and light brown eyes, but she had countless affairs since Mom could remember.

Grandpa looked kind with dark blue eyes, thin brown hair, a soft manly smile, but Mom told me he would become irritable and beat her for the smallest mistake when he was angry with Grandma. Mom had a collection of bruises on her arms and back that she showed me to prove it. He would let plenty of things slide if things were going well with her Grandma, but that was rare. He was easier to be around once her parents divorced during Mom’s early teens, but then he never wanted to be around her anymore either. Mom was part of his past life, the one he claimed was driven by anger. He needed to minimize contact with that as much as possible.
But Mom having a child out of wedlock with a Palestinian reawakened Grandpa’s latent anger. He called her a shameful slut and washed his hands of her and was unwilling to meet me, his olive-skinned granddaughter with a weird name like Isra, one he probably couldn’t even pronounce right.

♦♦
Grandma came to visit on rare occasions; the first time I remember was when I was five. She was upset that Mom had a child out of wedlock, but she was more forgiving. She was between marriages, and Mom had just kicked Baba out for good. Mom would complain about what a deadbeat Baba was to Grandma sometimes.
“Honestly, Carol, I’ve always told you if you just lost fifteen or twenty pounds, you could get yourself a decent man,” Grandma told Mom.
She visited once or twice a year, usually during the holidays; she would bring me a new Barbie or something as a Christmas gift. Grandma ignored me and vented her frustrations with the world and the men in her life to Mom.
But now, three years later, Mom had cancer, and Grandma went back and forth on whether or not she would take me after Mom passed away. Sometimes she said it would be nice to have someone to live with, someone to help out and spend time with her, but then Grandma would say the last thing she wanted to do was take in an eight-year-old at her age, especially one with a father like mine.
Mom didn’t trust her, though. “She’ll want you when she’s alone, and as soon as she gets a man, Grandma’ll find a way to get rid of you.”

♦♦

Mom told more positive stories about her family when she put together the photo album for me, her hands newly thin and lined with pale blue veins. She didn’t have energy to put it together before, and once in a while she said there was no point in it because what did all those pictures mean? Most of the people in them I had never met and probably never would.
Still, we sat in the full size bed we slept on at Baba’s place while she put it together. Mom explained who and what was in each picture before she pressed it down on the sticky surface. “Well, hopefully, Isra, your grandma will visit when you live only with Baba,” she said. “Maybe this will make her turn around.”

♦♦

Mom went into the hospice the next day, and Baba picked me up after school every day so we could go there and see Mom. Sometimes Baba would be in the room alone with her, but usually they kept me there to alleviate the tension between them. We had been living at Baba’s, but I was sure my parents weren’t together, and they wouldn’t have even spoken to each other if Mom wasn’t dying.

Every time Mom said she was tired and needed to rest in the hospice, I was sure that she was going to die then, and I would cry inconsolably, even though Mom assured me she wasn’t leaving yet. Baba would take me out of the room and try to comfort me for a little bit, but he would soon become angry and tell me to be strong. Plenty of people had gone through much worse back home in Palestine, so my pain now didn’t matter.

♦♦

Grandma came soon after Mom went into the hospice. She would take me to see Mom for the week or so that she was still awake and not drugged beyond comprehension.
And suddenly I wasn’t invisible to Grandma anymore.
Grandma now picked me to vent her frustrations about the man she was in the process of divorcing and Grandpa as well. “I talked to Carol’s father, and you know what he told me? He can’t get the time off work! Can you believe that?” She sighed and clenched her teeth together. “‘This is your child,’ I said to him. ‘Can you just pull your dick out of your wife’s pussy for two seconds and remember you have a daughter?’ You know those kids his wife has aren’t his. She had them with the guy before. I don’t see what’s so great about her. She’s as plain as wood.”

♦♦

Grandma took me out for ice cream once Mom slipped from consciousness, and she said she couldn’t stand to see her daughter suffering to death and that her granddaughter didn’t need to see it either, so Baba let her.
Though I loved ice cream, I wasn’t excited about getting some that day. Most of it melted on the back of my hand and dripped on the table, and Grandma had to take me to the bathroom to clean up. I could tell she was irritated I saw her roll her eyes in the mirror, and she told me that I had to eat like a civilized girl.
Kamagra Oral Jelly and its Side Effects are extracted, to let you know completely what option you should take before trying out sildenafil viagra generico. levitra basically is a brand name of the generic drug tadalafil. These extensively studied adaptogens http://frankkrauseautomotive.com/testimonial/great-dealer/ generic cialis may similarly work by mimicking stress itself, according to Swedish researchers Alexander Panossian and George Wikman. Some men cheapest cialis prices are incapable of holding on for more time due to stress and mental depressions. For example- Kamagra is an effective medicine pills viagra canada which enable ability to fight against erectile issues. We went to the hotel she was staying in—she would spend the night at Mom’s apartment whenever she came before, but she hated Baba and his apartment—and she put cartoons on for me while she criticized all the men she had had in her life, reserving the worst for Grandpa. “I swear once I married that guy he became such a drag,” she said. “We were so young, and all he wanted to do was stay in and drink beer. Even convincing him to go out to the movies was like asking him to drink cyanide.” Grandma cringed at the thought of him. She moved on to her three other husbands: the second was too mean; the third had affairs; the fourth, the one she was in the middle of divorcing, was a drag like Grandpa, but it was more understandable because he was almost a senior citizen.
I didn’t say anything. My lack of response must have been made her sad; Mom always had some kind of commentary for Grandma, even if it was negative like telling her she should grow up or learn what monogamy was all about. “I’m not even sixty years old, and my daughter is dying. You’re not supposed to bury your child; it’s the other way around. Of course, it’s no picnic to lose your mother at your age.” She wiped a couple of tears that came from her overfilled brown eyes. “You know things are going to be different, right?”
Everyone used that phrase—“things are going to be different”—though they already were different. I hated spending time with Baba, having him prepare my food or ask him questions. He never knew the answers, and he would get irritated by them. “Don’t ask dumb questions,” he always said to me.
Baba was scary, too. Most nights I could hear him crying out in his sleep. When Mom was there she told that it was just because Baba had been through some terrible things since he was even younger than me, and he remembered them in his dreams, but I was sure that he was possessed. It was worse without having Mom there to tell me to go back to sleep.
I had to live without my mother.
At school everyone had a mother that I knew of. A few lived with their grandmothers or someone else, but they at least visited their mothers sometimes. And their grandmothers liked them a lot more than Grandma liked me. They didn’t talk about men all the time, and they didn’t tell their daughters that if they lost weight, they could find a decent man.
But I had a feeling that Grandma was feeling sorrier for herself. She was losing her daughter, the one she could turn to between men. She also started to put on a little bit of weight, especially in the middle. She probably would never be able to find another husband, at least not a decent one.

♦♦

Though it was almost my bedtime, Grandma had no plans to take me back to Baba’s or call him to ask if I could spend the night with her. “Who cares what he thinks?” she told me when I asked if I was allowed to stay. “He isn’t worth a shit anyway.” She took me to the store and bought me some pajamas and a night light, though I stopped using one over a year before. “What about a toy or something?”
“No, I don’t want to play.”
“You sure are a mellow child.”
After I took a bath and changed into the new pajamas, Grandma talked more about how the man she was currently divorcing was trying to hide his assets and get out of paying her as much alimony. “It’s not like I’ll be getting much. We were only married for a year and a half,” she said. “Couldn’t stand him any longer than that.”

♦♦

Baba pounded on the Grandma’s hotel door so hard I thought he must have bruised his knuckles, shouting at Grandma to open the door or he’d call the police.
Grandma didn’t hold out for long, but she wouldn’t let me go without letting Baba know that she thought he was a worthless Arab.
“You don’t deserve a say in the matter!” Grandma said. “You haven’t been there for most of her life, and all you’ll do is lock her in the house until she gets married!”
Baba told her at least I wouldn’t learn to be a whore like she was and charged past her and pulled me by the hand. “My daughter comes home with me!” he yelled as he brushed her aside to leave.
He left me in the pajamas Grandma got me, and he talked to me for over an hour, which he never did before. “She is a sharmoota, a slut. Do not act as she does, Isra. You do not want to live as her.” He told me that he couldn’t believe that a woman could act that way. His mother, my sitti, he said, would have never spoken to a son-in-law the way she had. Well, he wasn’t really a son-in-law. He never married Mom, but it should be the same thing to these Americans because they didn’t believe in marriage the way Palestinians did, so Grandma should think of him as her son-in-law. And Sitti definitely wouldn’t have carried on that way, marrying all kinds of men for money or whatever the hell she believed she would get.

♦♦

Baba woke me up in the middle of the night and told me to put my shoes on. Mom had died, and we were going to see her one last time before she went to the crematory. I was still tired, but my heart was thundering in my chest, so it was easy for me to stay awake.
Grandma was at the hospice before we were, her face red and streaked with tears. Mom lied on the bed, no oxygen tube connected to her, pale and gaunt, her hair a darker brown than what it was before, her lips still red. I cried, and my chest felt so light that I wondered if the center of my body was still there. For over a week now, Mom had been unconscious, and the only way I could tell she was still alive was that she sometimes made a soft grunt when she was in pain. Then a nurse came in and gave her some more drugs to keep her quiet and comfortable.
Baba picked me up and carried me out of the room. People hadn’t picked me up for years on a regular basis, and by then, I was only five or six inches shorter than him, but I guess he still thought I was four. He said we should go back home and let them take Mom away.

♦♦

Grandma held the memorial service at a small banquet hall. I spent most of the time sitting at one of the middle tables next to my father, chewing on one of the black cloth napkins, my dripping saliva warming the back of my hand. I watched my mother’s relatives, trying to see if I could remember them from the photos, and if I could recall their names or if Mom had ever spoken of them. But I couldn’t place most of them, and they were just as distant from me in real life as they were in the pictures. They seemed uncomfortable around me and my father and gave us short, awkward condolences. They spoke amongst themselves, telling their stories about Mom, what she was like as a child and a teenager.

That day they all had had a close relationship with her when she was alive.

I slipped out and sat under a tree in the picnic area, crushing some of the dried leaves, mildly enjoying the slight pricks in my palm. Grandma found me out there and kneeled down as far as she could to speak to me. She was reconciling with her husband. “I might as well,” she said, tearing up. She always wiped her tears daintily. “Who else will have me at my age? And I can’t live off alimony. I should just pack it in and face reality.” She wished me luck with my father, though she doubted he would be a good one. “I hope he doesn’t send you back to his country, but what can you do?”

On Becoming a Part of Leslie Jamison’s Grand Unified Theory of Female Pain

By Dana Dawud

I dreamed that I wanted to write about my life with my brother, that he hit me and instead of feeling pain I exclaimed “Ah, I need to write about this!” and my sister told me that I should stop exploiting other people’s stories for my own writing. But it’s my story and mine alone, and it’s my writing, my reading of my story. Does that mean that the story has been already “written” and I’m simply reading it? does that mean that I am after all, exploiting the stories of “others”? I’ve actually dreamed that my brother fell from his room’s window and that I saw him sitting on the window sill with his face towards mine, he closed his eyes and then dropped back. I couldn’t save him, I went to the window and he was down, I told him to move his legs and he did. I realized I was still dreaming, nothing really happened. In my dream I exclaimed “Ah, I need to write about this!” and my sister told me that I should stop exploiting other people’s stories for my own writing. But I need to tell this story and I don’t care about it’s origin. I’ve always thought that writing about (my) life and (my) pain would entail exploiting the people I live with and around, and that it would turn me into someone who keeps dwelling over her own suffering, that it would turn me into a show. But pain is not mine alone, I feel it because I am a part of a large mesh of criss-crossing pain, and because I can give my pain over to others, like a gift, even if they can’t “see” it.
Yesterday, I’ve written for the first time in Arabic. Arabic is my (mother) tongue, this is how “native language” is translated to in Arabic. They have told me that I have a mother tongue and I’ve laughed in their faces, a menacing laugh and walked away. I had no idea that going back to it, getting closer to it, would be so painful. The distance language entails is painful, and I gasp for words, The reader would sense the heaviness that drenched every word I tried to conjure up. It was hard but I had to feel pain in order to write.

It is made from herbal extracts that promotes blood regulation which enhances order cheap viagra men’s drive. Happiness had become habitual.” Food for thought The vigorous climb up Mt. browse around that generico viagra on line But, in today s world everything has a solution and sildenafil 100mg http://www.learningworksca.org/wp-content/uploads/2012/02/PPIC-report-jobs-degrees.pdf every disease has a cure. viagra sale learningworksca.org Kamagra has emerged as a ray of hopes for men with nervousness or else stress-related erectile dysfunction. I fell in love for the first time when I was fifteen years old, he broke my heart. I stopped eating, I cried for weeks and I remember telling the story of this breakup to everyone I’ve talked to. Over and over again, I repeated how much hurt I feel and how much pain he had caused me. I think I’ve done that not as a mechanism of healing, but more to tell people that I am a person with deep feelings who has the ability to suffer, I did it to feel better about who I am. I had no idea back then that this repetitive showcasing of pain, might have repulsed everyone around me, that it had been a cliche. I just knew, and still think that I had a right to my pain and that everyone should listen to me, LISTEN TO ME. My pain is grand and it’s real and it deserves the attention of the world.

I happen to ruthlessly defend the poetry of Sylvia Plath, and every time I do that I feel that I’m doing something as rebellious as starting a revolution. The other day, a friend of mine posted that Sylvia Plath is a “Tragedy of a woman who committed suicide, nothing more.” I was so enraged and I honestly felt like crying. He hadn’t even read her. “Would Sylvia Plath be as famous today if she hadn’t committed suicide?” Sylvia Plath’s suicide has taken the status of being almost a part of her oeuvre. She has indeed written many poems on and about her suicide attempts, she has written Ariel shortly before her death. We can’t reduce anyone to their suicide, but why view her suicide as a reduction? It is a “tragedy” in one sense, but in another it’s a culmination point of pain. It’s a protest of a writer who has been locked inside a repetitive day-to-day routine: between writing poetry, taking care of her kids and doing her chores. Her suicide is a part of her ongoing story, it’s not her reduction point, it’s a point opening to infinity. “I have done it again/ One year in every ten/ I manage it–” One year in every ten.

In Ariel, she had already turned her I into grains of wheat, an infinite landscape. “And now I/ Foam to wheat” The devotedness with which Van Gogh had repeatedly kept painting fields of wheat, populating them with dream worlds, reapers, sunflowers with the “unheard of power of the sunflower seeds” as Deleuze describes the becomings in Van Gogh paintings, houses, a rising moon, and crows. He painted from the Asylum window, framing these wheat fields when he was losing his ability to utter “I.” “And now I/ Foam to wheat” Deleuze had written that “A sunflower seed lost in a wall is capable of shattering that wall.” Van Gogh broke the walls of the asylum with his wheat fields. In Ariel Sylvia writes “The child’s cry/Melts in the wall/ And I/ Am the arrow” Her “I” is an arrow which goes beyond the wall, beyond, and reaches the red of the sun. Pain ad infinitum, pain as liberation.

An excerpt from “Mona, a Camera, and Me”

By Christine Stoddard

The trolls thought I stopped modeling because I finally realized I am not “conventionally attractive.” I have the hips of an Amazon, the breasts of Peter Pan, and a face that is strange but charming. They wanted me to hate myself, to hang myself like my grandmother did when her husband left her for a woman shaped like an old-fashioned Coke bottle. But when I look in the mirror, the only thing I loathe is the hoard of trolls clacking away at their computers.

Kate Moss is no conventional beauty, either. She’s short with a broken nose and crooked teeth. Yet in those early Instagram days, I never saw Moss as my defense, only my inspiration. I never had this epiphany that I wasn’t Pretty Princess pretty. I always knew. I was beautifully odd and oddly beautiful and I had a talent for seeing into the soul of any camera. My loyal followers saw that. Mona, my only true friend and photographer, saw that.

I was one of two daughters born to two medical school professors originally from Egypt. They relocated to Richmond when my sister, Mayada, was three and shortly before I was born at the mammoth Medical College of Virginia downtown. There, my parents lectured amongst the buzz of waspish politicians and state government worker bees.

We lived in Jackson Ward, a historically black neighborhood within walking distance of the hospital and medical school. It was an imperfect fit, but where else were we supposed to live? Richmond had no ideal zip code for people like us because we had no place in the Capital of the Confederacy’s narrative of black and white. Yet as Arab atheists with olive complexions, we had to make our own home in the Bible Belt somehow. That was how we ended up in the nicest house on the block in a less-than-nice neighborhood. At least it seemed that way to uptight white suburbanites. But I can’t say the neighborhood made me any more nervous than I felt anywhere else. I had a female body and, even as a little girl, I knew that made me vulnerable no matter where I went.

We were gentrifies who lived in a renovated row house among abandoned buildings, dilapidated apartments that saw constant turnover, and once pristine addresses destroyed by partying college students. Though my family and I saw our share of small-time street corner drug deals, we never witnessed any violence. Since we had a car, we didn’t mind that the grocery store was in the next neighborhood over, either. We said hello to our neighbors and never told them to change a thing. We didn’t see why an upscale coffee shop or yoga studio should replace the barbershop or soul food café. There were enough people in town doing that already.

My parents did take issue with one aspect of where we lived, however, and that was the local public school system. Horrified by accounts of textbook shortages and gaping holes in hallway ceilings, my parents sent Mayada and me to the all-girls’ Catholic school across town. From kindergarten onward, it was a nightmare. Mayada and I were magnets for insults, invasive questions, and culturally clueless remarks. It only worsened as we got older. “I thought Egyptians worshipped cats like Cleopatra. What are you doing at a Catholic school? Are you trying to convert so you don’t burn in hell?”/“Aren’t your parents doctors? Why do you live in the ghetto?”/“Your English is really good. Do you still speak Egyptian at home?”

If you think a fifteen-year-old girl with a pleated skirt and ribbons in her hair can’t be intimidating or offensive, you are wrong. So very wrong. College prep only made everyone hungrier and more aggressive than teenage hormones alone ever could. On top of grappling with typical puberty woes, we had to grapple with the college admissions race. All but the most religiously observant girls fought for thick acceptance packets from Tier 1 colleges their senior year. That’s why our high school counselors funneled us into as many honors and Advanced Placement courses as we could handle. Most of the girls we knew considered bulldozing a few classmates’ self-esteem levels part of the process. They weren’t interested in becoming nuns or missionaries. They lusted after Smith College and Harvard Law.

That was the motivation for stunts like this one:

My freshman year, I found the word “Muslim” scrawled on my locker in glittery blood red nail polish. It did not matter that I wasn’t actually Muslim. It was the intent. I whipped out my phone and took a photo to text my sister, whose locker was on the other side of the building. She texted me a nearly identical photo of her similarly defaced property. We agreed to meet at the principal’s office in five minutes.

“How can I help you girls?” asked Mrs. Parkhurst, the principal’s secretary, as we stepped up to her desk.

“We’d like to report a hate crime,” said Mayada, without hesitation. I nodded, grateful to have such a confident older sister in moments like these.

Mrs. Parkhurst was a petite middle-aged woman with thin, naked lips and mousy brown hair. Her cardigan sweaters were all black or beige and she always wore flat, circular Mother of Pearl earrings with a matching Mother of Pearl cross necklace. Her Spartan desk contained her computer, a black Moleskine notebook, and a Virgin Mary statue that was about six inches tall. Mrs. Parkhurst’s fashion sense and desk had not changed since I was five years old. Even her pen—a gold ballpoint with the engraving “John 3:16”—was the same. She liked consistency and order and that was that.

So I should not have been surprised when Mrs. Parkhurst pursed her wormy little lips, cleared her throat, and said, “That’s not possible.” But I was.

“You haven’t even heard our story,” I snapped.

Mayada glared at me and apologized on my behalf. “You’ll have to excuse my sister, Mrs. Parkhurst. She’s upset. We’re both upset, and we need to talk to Sister Branch for that reason. Could we please see her now?”

“She is busy with the bishop,” said Mrs. Parkhurst after she cleared her throat again.

Mayada and I glanced at Sister Branch’s closed door. Before Mayada could issue her next diplomatic phase, I darted for the office and opened the door. Sister Branch was seated with the Catholic newspaper and a bowl of oatmeal.

“Good morning, Abra,” she said, raising an eyebrow for a beat before returning to her paper.

Mayada and Mrs. Parkhurst were behind me in the next split second, but neither one said anything. All of three of us stared at Sister Branch, who looked up again.

“Well, come in.”

“I tried to stop them, Sister Branch, but—”

“It’s fine. I wasn’t busy.”

Had I not been in a rush to tell Sister Branch what happened, I might’ve sneered at Mrs. Parkhurst. Instead, I took out my phone to pull up the photo as Mayada and I talked over each other.

“Oh, this is not good,” said Sister Branch.

My sister and I shook our heads.

“I’m very sorry this happened, girls. Could you email the photos to me? We’ll get to the bottom of this.”

That was the last we heard on the matter. The janitor scrubbed our lockers clean by the end of the day. When Mayada and I followed up in a week, Sister Branch said the school administration had not found a culprit.

“Besides,” said Sister Branch over her usual bowl of oatmeal, “the vandal did not employ a slur. It’s simply a descriptor.”

“Yes, but we aren’t Muslim,” said Mayada. “We’re Egyptian, but not all Egyptians are Muslim.”

“I see,” said Sister Branch. “What then is your family’s religion? Your parents did not identify as Catholic when they enrolled you.”

It is https://regencygrandenursing.com/life-at-our-facility/safety-security viagra prescription cost recommended not to take more than one tablet within 24 hours. The condition refers to reduced potency viagra sale buy of erections. Each medication order cialis online regencygrandenursing.com accompanies rules in regards to the quality and effectiveness of this medicine. Even you can order click for info online viagra uk of branded one from online pharmacies located offshore — most of the time it is the male symptoms that deter the process. My normally articulate sister was at a loss.

“We’re in the process of converting,” I piped up. “Our hearts have been touched by Christ.”

Mayada looked down at her Mary Janes.

Sister Branch beamed. “I’m so pleased to hear that. You’ll have to let me know when your confirmation takes place.”

“Of course!” I said, a little too enthusiastically.

“Your parents are converting, too?”

“Yep!”

My sister remained silent even as we walked down the hallway back to our classrooms. I knew she was reeling, so I didn’t bother further provoking her with my questions. When we got home later that day, all she could muster was, “I can’t believe you did that. Now Sister Branch will care even less about finding out who wrote on our lockers.”

I shrugged and opened up my English textbook. I read for a minute or two and then complained about having to diagram sentences in an honors class. Mayada simply left the room.

Our frazzled parents didn’t have time to take action about the vandalism. Nor did they seem too concerned.

“It’s just a word, Abra,” my mother said one morning two weeks after the incident. I had complained about it again while she packed her briefcase. “It’s not even the right word,” she muttered. “Ignore those brats and focus on your studies.”

Whichever “brat” had done it was trying to distract Mayada and me from our studies. I was in the top ten in my class and Mayada was tied for valedictorian in hers. We had to turn the other cheek if we were going to keep our rank. We weren’t vying for spots at the Ivies, but we still sought a certain level of comfort and prestige. Or, should I say, our parents did.

Our parents expected us to go to Virginia Commonwealth University, which housed the medical school where they taught. To them, an American university was an American university. The nationality alone afforded prestige. They didn’t care that apart from a select number of programs, VCU’s undergraduate admissions were not particularly competitive. All the better, they reasoned. Mayada and I would be that much more likely to earn full-rides. Naturally, we would live at home while studying pre-med and steer clear of dating. During those four years, we would earn every fellowship and research grant possible. Then we would get accepted into the far more competitive Medical College of Virginia, also with scholarships. Once we completed our residencies, we would return to Egypt to marry accomplished Egyptian men—most likely fellow doctors. Religiously, we were not Muslim, but culturally, certain things were just ingrained. That included obtaining both higher degrees and parent-approved husbands.

Though my report cards matched my parents’ expectations, my own dreams did not. Hence the living within my mind. I daydreamed and doodled and wrote stories. Too often, I filled up my sketchbook while bored in class. In this way, I figured I could avoid as much of the snake-tongued gossip that tried to constrict my adolescence as possible. Muslim or not, I would not let my vicious classmates win. They could deface my locker however they wanted. I would continue drawing caricatures of them and writing poems about the merits of Egyptian coffee versus Starbucks.

Shortly after the locker incident occurred, I began modeling with Mona.

Mona was many things, including one of the most faithful Catholics I have ever met, but most people only ever saw her hemifacial microsomia. The syndrome is second only to cleft lips and palates in terms of common congenital deformities. Her face was warped, with a small, bent jaw and asymmetrical ears. I didn’t care. Mona was loyal and kind and a truly gifted photographer. Despite being friends since second grade, I wouldn’t discover that last bit until high school.

The modeling started freshman year when took our first elective. I chose Arabic because I thought it would be an easy A for me. Although, it turns out that occasionally speaking a language with your mom and dad doesn’t necessarily make you ace at conjugations or writing a whole other alphabet. Mona chose darkroom photography. She liked that it was an art form that was on its way out. “I better learn it before it goes extinct,” she said as we filled out our course forms during the last week of eighth grade. “Plus, missionary organizations are always looking for photographers.” When Mona grinned, she bared her snaggletooth, a feature that had endeared me for as long as I could remember.

Days before Mona was shipped off to summer camp in North Carolina, we submitted our forms to Mrs. Parkhurst, who pinned them under her Virgin Mary statue. Then we waited. I went to a day camp at the Science Museum of Virginia and wrote letters to Mona in the evening. In five consecutive letters, I mentioned my fear of getting placed in a second period of gym. Mona’s fear was getting placed in home economics. (“I’m pretty sure I don’t have to be Martha Stewart to live at a convent,” she wrote.) In the last week of July, we received our course schedules, which confirmed that our choices had been approved. I came home to the letter after spending all day dissecting owl pellets and reconstructing tiny rodents on cardboard. Mona, who had just returned from North Carolina, was able to read the letter herself.

“I’m so happy I won’t spend two semesters baking muffins,” she said when we met up for ice cream.

“Don’t worry—I’m pretty sure another nun at your convent will know how to do that.”

“Exactly. We’ll pool our God-given talents together. Mine will not involve cooking appliances.”

We took a break from talking to finish our ice cream cones.

“Do you think high school will be different?” I asked as the last of my chocolate ice cream dribbled down my chin.

Mona shook her head. “No, I mean, it’s the same school, the same girls,” she said. “We’ll probably get five new girls, ten at most. Otherwise, same gang.”

“I guess I just hoped they’d be nicer this year.”

“They won’t be. If anything, they’ll be meaner. Our class rank means a lot more now.”

“It doesn’t matter where I go to college. As long as I graduate with decent grades, a convent will want me. My faith counts for far more.”

“I still have to stay in the top ten if I want that scholarship.”

“You’ll do it. You’re very smart, Abra.”

“Thanks,” I said and wiped my chin with a napkin.

When Mona smiled at me, I felt her warmth envelop me. It was her spell and I didn’t mind falling under it.

Take me with you, to Tel Aviv

By Firas Khoury
Translated from the Arabic by Thoraya El-Rayyes

My Occupier and I ride the train together. “Excuse me” I say, smiling, asking if I can sit in the empty seat next to him. My Occupier lets me through graciously, smiling.

I get off the train. My Occupier serves me coffee and lunch at a restaurant. “Do you need anything else?” my Occupier asks.

“No” I tell him, smiling. My Occupier smiles and backs away, so as not to disturb me by hovering over the table for even another second.

My phone rings. My Occupier speaks to me through the phone, “Can I offer you some of our products?”

“Sorry, I don’t have time.”

“Have a good day,” he smiles.

“You too,” I smile.

I leave the restaurant and head to the bank next door. I get stopped by my Occupier’s car, he asks how he can get to the Occupied street named after a leader of the Occupation. I think, I choose my words in the language of the Occupation and I give him directions. My Occupier thanks me and smiles. I smile.

I go into the bank. Next to me, my Occupier is reading the newspaper of the Occupation. Our eyes happen to meet so he smiles to avoid that pointless awkwardness. I smile back, and wait for the screen to announce my turn. My Occupier processes a cheque for me, a cheque I received from my Occupier after he deducted a percentage for the Occupation army. The money goes into my account (my Occupier’s account). I thank him and I smile, so he smiles.

I enter my Occupier’s university to pay off a debt that is a few years old. It is the first day of the academic year and my Occupier is joyous: my Occupier frolics, dances, sings, jumps. My Occupier is flying high!

“Me and my Occupier are in a garden, under a canopy of roses”

***

I call my Occupier, I want to meet. My Occupier is a dulcet beauty with lips like Golan cherries moist with dew. Nothing can turn my gaze from her breasts except the curve of her hips, my Occupier’s hips. We meet in my Occupier’s bedroom. My Occupier kisses me, I shag my Occupier. She comes, so I come. Me and my Occupier have just come (together).

***

In his taxi, on my way to a party, my Occupier asks me “Shall I turn on the meter?”

“Yes,” I reply, smiling.

“Thirty shekels. OK?” he asks, not smiling.

I say “OK.” I imitate him, and do not smile.

My Occupier has thirty shekels. My Occupier has no meter. My Occupier hates keeping count. My Occupier hates history.

Here we are now…

Statistics show that 162 pounds million worth of hospital meals were thrown away last year which seems soft viagra like utter madness when so many patients are starving. Arginine buy sildenafil india is also used for cardiovascular health. Psychological well-being is a term used to describe the treatment of issues that are normally experienced include very little interest in sex, and having big issues with getting prices for viagra erections. Musli Strong capsules offer effective treatment for sexual weakness in cheapest cialis donssite.com men is recommended for 3 to 4 months for effective results. My Occupier and I are celebrating in the same place. My Occupier raises his glass high towards me as he drunkenly passes me in the queue for the toilet:

“Happy New Year” he says in a voice that pierces through the loud music. “Happy New Year,” I reply, smiling.

My Occupier has a drink and a holiday. My Occupier has no meter. My Occupier hates keeping count. My Occupier hates history.

***

My Occupier hunts me down before dawn between the folds of the last drink in the final bar. He wants to talk to me about politics. My Occupier is a “Leftist”- his hatred of me is gentle and my hatred of him is banal. My Occupier is my Master and feels guilty about his status, so he tries to endear himself to me in the tackiest ways, and smiles. What else can I do? Eternally bored, I smile.

He tells me about his earnest love for the superficialities of my culture and his commitment to the two-state solution. My Occupier has chewed up Yaffa and spit on Haifa, urinated on Akka and swept away the Galilee, cast Safad into darkness, wiped away Al-Lid and Ramlah and combed the coast. He has choked Al-Nasra and swallowed Al-Quds but he would like to take Tubas from the hands of my Occupier and liberate it for me.

My Occupier is a Leftist. My Occupier is a Leftist.

Whether I like it or not, he has publicly declared himself to be a Leftist.

My Occupier is the same as my Occupier.

***

As the first rays emerged from behind the deceitful cement buildings, he began to get comfortable in my company (in his own company) and so he asked me for the only thing I have left, my right to be “Occupied”. He wasn’t content with what I offered because according to him, he is not my Occupier.

My Occupier thinks he is “not” my Occupier, but I think that is the only thing he is. That is how he started out and that is how he insists on continuing. To me, nothing remains of him except this “not.”

My Occupier has no meter and I don’t have anything left to pay him with, so I pay for the glass of whiskey and get up. I do not see him anymore, I do not see my Occupier. I see beyond my Occupier, and I smile.

 

This story first appeared in Arabic on Qadita.net

Translator’s notes

“Me and my darling are in a garden, under a canopy of roses” is a line from a song by the iconic Arabic singer Sabah Fakhry.

Yaffa, Akka, Al-Lid, Al-Nasra and Al-Quds are the Arabic names for Jaffa, Acre, Lydda, Nazareth and Jerusalem. The English spelling for the other cities mentioned in the story reflects the Arabic pronunciation.

Context

Firas Khoury is a Palestinian citizen of Israel living in Haifa. He is one of over 1.5 million citizens of Israel whose cultural, linguistic and ethnic heritage is Palestinian. They are the descendants of indigenous peoples who did not flee to neighboring Arab countries during the 1948 war that led to the establishment of Israel.

Although they were granted citizenship, Palestinian citizens of Israel were subject to martial law until 1966 and continue to face institutionalized racial discrimination today. Several prominent Israeli politicians have even gone as far as to call for the revocation of their citizenship, or for their collective transfer to a future Palestinian state.

Take me with you, to Tel Aviv is a bold expression of this community’s unique experience of exile within their own homeland. It is a defiant expression of a collective identity that is still considered subversive in Israeli political culture, written in a strikingly detached voice that mirrors the alienation of the protagonist.