Hazem Fahmy’s Red//Jild//Prayer (Diode 2018) Reviewed By Helen Wing

It is red rage that guides the poet, who is ‘swinging [his] legs like a hammer’ as he observes the West’s ‘close-up on the dead Arab’ and questions why he is alive if the only images of himself he sees are of his death.

Hazem Fahmy’s passionate debut collection, Red//Jild//Prayer (Diode, 2018), maps a corporeal journey from rage to ecstasy, from fear to pride, ‘unabashed, unafraid’, from the profound alienation of the ‘silly, brown boy’ who defines himself ‘by that which makes me hate myself’ to the courageous emblazoned joy of intimacy and hope, of ‘Scream:/we are here,/ habiby./ Tomorrow can’t tame this love.’

Fahmy’s progress towards an ethnic and gender identity located in the sublime taps into a long tradition of homosexual poetry which seeks gender authenticity beyond the material:  think Cernuda, think Lorca.  Fahmy’s torment is layered and complex for he seeks to repossess the image of his body from the forces of ideological tyranny so that he can paradoxically sacralise his body as holy and indomitable through the power of love.

When the body is constantly shamed for being brown, for being Muslim, for being gay, the poet appeals to God and asks, ‘where else will these eyes go[?]’ Fahmy’s poetry portrays the identity struggle of a young man growing up amidst the Egyptian revolution and counter-revolution, global religious polarization, the devastation of exile, the confusing proliferation of non-transcendent, neo-baroque cultural images of the postmodern and the exploration of non-binary sexuality in a violent, unforgiving world.  Fahmy’s mastery ushers in brutal truths, a soothsaying of the excoriating violence inherent in the racism and ignorance of the West.         

The collection opens with a prayer ‘Red as in rage’ and we are alerted to the life and death battle of biblical proportions that may ensue as the following poem ‘the word’ subverts St. John’s Gospel: ‘In the beginning was the word / and it spat on me’.  Language, first the foreign tongue English but then the ability to speak, to inhere meaning, in any language, has been preternaturally stripped from the poet. ‘I opened my mouth only / to find that my throat, too / was stolen.’

It is red rage that guides the poet, who is ‘swinging [his] legs like a hammer’ as he observes the West’s ‘close-up on the dead Arab’ and questions why he is alive if the only images of himself he sees are of his death.  ‘Caesar’, a poem named after the prototypical dictator, rails against the easy belittling of the Egyptian tragedy. Fahmy parodies the contempt of the West for Egypt by domesticating its easy slogans of ignorance. Democracy, he cries ‘is not as simple as a break up song’, not ‘a bag of seeds you buy at Home Depot’.  He blames a postmodern commodity fetishism for the deliberate oblivion of the West for they ‘forget that we have been planting our own crops for over seven thousand years.’ He parodies himself in the oppressor’s dialect and delivers savage clarity in ‘Daily I watch America marvel / at how fast a brown body can burn.’  The curse of cultural improvisation in the hands of the poet becomes part of a necessary process whereby he restitutes a sense of self in the image-bound contemporary, using Jazz and colloquial idiom in a linguistic reduction ad absurdum which, for him, mirrors the perpetual rape of his consciousness as a young Arab man in an alien environment.  It is no accident that his love song to Egypt comes solely in Arabic as ‘my people are still a body’ and in the West, clearly and repeatedly, only a body. 

‘A Queen bleeds in Ramadan (after Orlando)’ depicts the poet Kamagra Oral Jelly contains the same ingredients as the Kamagra tablets. best buy viagra Fatigue viagra 100mg price decreases and endurance increases. For djpaulkom.tv generic cialis without prescription example a healthy person would require 100mg pill and a senior could get erection with single dose of the tablets. A person should avoid all these commander viagra try my link things to prevent pregnancy. caught in the profoundly personal and semantic trap of double oppression, where he is both prey and predator in a massacre that is both imputed to his kind and yet which kills his kind. The paucity of discourse redoubles his anguish as it crudely simplifies both racial and gender hate. Again as he interrogates easy hegemonic assumptions his pain is not just physical but spiritual. ‘Oh God, / we look to you and are told you hate us’.  The poet’s search for identity is a search for the sublime, which, paradoxically, can only manifest through the physical.  In ‘On Adding Sand’, he uses the geography of the page – America on the left, Egypt on the right – to sketch the depth of cultural difference. He deftly weaves a pseudo-coherence between the racist slur described in the poem and a plea for the sanctity of sand: ‘It is typical of us mortals / to mock this Earth. To spit / on its Holy.’ For Fahmy the taste of sand woke poetry in him, and from the desert his body rises as a physical temple as he asserts his refusal to be brought low by the glib mockery of the West.  Later, in ‘Muse/me’, the poet articulates a place to breathe between Self and Other, a self-image, as he says, ‘I tell myself / there is no bad cinematography / in the real world. Only bad editing/ Like stitching two images with no rhythm. Like a call to prayer / and an explosion.’

Jild, skin, is sandwiched between Red, the rage at one’s identity appropriation by an alien racist culture, and Prayer, a song to redemption through love.  The skin, the body, is the vessel the poet needs to relocate in his search for a sublime, knowing intimacy.  This body, as delicate and flammable as film reel, has to be rescued from the ravages of fragmentation to choreograph a sense of belonging, love and voice. For the poet his voice is physically torn from the third eye, ‘my forehead cuts open / with a coarse / gurgling / sound’.  His vocal binding, like his skin, is material and constantly under threat from the lexical violence of political sloganeering and the yearning for communication and community. In ‘Jild’, the history of fear, for and of the body, is the central focus for the poet as he struggles to place his gay identity and his Arab identity not just in the US but also within the violence of his Egyptian contemporary and his faith. ‘I’ve lost interest in Independence Day(s) / I’ve grown tired of blood piercing the night / sky.’ Again here Fahmy samples the confectionery of the postmodern predilection for nullified, meaning-drained images to excoriate the culture(s) from which he feels disbarred.  The lexicon of fear: ‘a bogart’, an ‘Ode to Essos’, an image negative, foot-printed evidence of absence, all these terms sketch his pain and his search for a poetic voice in a world that rejects the sublime. Thus the sarcasm of his, ‘What an epic feeling it is / to be unmade by a white man, / and his deceitful pen.’  The pivotal contradiction of the skin, the conceit of the binding of identity in skin and his binding in the book, maps his need to repossess and reinvest identity.  This effort is fuelled by the twin urges of rage and compassion seared into his chilling image, ‘The next time a white man wears / my skin, I’ll cut it off, drain the blood, and drape it over / the first shivering brown child I come across.’

Eventually in Prayer ‘a night of terror / becomes a morning / of joy as Fahmy discovers the intimacy of love, ‘a symphony of skin.’  That skin, once dead and damned, becomes sublime and eternal in love, ‘like the wine that awaits you in heaven’ as the poet takes ownership of his belonging in love and in gay identity. ‘Dawn a red dress / in my closet, / always there / for me.’   The movement from ‘I’ to ‘we’ for belonging, and from ‘you’ to ‘they’, a distancing signaling the poet no longer feels as personal attack the all-encompassing censure, punctuates his new found joy, ‘Louder than bombs, / we cry out […] to see a flag wrapped around a breathing body, for a change.’  At last the parading of contempt and pain has become a life-affirming parade of joy. 

Dust

by Lana Habash

Stone streets of an old city,
carts lined with rings of fresh bread,
seeded sesame, the scent
of coffee mixed with zalabieh,
where songs of prayer mark time–
here, the hand of God is pressed
in stone. Touch your hand there
palm to palm,
and time will pass
through your fingers,
more enduring than belief. Uniformed men
set against the sky, the dawn
ignores them. A young boy stands,
circled by men, guns
slung over shoulders
like shopping bags. The boy
leans back, delivers the blow,
runs. He knows where and how.
And like the Sea the merchants part,
then rushing back,
one current now, an old man slows
the push of his cart, a woman
slows too and smiles.

***

Stories We Tell

How Haja stood at the door,
hands raised to her son
Don’t come in
with those.

How he took
the grenades
from each pocket
as if they were lemons,
with a smile that said,
There’s no need for all that.
Or how the khuwana
stopped our men,
bent over the road,
the last pieces of home
on their backs,
how the men
lifted their heads
to ask Did you sell it
furnished?

Or how the checkpoint soldier
questioned the farmer
What do you
feed your chickens?

day after day,
then turned him back
for the wrong answer.
How finally the farmer
said with a shrug,
I give them money.
They decide for themselves.

Or the young boys loaded
on an army truck,
set free
by pleading hands,
women
who cry My son!
and tear their hair.
How the women took
the puzzled faces
to their own,
saying, Go to your own home now,
child.

How on the morning
of tawjihi,
the schoolboy
arrived early,
stopped at the designated
knot on the string,
threw down his books,
took off his shirt,
to demand
that the beating
be quick.

Or how the teacher,
now the line
that won’t
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laughed
as she picked up the stone,

The land
knows
who loves it.

***

Stories We Don’t

Women who carry life
give birth to the dead
at the waiting points
on the open road.

An olive tree on its side,
gnarled fingers reach to the sky,

land is not place.

Of course there was the house
lost,
child loaded
onto a garbage truck,
eyes toward home,
eyes always toward home,
and of course there were those
not so lucky as that,
who died on the long walk,

and of course for the living
the attic came next,
the cold floor,
the seven bodies.
Yes, there were tents, walls, stone,
perhaps a house,
and the names our children bear:
Jaffa
Haifa
Beisan
Jenin,

what a people must swallow:
the hollows of a culture not ours,
the land wet with blood
of others like us
thrown into
the singular
strangeness
of exile,
the thirty years it took
to see their shadows
on every Washington and Main,
this land of ghosts,
the outlines of a brother here,
a sister there,
their eyes, accusing
their eyes, the future.

Maybe regret is passed on
to daughters.
We carry it with us,
pieces of home
on our backs,
one camp to another,
waiting.

And yes,
we remember, still see
her, sister, bearing life,
as she begged for maya
on the dusty road, see her stumble
on the stones,
push herself
up,
bearing life,
stumble again,
till finally
she lay still,
the dust
from the road
mixed with her hair
and dry lips
bearing life–

dust
means something different
to us.

Outta Here By Patty Somlo

The first time the officer told the boy to drop the bat, the boy began to walk forward. He was just under five feet tall, so the bat may have looked longer than it would have appeared, if held by a boy of greater height. The boy, people in the neighborhood would later comment, had dreamed of becoming a baseball player.

By the second time the officer ordered the boy to drop the bat, the boy had narrowed the distance between them. The officer wasn’t aware that the late afternoon sun had started shooting rays directly into the boy’s dark brown eyes. Traffic had grown heavy on Seventeenth Street, two blocks south of Martin Luther King Jr. Boulevard, where the boy stood clutching his bat in a field infested with weeds and discarded soiled napkins and soda cups, outside an abandoned low-income housing project. The racket caused by cars and trucks passing made it hard for the boy to hear what the officer had been shouting. When the boy looked toward the officer, the bright glare from the sun made his eyes ache and tear, forcing him to drop his gaze.

Still, the boy continued moving toward the officer. Folks in the neighborhood would later claim that even though he had some disabilities – or “challenges,” as some preferred to say – the kid was one of the friendliest and most sociable kids many had ever met. His mother worried about him for all the obvious reasons a parent fears for a child, and especially a special needs kid, but also because he had never learned to keep his distance from strangers, who might do him harm.

The third time the officer ordered the boy to drop the bat, the boy believed he had gotten close enough to hit the ball. He turned slightly to stand sideways and moved his feet eight or so inches apart, the way Billy “the Bomber” Boggs, the famous baseball player who’d grown up in the neighborhood and returned there to live after he retired from the game, showed him several times.

As he lifted the bat, the boy heard a loud cracking sound. No one saw what happened before or after that sound, but a second and third cracking sound followed. The boy was bleeding by then, so heavily it was impossible to see where the blood was coming from, and his short, somewhat pudgy body had fallen, and lay curled practically in the fetal position on the ground.

***
The shooting of DaVon Richards rocked the neighborhood, a principally African American enclave whose tree-lined residential streets fanned out east and west from MLK Boulevard. DaVon Richards, as everyone in the neighborhood knew, could not have hurt a fly. He’d been born fourteen years before with what his mother described as a sweetness almost impossible not to love. His intellectual challenges became more and more apparent as time went on. At first when DaVon went to school, some of the kids, usually boys, made fun of him. In those days, everybody referred to DaVon as slow. But DaVon didn’t realize that he was being bullied and before long, the toughest kids began to look out for him.
In the first hours and days after the white police officer shot and killed DaVon Richards, firing three times, folks in the neighborhood felt numb. The police department claimed that DaVon, a black, intellectually challenged fourteen-year-old, had threatened the officer with a bat that could be used as a weapon. A memorial was started for DaVon with flowers, a handful of toys, including metal trucks, and several baseball gloves. Family, friends and people who lived in the neighborhood gathered in the weedy and trash-strewn field where DaVon had been shot. The media dutifully arrived, along with the mayor, city councilors and the area’s congressional representative. Baptist minister Calvin Butler set up a stage, podium, microphone and sound system, then invited people to come up and share what they remembered about DaVon.

Ali Mansour, who owned the neighborhood’s one convenience store, stood up first. People were surprised to see Mr. Ali, as the older residents called him, crying.

“DaVon came to my store every day,” Ali began, speaking haltingly because he couldn’t stop crying. “He wanted to learn how to use the register, so I showed him.”

Surprisingly, Ali then started to laugh.

“I must have showed him a hundred times,” he said, shaking his head and smiling. “He couldn’t remember how to do it. But he always wanted me to show him, so he could learn again.”

Ali stepped away from the microphone to wipe his eyes. He blew his nose with a light blue handkerchief pulled out of his pocket and then came back to the podium, leaning toward the microphone and saying he was sorry. He stopped crying long enough to explain, “DaVon wanted to learn because he said he planned to open his own store one day.”
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The tributes went on throughout the afternoon and into the night. As speaker after speaker spoke about the loving boy, who unlike most people never complained, got depressed or had a bad word to say about anybody, something became clear to Billy Boggs. In middle age and carrying a hundred pounds more weight than when he’d gone almost overnight from being a poor black kid to a major league, high-salaried baseball player, Billy had long ago lost contact with his two grown kids. He had barely known them when they were growing up because he’d focused nearly all his time and attention on baseball.

A few years back, Billy had started spending time with DaVon, his mother being a good friend and DaVon not having a father around. Sometimes, Billy thought of DaVon as his adopted son. He’d taught DaVon to throw and catch, run and hit the ball. The bat DaVon had been holding at the time of the shooting and failed to drop had been a present from Billy for DaVon’s thirteenth birthday.

The last speaker stepped down. Without thinking, Billy began making his way to the podium. He didn’t have a clue what he wanted to say, but he slid the microphone up to his height and tapped the end to see if it was working.

He looked out at the crowd. The faces were black and brown, white and Asian. So many people had congregated in the field that folks were now spilling out onto the sidewalks. Some even stood across the street.

Billy still didn’t know what he was going to say, but he continued to study the crowd. Then he let himself picture DaVon in his mind, wearing the Giants jersey Billy had given him, the one that had started to get too small.

He could see DaVon, concentrating so hard his forehead had wrinkled up. And then he remembered the thing DaVon nearly always did, whenever Billy sailed an underhanded pitch towards him. Just before DaVon stepped his right foot forward and swung the bat, he mimicked what the play-by-play broadcasters shouted when a ball was hit out of the park. “It’s outta here,” DaVon loved to yell.

The sun had set by the time Billy told that story to the crowd. He let them know that DaVon assumed he would get a home run every time he hit the ball. Billy asked the crowd if they had any idea what knowing DaVon had taught him. Following a few murmured and several shouted responses like, “Love, man,” and “Joy,” Billy answered, “No. It was hope. DaVon Richards taught me about hope.”
***
It only took two weeks for Billy Boggs to raise enough money to build the diamond and buy enough bats, gloves, shoes and uniforms for all the neighborhood kids that wanted to play ball. The city council, with unprecedented speed, helped push through the required permits to have the housing project torn down and that vacant, weedy lot readied to become a new city park.

Billy recruited several police officers to coach in their off-duty hours. He wasn’t naïve enough to believe, as some folks thought, that the DaVon Richards Park and the MLK Bombers would change the world, or even do all that much to address the deep-seated issues that ended up stifling and snuffing out too many young lives.

But as he prepared to swing the bat for the pitch to commemorate the start of the Bombers’ first season and the opening of DaVon Richards Park, Billy Boggs smiled. The bat kissed the ball and Billy watched it sail, over the diamond, past the outfield and beyond.

Billy heard a familiar voice shout, “It’s outta here.” He used the back of his hand to wipe the tears away from the corners of his eyes. Then he looked up, imagining that the ball had just bounced and then stopped on the rough surface of a large and blindingly radiant star.

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.

The female sexual organs The pelvic area (below the belly button) houses a woman’s reproductive system during love making. viagra ordination Inform your healthcare provider in case, you have an incomplete injury at the lower end of the area mentioned earlier then the area of the spinal cord, are more likely for achieving a psychogenic erection than if you have an incomplete injury at the lower end of the area mentioned earlier then the area of the spinal cord, head or on sexual organ. viagra online consultation Reduced online levitra tablet thought about this signs of aging such as coordination and balance. Some foreign sources of order cialis without prescription that operate outside America are not required to pass the cost savings on their functional expenses to their clients by means of decreased and reduced price runs. I cannot say with certainty whether anything else factors into my father’s family’s ability to achieve the “American dream” as much as the tax bracket they belonged to in Iraq. In revisiting my misplaced belief that my parents’ meager beginnings—of which I was only a part until I reached puberty—were critical to my experience as a nonwhite person, I am reminded of a bit of wisdom bell hooks insisted upon when my partner and I went with some friends to see her speak at my alma mater: the institutionalized violence done to people of color is predicated upon, above all else, capitalism.

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.

Origin Story by Jess Rizkallah

i was born to refugees,
i was named a miracle still,                    they wait
for something greater than
what i know how to be.

i’m alive, and therefore enough.

i have space for an extra organ
that never came home
and every year the sea levels rise.

or                           i have a twin that never followed me out of the womb,
is still stuck where a shrieking echo
comes down on a mountain village          and the telepathy between us
is a gold thread so warm, it hums.

i’ll never know its language                         older than the polaroids
falling out of my mothers mouth               older than the lute
in my father’s whistle

or                          mama gave birth to me & i came out a hyphen
i was born the big hand on a clock

or                           i was born an arm                with a hand at both ends
taking both lands back at once, like they’re mine

or                           i was born an arm with a hand at both ends
holding a knife                                                    maybe i am a knife,
always spinning                          slicing
at roots and fruits i graft into the hollow
where the ancient humming organ
never made its home.
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maybe i am building this organ myself.
maybe this organ will be my country,
where i’m from. no
where i’m really from

where every language is light
pouring out of me. everything it touches
is greater than what i know how to be
& everyone i love
is safe here.

 

 

 

 

 

 

 

 

 

 

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.

 

 

 

to the four languages I speak: Arabic (pt. 1)

By Zoha B. Khan

When I was born, they poured Arabic into my ear,
jug-mouth to the bowl of my ear, thick and
rich and ornate, honey-sound,
the nurse-maiden with breasts heavy with Islam, my holy milk.
She is a poet’s tongue and though I am the lover
of another, I am duty-bound to admire her form, the languor
of her curves, to savor
the way her words land from fall, carpeted by their own whorls,
how they slip between my fingers, silk
stretched taut, Pashmina-ink through the rose-gold-ring of
my mouth, curling in my throat,
ballooning into sound as I breathe my voice into the alphabets,
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their diamond-eyes watching, the regal swoop of the kajal,
their generous, matronly curves and open, laughing smiles, lazy discipline
in quiet control.
Sultry, the lascivious hijabi, rendered sensual by her very restraint, sinuous
within her confines,
I pull her into a dance.
She lets me twirl her around, both snake-watchful and panther-loose-limbed
sunned by my attention, spinning a maze around
my pen.
Arabic, a mystery to all who speak her, changing form from tongue
to tongue like a djinn;
Arabic, drunk under the niqab, champagne made dream made sound
made a poet’s fever dream.

Four poems by Momtaza Mehri

Barcodes

اقرأ – the First Word. In His Name. The last book shut on us.
The lesson?
Angels speak in imperatives, could teach us a thing or two
about saying what we really mean.

subtext: a naar hung from the highest shelf/ of our ribcage/mark where a wetness dots space/between thumb and mouth/journey to & from/isra & mi’raaj/you left a teeth mark on the butter/of my wrist/

Four by four makes sixteen. ضرب to multiply is to beat. In my old tongue.
We are striking numerals together, hoping for a spark to feed one
of our mouths. Turn each uvula into a burning chandelier.

subtext: a dress of skin lost from an ankle/licked dry into a plate/watch me outwit this dunya/ with each finger snap

Five or twenty five. Both days spent on the big bed.
So BIG I wanna drown in it.
A bed is a country and your nape’s salt weight on a freshly changed pillow
a contradiction. I have named each checkpoint a ‘birthmark’ or something else permanent.

subtext: waiting for my father’s phlegmy cough/meaning yes/she is no longer a walking hazard sign known as daughter/ take her from me/ take my blessing and run with it

Seven. The seventh son died of treatable causes. An uncle still sees his face in the youngest.
Meanwhile, I am still auditioning for this country’s approval.

subtext: i am tired of counting/in a script that folds my lungs/draws a an exhale from the centre of ٥ mouth/ but mostly/i am just tired

عشرة remains the same in all languages. Imagine that kinda consistency
in a man/border of your choosing?

Dieuetmondroit

He, the cart-carrier, Kalahandar boy.
wrapped in sweat’s fine sheen, shalwaar rising and falling
like a raised flag (white)
or a collapsed lung (right?)
A Khaleeji sun to glue a man’s eyelids together.
Dubai hasn’t met an afternoon she couldn’t choke. Not yet.
Watch him weave though a human maze,
a mule load weight on his shoulders.

Take of me what you will,
but pay me. She understands this language. A life in fine print and remittances.

She, in a black abaaya trailing, a spray of folded jasmine,

and three shades darker still,
a sugar-free Coke lulling the back of her throat.
Watch breath frost a window’s glass. From the inside,
an aunt barters gold across a counter’s gloss.
Outside, a man glistens in all the worst ways.
Between them there is so much,
and so little, but mostly,
Her Majesty’s cardboard pulse, blushing
from the inside of her travel pouch.

In the back of a yellow cab marked ‘occupied’,
twin windscreen wipers part their thighs,
and she tastes

the accident of her birth.


The Night We All Watched Talal Maddah Die On Television

The stage of keys became a footnote. An underline
to a dashboard heavy with cassette tape wonder.
We go backwards to go forwards, a shared madness.

His last words a dream of palm trees and a grazing breeze.
The Scholar. The Throat.
Makkah’s Golden Boy turned into a knot of eyebrows, clawing at collar,
a fit of nerves. A crowd yelps,
checks his pulse, hears the whole of the Hijaz held
from a thread, and your sigh, softer still frosting the glass of a TV screen.

Later, the confirmation. They always come too late. A heart attack.
Newscaster slips out of the standardised into yarhamu hu’ llah
into may he rest in the highest gardens.

Your mother, too, conducts her own ritual
from the mourning bed of the plastic-wrapped settee,
all too familiar with the sight of a man’s body
crumpling into itself.

The new millennium takes another innocence from us.


The Second Time I watched Talal Maddah Die Onscreen (Replay)

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You find the video on a web corner, nostalgia-pungent and dislocated.
One comment thumbed into a dozen likes tells its own story.
Gives a context you didn’t ask for. Hit replay and ignore. Try to.

التياع جمر على ضمأى همسة الوداع غير لي ليس واخيرا

This strum, this song, it can’t be true. You’ve read it twice now, lingering
under the description box. He wrote this one, your favourite, after his youngest son fell
from a window. Apparently.

الوداع قتو من اعنف لوعة البقاع كل في حلو يا اجد لم

Was it a high-rise? Before or after crude oil bubbled into living rooms?
Before this heart-split we named modernity?
You are never sure, will never be. Know better than to trust what lies beyond a screen.
Trust only in what you’ve caught sight of.

On glossed-out, Beirut-set talent shows, they sometimes sing that final song.
There is always something damp and bottomless to each verse.
The contestant always looks nervous. This you are sure of.