Five Poems in English by Mina Nagy

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Elliott Erwitt, New York City, 1977. Source: magnumphotos.com

Pick-up Lines

I can only relate poems to dreams,

that’s why the last three years

I had a few of them

though I’d already denounced myself as a poet;

because escaping from consciousness

is like escaping from the self,

it doesn’t go past skin’s borders.

I’ve counted masturbation sessions as though counting sheep,

without calculating mean or median

or any statistical tricks.

I wanted to say, Love you,

but it came out, Fuck you.

Maybe we can have dinner some time?

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كارول صنصور: في المشمش | النص الكامل

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Omar Imam, from “Live, Love, Refugee”. Source: arabdocphotography.org

(١)
مدخل
إشارة مرور
ملصقات
جدار فصل
قصر جاسر
ملحمة أمل
مخيم عزة
خبز
زبالة أمم متحدة لتشغيل لاجئين
شارع جديد
حجارة بناء
حصمة، رمل، جرّافة
جرافيتي
سيارات سيارات سيارات
مطاعم مطاعم مطاعم
رهبان دير
حراس مهد
بوليس سياحي
عنف
أمن
قصر رئاسة
بنك
شمس
ليمون
بيت

استمر في القراءة

Carol Sansour: In the Time of the Apricots (The Complete Text)

Greek Orthodox service in the Church of the Nativity in Bethlehem

Christopher Anderson, Greek Orthodox service in the Church of the Nativity in Bethlehem, 2007.

(1)

Way in

Traffic lights

Posters

Separation wall

Jacir Palace

Amal Butchery

Azza Camp

Bread

United Nations Relief and Works Agency rubbish

New street

Building stones

Pebbles Sand Bulldozer

Graffiti

Cars cars cars

Restaurants restaurants restaurants

Monastery monks

Nativity guards

Tourist police

Violence

Security

Presidential palace

Bank

Sun

Lemon

Home

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Seth Messinger: Laâbi, Maghreb, Anfas

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Source: diptykblog.com

Olivia C. Harrison and Teresa Villa-Ignacio’s Souffles-Anfas: A Critical Anthology from the Moroccan Journal of Culture and Politics, published by Stanford University Press this year, is a new way into the Middle East and North Africa

There would be little point in writing a conventional review of Souffles-Anfas. A collection such as this is about far more than the curatorial choices made by the editors, and should be celebrated simply for existing at all. To that end praise and congratulations should flow to the editors and to Stanford University Press for backing the publication. There can be no more apt reason for university presses to exist than to publish manifestoes and articles from a quintessential little magazine that endured less than seven years before being suppressed and shut down by an increasingly intolerant Moroccan government. On the other hand one of the journal editors recounts that the need to write so afflicted a contributor that he submitted a short story to an automobile club magazine simply to have an audience. Any collection of writings about the Middle East and North Africa that includes such a story demands an even larger, international audience.

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Pauls Toutonghi: The Gospel of Judas

Caravaggio’s "The Taking of Christ". Source: newyorker.com

Caravaggio’s “The Taking of Christ”. Source: newyorker.com

He is arrogant.

Like a Jerusalem oak—growing in the most narrow fissure, the most meager soil—that was his arrogance, at first. There was almost nothing to feed it. It was thin and pale and stood apart from the vast landscape of him—a few dry green leaves that were, at most, a distraction, a distraction from that great and beautiful emptiness. Because that’s what was most remarkable about him—that emptiness—vast and open and almost unimaginable.

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