Rana Haddad: from “The Unexpected Love Objects of Dunya Noor”

The customers of Café Taba were tapping their feet on the floor, up and down, following the beats of the hakawati’s song.

The hakawati gulped his third glass of tea, and then continued to sing in his alluring voice, which gave his audience goose pimples, making even the stoniest hearted of them almost want to cry.

No one knew why.

None of the audience could take their eyes off him, nor could they stop listening to every word and every syllable he uttered even though they were sure that he knew nothing about love. He was clearly too young and too vain and had never suffered. Even Dunya was sure of it. None of them could fully or even partially understand the theories he was trying to peddle through the vehicle of his songs. How could Fear be the opposite of Love? Wasn’t Hate its eternal enemy and opposite? The hakawati was talking nonsense, trying to be clever, they were sure of that. Even Dunya who thought of herself (relatively speaking) as an expert on the theories of love and its manifold manifestations did not understand. But none of them really cared whether he was right or wrong because what they loved about him most of all were not his stories, or his theories, nor his rhymes—but the voice in which he sang them. Perhaps in Europe or America people could follow their hearts, some of the men reasoned. But here, in the conservative Republic of Syria, Fear was the master. Fear held everything and everyone under its sway, and everyone respectfully bowed their heads to it.

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Alexander Booth: Scheggia

From “The Little Light that Escaped”

Bryan Sansivero, from “Abandoned Lives”. Source: rosajhberlandartconsultant.com

But I remember.

The scent of sun and ash, a taste of resin, blame. Summers across slanting floors and smiles like sickles for thoughts of flight. Abandoned streets and a feeling of sinking. Makeshift holes not far from the sea; closer in, the cicadas’ hum the whirl straight up to twilight’s hem, brittle wings which brought no breeze while all the rest were busy drinking, swallowing the searing-eyed, searing-tongued prophets and seers, and jaundicing into the yellow silence of the years. The tonal monotony of the land.

Days passing, just out of the reach of the sun. Days passing, in a basement room, watching the arc of the sun through a small square of sky. Tides of no turning. Blocks of light mosaiced while the slow days tasted of mineral, copper, rust.

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𝐹𝑜𝓊𝓃𝒹 Leaving

I beg for haven: Prisons, let open your gates—

A refugee from Belief seeks a cell tonight.

 

God’s vintage loneliness has turned to vinegar—

All the archangels—their wings frozen—fell tonight.

 

Lord, cried out the idols, Don’t let us be broken;

Only we can convert the infidel tonight.

 

Mughal ceilings, let your mirrored convexities

multiply me at once under your spell tonight.

 

He’s freed some fire from ice in pity for Heaven.

He’s left open—for God—the doors of Hell tonight.

 

— from “Tonight” by Agha Shahid Ali

 

2003

Christmas Gift: Youssef Rakha’s Arab Porn *Remixed*

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Youssef Rakha. A stock photo of a woman in niqab is made up of versions of Aliaa Magda Elmahdy’s iconic picture, her act of protest of 2011.

Human behaviour flows from three main sources: desire, emotion, and knowledge.
– Plato, BC 427–347

Always I have and will
Scatter god and gold to the four winds.
When we meet, I delight in what the Book forbids.
And flee what is allowed.
– Abu Nuwas, AD 756–813

The moment a man questions the meaning and value of life, he is sick, since objectively neither has any existence; by asking this question one is merely admitting to a store of unsatisfied libido to which something else must have happened, a kind of fermentation leading to sadness and depression.
– Sigmund Freud, 1937

The revolution is for the sake of life, not death.
― Herbert Marcuse, 1977

Eros is an issue of boundaries.
– Anne Carson, 1986

Scene–1

“Hi, I’m writing a piece on Arab porn and would love to get your input…”

“Why would I be relevant to Arab porn?”

“Porn meaning explicit web content, or sexual self expression in general.”

“I see. Well, okay. I’d like to read what you’re writing but I don’t want to contribute. Not because I’m against the idea. I just don’t feel like revealing anything at this point, or I don’t have anything to reveal. I don’t want to explain myself or my sexuality or whatever.”

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Hilary Plum: Lions

Saul Leiter, Barbara, 1951. Source: designobserver.com

.

The long fact of the turned face is named faith.

Through the tall windows opposing the tapestries

that depict the gaze of the lion, low hills with dark cows

remain far. A pheasant plump in the dirt, a voice saying you,

and modern angles guide us into the room where we were

never again, as in the absence of any machine a man

watches the ball propelled down the lane toward him

then bends, pins in hand. I hear his regular breath.

.

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Carol Sansour: Qadaa wa Qadar

The Palestinians today are drowned in a world of predestination. It looks and feels like the fight to defend their issues is not a choice they have made, but rather a call they have followed blindly. Those who have chosen not to follow that call as it is, or heard it differently, consciously or not, are considered out of tune (not to say labeled with the most horrid qualities).

There is no doubt that Palestinians have the absolute right to fight for their dignity and freedom (what is the meaning of life without dignity and freedom?) But to take to the streets without a real awareness of your purpose or a clear strategy of what it would take to achieve it is suicide.

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Robin Moger Translates Saniya Saleh

The Storm Takes the Heart.

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Ian Berry, Hong Kong, 2002. Source: magnumphotos.com

.What does that glum sun search for in its useless

round and why does its purple body come apart

and endless discs come tumbling down from its

flaming core, followed by black birds

black and crossing over like the storm

whose eyes aglow with tears we barely glimpse, they come

out from the graves of the forefathers and make for Jordan.

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