Call me blood,
Call me blood,
The empty lot gapes, yawns and quivers. It exhales dust and sucks the blue out of the sky. It draws her to it, an emptiness that calls out, that whispers and jeers. A wide mouth, that says, come, that dares her. She has no business with the empty plot. It is a nothing place, a no place, not a place but a gaping, an emptiness that is yet to be filled, something still to come.
It has no address at present, nothing that sets it apart in the neighbourhood. There are so many. Empty stretches of land cleared for some future construction never to come, suspended in the eternal yawning present of oblivion. Plots that have stood so long that they have become part of the landscape, vast parks where rubbish accumulates, some partially developed, deep holes sunk in the earth, now filled with murky water that collects debris, the pokes of steel foundations casting dancing shadows on the surface like the spines of poisonous fish; ruinous scaffold of catastrophic geometries that shade rows of empty buildings, concrete structures looming like theme park wreckage, dark and sullen, windows dust coated, shattered in places, doors padlocked against squatters that never come. The streets that hem them, nearly deserted, monuments to some moment of false hope, a future that dims with each day, grows wary, listless, the air dirty with stalled development.
“The Ruins” is Josh Calvo’s regular dirge for sundry Aleppos of memory—all real, all lost, all his. “The Ruins” is a term borrowed from pre-Islamic poetry, in which “weeping over the ruins” is a favorite gharad; the word gharad, which literally means “purpose” and roughly corresponds to genre, is used to indicate not so much a poem’s theme as the driving force behind its utterance. “The Ruins” is the title of both the series and the first piece in the series. Josh Calvo, who is first and foremost a true writer though he also translates from Hebrew and Arabic, among other languages dead and alive, can be reached at this email.
Then the rains washed over the ruins, like a book whose text is written and rewritten….
— Labid (d. 661)
For reasons he has kept to himself, Hakham Abraham Yeshaya Dayan–—born around the turn of the nineteenth century in Aleppo, and risen to become a rabbinic leader in its Jewish community, authoring several religious and scholarly books which have now become obscure, the world to which they are addressed having disappeared and the city in which they were to be read and applied having become in the hundred years since he lived unfathomably and irreversibly unrecognizable—decided suddenly, with the dawning of what would be the decade before his death, that the time had come for him to walk along the walls of his ancient city in search of signs from its long history. For want of some sense of his inner motivations, of what he beheld in his mind whenever he tried to see Aleppo in times he cannot have known, of what image of the city as he knew it over his own lifetime had been building itself in his memory, I can discover little more than he himself has admitted—or that has, by chance or by force, admitted itself—into his words. The nineteenth-century Hakham would not have needed to describe the impression left in mind by what he could still see outside: like the feeling of what remained of what once was: or the music of the undead voices of those who lived before: the cold stone of a synagogue surviving in the walls of a mosques: or the distant echoing of King David’s cavalry and Mongol horses heard faintly, aloft the wind from faraway mountains. And now that the Aleppo he knew has smoldered and will never again be seen, what remains are only these silent words by which it will never be described.
Such complexes of fortifications, said Austerlitz, concluding his remarks that day in the Antwerp Glove Market as he rose from the table and slung his rucksack over his shoulder, show us how, unlike birds, for instance, who keep building the same nest over thousands of years, we tend to forge ahead with our projects far beyond any reasonable bounds. Someone, he added, ought to draw up a catalogue of types of buildings listed in order of size, and it would be immediately obvious that domestic buildings of less than normal size—the little cottage in the fields, the hermitage, the lockkeeper’s lodge, the pavilion for viewing the landscape, the children’s bothy in the garden—are those that offer us at least a semblance of peace, whereas no one in his right mind could truthfully say that he liked a vast edifice such as the Palace of Justice on the old Gallows Hill in Brussels. At the most we gaze at it in wonder, a kind of wonder which in itself is a form of dawning horror, for somehow we know by instinct that outsize buildings cast the shadow of their own destruction before them, and are designed from the first with an eye to their later existence as ruins.
— from Austerlitz by W.G. Sebald
Go to the street, ask for anything, it will be given to you.
BARA will have seized the monarchies and set their palaces ablaze.
There is a fellow population suffering.
To have lived it, later generations will assume it caused great conflict of the heart.
But, take my trials, they are too good for me.
Remember, the videos passed around.
I am guilty.
There is nothing left to say.
White sheets compound the pavement.
Chemicals in the territory.
The revolution is a farce.