Tag: women writers

I stand next to the yellow-stoned sepulcher that is meant to conceal the stench and shock of bodies long gone. The dusty road follows the mountain around, veering toward a small church, whose bells chime into the otherwise quiet air. As I walk toward the wooden benches and stark colors of painted saints who adorn the stone walls, I see roses crawling up the side. Their rhythmic dance in the sun-stroked wind sets me off course. I watch the pinks and yellows of their blossoms as their stems try to move out and beyond the soil, like young seeds floating in the wind. But their roots have betrayed them; they cannot move.

I turn away and walk through the doors whose wood seems to swell each time a hand presses on its smoothed ridges. As we stand in the hollow chapel, a cool breeze moves up and down the aisle, somehow reminding me that I have come over five thousand miles to eulogize the dead. My dead.  It is in Lehfed, the mountain village town where my grandfather bought land long before me; where he, my grandmother, and uncle remain eternally laid behind the achingly beautiful walls of that sepulcher. As I stand in homily, I remark that this will be the second—or is it third—time that I have been near my grandmother’s body. Like the roses outside, her roots have been laid down long ago: pressed into the soil with tears and confusion from those left behind, begging her not to move. So now, we must come to her.

۞

The eulogies of a diaspora bear fruit in the homeland. I carry with my half-Arab, half-white body songs of Lebanon. So that when I step foot in Lehfed, after so many years away, I feel the elegiac rhythms in my path. I hear the call of lungs wet with life and earth in late April 1927 as I move through the streets of my grandmother’s birthplace, Brummana, nearly ninety years later. Her parents had called her Hind, ensuring that when others spoke her name, they would not intonate French sounds like a colonial ventriloquist. She would have an Arabic name and she would bear the genealogy of her father, just like her mother had once done.

My grandmother, Hind Naim Aswad, curled her hair so that it fell away from her face. She painted her lips and shaped her eyebrows. And when she posed for one of her first photographs, she wore a blouse with buttons that glistened as she walked. Moving her shoulders square with the camera, Hind looked ahead only to be instructed to turn to the left. With her lips pressed together she let the corners of her mouth turn up just enough to make her eyes come alive. Frozen in time, the light catches Hind smiling.

         After the birth of five children—two of whom had given up the ghost so early that they would later be remembered as twins that came and departed together—Hind felt her womb contract. The painful scars of childbirth made her legs ache and she found herself sitting more throughout the day, trying to rub away the blue tributaries that had risen to the surface with each pregnancy. Unable to loosen the choked blood, she called on a doctor to treat the wounds below the skin.

         The physician insisted, so the story goes, that the only way to heal the veins was through another pregnancy. A sixth child, he said, might increase the flow and lessen the pain running along my grandmother’s days. Perhaps it was her ascriptions to motherhood—to her life’s labors—that made her willing to trust him. But inside, she must have equivocated because her womb had contracted and she ached with the memory of lowering another child into the ground. Even so, she felt the pain linger, growing into her bones like an unwelcome companion. So she heeded the doctor’s advice. In the month before her birthday, she found her bleeding had stopped and she knew that the season had changed.

Unbeknownst to her, Hind would celebrate her thirty-third birthday on the same day that her daughter-in-law arrived in the world. Separated by the salt of the Mediterranean and the crescent of the Atlantic, the two women would never meet. But they would share the day of birth, linking their souls in a way that echoed divine providence. And as her sixth child grew big inside of her, Hind felt the earth move as another generation entered the world. 

۞

I belong to my mother in a way that all children belong to the ones who gave them life. But I, too, belonged to something else. She—the child of white Americans—looked and inhabited the world in a way that my father and his mother, Hind, did not. Made up whole of these two parts, I found myself looking and not looking like my mother. Sounding and not sounding like her family. Being and not being American. These threads of memories and sounds snaked across my body, demarcating disparate geographies and genealogies.

When my mother took her first steps in the Old City of Jerusalem as a student, I wonder whether she saw women who looked like the daughter she had not yet had. I wonder if she stopped to feel the slopes of what Westerners considered an “older” world, knowing that her own children would be made up of both the “old” and the new. In this way, my geographies—given to me by both her and my father—fractured not just in space but also in time. Perhaps she knew that this place would come to mean home to her children, even if mostly in their nighttime longings.

Alif, Ba, Ta, Tha, Jeem, Ha…my white mother would read aloud the letters of the Arabic alphabet to her half-Arab children, teaching us how to speak with an evenness of our heritage. As the hard Cairo “g” rolled off her tongue, my father would answer with the soft “g” of Beirut and Brummana and suddenly they would move together through the streets of Egypt and the hills of Lebanon. I closed my eyes, hoping to go along with them to places I knew so well, even if only in my dreams.

۞

“You look just like your grandmother Hind,” my parents would tell me when I complained about my milk-white skin and the thickness of my eyebrows. I loved those moments and would steal away a smile, thinking about Hind’s smooth features and full lips. Sometimes my father would look at me as if he was memorizing my face, just in case it changed and his mother no longer appeared across the contour of my brow or in the fullness of my cheeks. I would dream of my grandmother and wonder whether our physical similarity branched into our souls. Hind was the vision of my past and my future. Her breath had been captured in flashes and film, but she lived on in my bones.

To sing of a world both strange and familiar beckons the imagination. As a young girl, I drew up a facsimile of Lebanon in my mind, taken from memories and dreams, real and fictitious. And each time I returned, my static renditions of homeland evolved. Sprawling forth in many directions, Lebanon became more complex, but always remained symbolic. I clung to those images at different hours of the day—when I brushed my dark hair or pronounced my anglicized name. And at certain moments in my life, I grasped onto the dreams of days past with greater urgency—when images of Arab faces flashed next to the dust-filled smoke that interred thousands under rubble, rock, and American Pride. When those nightmares effaced my dreams, I tried to sort out what made me American and what made me Lebanese.

I dreamt of Hind and Lebanon because I could not fit all of myself into American. I spilled over, past the green pines of North Carolina and the sun-filled days of Colorado. I felt my mind vacillate whenever I spoke of identity, trying to figure out which box would suit me. Was I Caucasian or multiracial? Whenever I selected “White,” my racialization obscured my ethnicity. I did not want to be just American, as if that categorization in and of itself erased my grandmother and all of the memories that I had of her. I wanted to be as I was; as I am.

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Before September 11, 2001, half of me faded against the backdrop of my skin. Teachers and friends could not imagine a white Arab. So, they forgot about part of me: the little girl who claimed to be Lebanese but whose skin mirrored the light. I did not like being white, because that category suffocated me with meaning I did not mean and stories I did not tell. But others imposed that whiteness on me unendingly, forgetting my other half: they excised part of me, leaving it under refuse as if it had never existed at all.

By the time the towers came down and the smoke had cleared, I had undergone baptism by fire. Suddenly, erasure contorted into a perverse recognition. I became Arab, but remained American, moving through space with a dexterity and alacrity that belied the long braided ropes that tethered me to the ground. This new identity supplanted the old, but put me in a new category: one with no name. I was suspended in space, white and other at the same time—both a bearer to and victim of white supremacists’ violent heritage. I checked both boxes. I listened to teachers pronounce my name with new meaning and I felt others’ breath on my neck as they whispered in my ear, “Are you a terrorist?”

No, no. That was not me. They had taken my beautiful secret and made it ugly with their words and their spit. They had resurrected a ghoulish version of my other half and in so doing, ravaged my dreams of Hind.

۞

Seated on two chairs, my grandparents stare back at me from a photo taped together and yellowing. It’s 1951. My uncle and aunt look away from the camera, coyly evading the gaze of an eternal audience. Everyone wears sandals, except my grandfather whose gendarme uniform requires a dress shoe with a slight heel. Hind’s cross hangs between the “v” of her collar, but the clasp of the necklace has fallen to the front. The misplaced clasp guides the eye toward her high-waisted belt where the fabric of her dress pulls, revealing that she is once again pregnant.

Most of the stories of my grandmother tell her life through marriage, pregnancy, and child-rearing. I dream because I cannot see photographs of her life beyond these moments. I descend into unknowable pasts because I am the embodiment of the unseeable futures of which she dreamt.

Yes, she dreamt. She dreamt as she stood for her wedding portrait on a rug whose perfect geometry mirrored the superficially clean lines of domesticity. An architect of futurity, she envisioned her children moving across the swells and breaks of the sea. Hers was a world unfolding and she challenged the mountains, even the ones that would become her resting place, to contain her dreams.

But her dreams were costly. They took her children like rip currents, only returning them after long periods of absence. If only she could move them away from the sounds of evaporating lives—disintegrating worlds—then the children might not fall under the bombs. This fractured reality crashed into her with unending hurt. She would have to throw her children far: far enough away so that they would not try to smuggle their way back in the night.

The war, as we call it, absorbs all of the light of memories from the 1970s—the height of my father’s adolescence. It is opaque and runs through our family like a hot knife, leaving wounds between us all. Even those of us who did not experience the war understand that its trauma lives on in our embryos and sperm. It is worn on the skin like feathers lay in glue, attached along our spine as a frequent reminder that displacement is the way that our father survived.

My father had been at Hind’s side for as long as she could remember. But how could she let this child, the embodiment of her labors of love, carry her bleeding in the streets after she was hit by shelling one afternoon? He ran with her as far as he could go, cradling the most precious love he had yet known. Feeling the pull between her own pain and her son’s fear, my grandmother must have felt consumed by a feeling that had no name, no calling, no place. It led her to say, knowing he might be gone forever: “I don’t want him to die here.”

She wore the violence of war around her neck, like a bad omen, reminding her of a dream that had begun to slip into a nightmare. She worried that maybe she had not prepared him for the loneliness that grips in an unknown land. She knew it was time. Yet, this ocean seemed so much more vast and hollow, like it would swallow her whole. 

When she sent her last child to the land of dreams, she sent a piece of herself. The sweet memories, like a fragrant breeze, hurried alongside my father, bringing Lebanon with him. Whenever he told me this story, his words would sing of a land both strange and familiar. And when he reached the crescendo, I would feel that Hind had done more than simply send her child away. She had moved worlds.

۞

I sit in the sun baked terrace, listening for sounds that might heal the grief worn from the time of my birth. My mother and father surround me, reminding me of the places I have been and those I have yet to go. My father’s hand grazes my back, telling me that the painful loss of the mother that sent him to safety has never left him. I see it when he looks at me. I see it when he moves in her image and I in his. My mother, the one who has given me breath, takes in her children’s world. Her world.

The place of resting is also one of haunting. I touch the stones that surround my grandmother’s body, which is to have something between my fingers that feels like the loss of time. This is my diasporic eulogy:

Here, I furtively graft dreams of Hind onto my skin. Her dark hair fades into the night sky as she dances across the dusty road, carrying me with her. She twists and turns under the moon with a spry tongue and beautiful hums.

Others try to cloud my visions with smoke that creeps along the proverbial line of borders. With words sharp and raw, they cut across the ephemera of my grandmother. But she always returns. And when they put me in the part of the sky that has no name, I cry out and she answers.

When I passed through the veil, I saw the blue of the ocean and the red of the earth. I saw you and me. And Hind touched my face with a paintbrush, so that I might always remember that she had moved heaven and earth so that I might be. When others tried to drown me under the rubble and rust of broken dreams, I knew that they could not take that away from me. Like the rings of an oak tree, my face would tell stories of a land near and far and when my mouth froze, the contour of my brow and the fullness of my cheeks would echo a world that had passed before our eyes.