5 poems by Noor Ibn Najam

black girl freest girl on earth

she throw arms to sky
grow wings. her ascension

stronger than chains.
stronger than rage & this magic

carry her to god. & god shine
through her as she rise. & the spirit

consume everything else,
& cleanse as sage do.
it is always you, sista, who raises me

from the dead. praise your music, your poultice and ointment. this. this is black girl magic. that a sista’s song could bring back what i mistook for crucified. that a sista’s touch could resurrect hope from the grave it made of my body. your voice a harmony with every scream i swallowed last night, humming in my throat until my voice box loses what was stiff & dances.

i’m at a gathering of sisters – they look like me. frankincense and lavender curling out our ears. the glory of heaven through our teeth. our scalps dripping with sweat, rosemary; eyes full of tears. & this the only place

i deem holy today. black girls sing out the ancestors’ names like a prayer for rain. libations crash down to earth from a bottle. we let the first tears fall in these months of blood. we drench ourselves, we let ourselves be glory. we become the heaven we pray to. we become a mercy, a split in the sky & the earth

does not drink our blood today. only our fresh water. only joy that is deeper than us. only gospel like a small river cutting itself into the ground after a storm. i let myself feel everything that we are today. & i feel no fear when i look into my eyes & see

rain.

scar // story

my scars are an invisibility cloak. no one will look

at a ghost’s flesh // no one wants to see flesh’s ghost
my scars are skin-memories // textured melodies
passed down // child to woman
hide the child inside the woman // hide the story inside the scar

and no one will ask about them

 

ode to mouth

the plump cupid’s bow pink and brown
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bathing in the light of a glowing lotus
ring hanging from my septum.
the sloping upper lip uneven, its asymmetrical
spread as i smile. the big beige teeth,
peekaboo-shy. the smile, mouth
closed when it wants to be pretty.
the pursed lips that come natural
when it’s kissing or impatient or tense.
the lips easily parted. the involuntary
pout. the lines of the skin, how they bathe
themselves in rouge for a night out.

 

iftar when she kisses you

rise as a crescent moon. bite her lip
as you would a date. break your fast
on her brown honey

The Women in my Family Cook

            don’t cook while you’re upset. you’ll poison the food with your anger
– my mother

A woman dark as silence cooks her well-earned rage
down like collards. An off-white woman, pumice-skinned, simmers
resentment in a pressure cooker – tender lambflesh, made ready to eat
by bitter steam, water of cloves, of allspice,
of salt agitated into the air. When the nightmares slunk
between my sheets, I roughened
as my hair, silk scarf torn
from my head by the thrashing, pillows of cotton
scratching at my follicles. I tossed and turned
like water, agitated. I told my mother
that my sleep was haunted. She said, perhaps not.
A ghost is just another mirror
pointed into your mouth. What had you eaten for dinner?

 

 

Caesar

By Hazem Fahmy

Dante’s Purgatorio, Canto 6, Line 112: Come, see your Rome who, widowed and alone, weeps bitterly; both day and night, she moans: “My Caesar, why are you not at my side?”

1
In the Middle East we have our own term for dictatorship. We call it: “الدولة العميقة”, the “Deep Nation”.

Deep as in a rotting root stretched throughout the soil that feeds you.

Deep as in a cancerous spine holding your diseased body together.

Deep as in poetry, like an ode to Stockholm Syndrome, to a father who lullabies you to bed before reaching under the covers.

Americans ask me why Arabs love dictators and I say abusive relationships are hard to get over.
When Mubarak fell back in 2011, Cairo couldn’t help but cry, sent him a text message: اسفين يا ريس. Please come back.

Virtually every Arab country has been under a brutal regime since the fifties.

My country has only known men who express their love with boot heels and batons. You try and imagine the trauma of a nation black-eyed from its own fist, the self-hate that comes with seeing your own body eat itself.

Forgiveness on a national scale is no easy feat.

It is realizing that your body cannot be blamed for what has been done to it. It is realizing that dictatorship is an STD that can’t be passed consensually.

It grows and blisters on the testicles of men who see the world as their oyster, men who fuck the oyster senseless, hand it lemons for its sores, tell it to make lemonade and move on, says there is no place here for terrorists when it tries to move on.

2
In Connecticut, I turn on the television and see Wolfe Blitzer’s wide eyes gazing in wonder at me, see Megyn Kelly flick her lustrous hair and ask me what’s wrong with my country.
As if we asked for it, as if every Arab nation got down on one knee with ring and bouquet, smiled at the bruises, laughed at the cigarette burns. As if this wasn’t an arranged marriage decades in the making.
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As if you weren’t a bored matchmaker who just wanted to see what would happen, a child playing with matches then gasping at the fire. Grows up to be a fireman. Has us pay to put out the flames. Marvels at how fast a brown body can burn, puts that shit on CNN. Tells you to look at how bad of an example these people are setting for their children.
Americans ask me why Arabs can’t just choose democracy and I tell them it is not as simple as a break up song.

Egypt will not wake up tomorrow and make a new Spotify playlist. Even if it does, you will not listen.

Even if you do, it will be in the background of a house party. You will drink your Miller High Life and toast to freedom, how intoxicating its taste is.

You will remind yourself that Muslims don’t drink alcohol. You will wonder why it is they shut themselves out of the world.

White Americans talk about democracy like it’s a bag of seeds you buy at Home Depot, sprinkle across your backyard before freedom grows fully bloomed from the soil, petals red and blue outstretched.

They talk like all soil is the same.

Like every seed comes with a 100% satisfaction sticker, guaranteed to give you a luscious plant.

They forget how one strain of unwanted plant can kill an entire farmland. They forget that some seeds give you strange fruit. They forget that we have been planting our own crops for over seven thousand years.

3
There’s a reason self-love is tied to revolution, it’s a two way street.

In the right context, the word radical can be applied to anything from an uprising to a selfie.

If nothing else, they both state: I am worth preserving.

Forgiveness is no easy feat.

The Middle East is still moaning. Cairo is still waiting for Caesar, still looking to the words of a dead white man for self-validation. But my people are still a body, which is to say, I am a white blood cell, which is to say, the virus has not yet won, which is to say: حلوة بلادى السمرة, بلادى الحرة. أنا على الربابة بغنى. مملكش غير إنى أغنى و أقول تعيشى يا مصر.

In the painting on the wall

By Chaun Ballard

Handala,
the young refugee boy, stands
at the broken wall
and concentrates his gaze
in the direction of Jerusalem,
and he knows he will pass through
this stone that has opened—
and when he does,
he will venture to the other side
alone.
Though he knows
when he departs this land
he might never return,
he does not turn around. He never waves
farewell to the people gathered.
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Handala,
the young refugee boy, stands
gazing from the broken wall—
fathers, mothers, children,
and liberators have come
to wave flags, some wave hands,
and they know
he must cross into this freedom
alone. For they know his will—
they have all seen his face.

For more poems by Chaun Ballard, check the full issue: Vol. 4, Issue 1