Between two wars you came.
You mediated
And lit the fire of a new love.

And we began to spread ourselves between two suns
One for me
And the other for your eyes when the roads vanished
And we only fell out over the A
When it wanted to insert itself
Between the W and R.

We told each other I love you.
The wars are made beautiful with songs.
The songs wipe the blood from the wars’ lips.

We’re never far from its grip.
We can exchange with it our stay
And I was as I always was
Loving your letters and always want them.

You, my soul mate,
You, the voice of my voice,
You, the dotting and un-dotting of my letters
the teacher says:
she would remove my sorrows
and heal my tender soul?
I said:
I will make flowers of you;
And I had forgotten the greenness of an evening,
after the drought of my femininity.
Return to me then
So that we can hate this imposter
This idiot
The image is like a blonde
Forgotten by the aged.
Forgetting that our sky
Is black despite his existence,
And red despite his clinging to the tails of a dubious morning’s veil
Come back
So we can hate him
This traitor
Over the uniformed streets he looms like a policeman watching.
My finger tips and your fingertips
Come back again,
So I can show you my essence
I your notebook
Come back to me then,
So I can tell the apples in the basket
Like they told me about you.
translated by Dikra Ridha

I gathered the pores of my being
And came to perfume them with your own fragrance
Only to discover that you are an oleander -- a rosebay
While in the memory of unease and apprehension
I trace some features that resemble no one but you
An image has its own dimensions
And, when hopelessness assails me, I have roads
That never cease to pull and lead me toward you
And while in the nook of anxiety
I fancy a preordained timing
For events that never materialize
The image draws near
And I talk to it
About the tons of heavy separation
That oppress the seasons of my life
I have recited you as rain
Yet your lightning never came near me
Alienation gathered thick
Translated by Mahmoud Abbas Masoud

A Babylonian once told me:
When my name bores me,
I throw it in the river
And return renewed!
* * * * *
Basra existed
Even before al-Sayyab* viewed its streets
Bathed in poetry
As verdant as
A poet’s heart when her
Prince pauses trustfully to sing
While sublime maidens dance--
Brown like mud in the orchards
Soft like mud in the orchards
Scented with henna like mud in the orchards—
And a poem punctuates each of their pirouettes as
They walk straight to the river.
I’ve discovered no place in the city broader than Five Mile.
He declared:
I used to visit there night and day,
When sun and moon were locked in intimate embrace.
Then they quarreled.
The Gulf’s water was sweet,
Each ship would unload its cargo,
And crew members enjoyed a bite of an apple
And some honey.
The women were radiant;
So men’s necks swiveled each time ladies’ shadows
Moved beneath the palms’ fronds.
These women needed no adornment;
Translated by William Hutchins
……………………………………………………………..
Basra, also written Basrah  is the capital of Basra Governorate, located on the Shatt al-Arab river in southern Iraq between Kuwait and Iran. It had an estimated population of 1.5 million of 2012.
Basra is also Iraq's main port, although it does not have deep water access, which is handled at the port of Umm Qasr.
The city is part of the historic location of Sumer, the home of Sinbad the Sailor, and a proposed location of the Garden of Eden. It played an important role in early Islamic history and was built in 636 AD or 14 AH. It is Iraq's second largest and most populous city after Baghdad.
Basra is consistently one of the hottest cities on the planet, with summer temperatures regularly exceeding 50 °C (122 °F)
Badr Shakir al Sayyab (December 24, 1926 – 1964) was an Iraqi and Arab poet. Born in Jekor, a town south of Basra in Iraq, he was the eldest child of a date grower and shepherd.
He graduated from the Higher teachers training college of Baghdad in 1948
Badr Shakir was dismissed from his teaching post for being a member of the Iraqi Communist Party.
Badr Shakir al-Sayyab was one of the greatest poets in Arabic literature, whose experiments helped to change the course of modern Arabic
poetry. At the end of the 1940s he launched, with Nazik al-Mala'ika,and shortly followed by ʿAbd al-Wahhāb al-Bayātī and Shathel Taqa, the free verse movement and gave it credibility with the many fine poems he published in the fifties.
These included the famous "Rain Song," which was instrumental in drawing attention to the use of myth in poetry. He revolutionized all the elements of the poem and wrote highly involved political and social poetry, along with many personal poems.

My innocence nudges me
As she points to the creases of my bedding on the ground.

While the bed itself, with the imbecility of its sheets,
Lies rejected in the corner of the room.

My parents’ smiles widen with the stupidity of the covers.

They alone, and the bed
proved to me my innocence and the idiocy of a tidy bed.

Even if I inherited the furniture, children
And the creases under the eyes,

Every time my bed rubs in the carpet’s weave,
I am still baffled by the wideness of their smiles,

As I lie between my children
On a stupid, tidy bed.

By Faleeha Hassan
Translated by Dikra Ridha

© Copyright 2016, by Faleeha Hassan. All rights reserved under the Copyright laws of the United States of America and international copyright agreements.  No portion of this book maybe reproduced in any form, electronic or otherwise, without written permission from the author.    Email:  d.fh88@yahoo.com

I would have sneaked
In from the pores of a net.

I would have wrapped you in a prose
Poem that lacks precision and laid you to sleep
Under the covers of my bed.
Quietly.

So if love was to engulf me
And a longing rises from my soul
I would stretch the fingers of my hand towards
you  and dabble with the words of the poem,
Letter by letter.

If I was truly a poet
I would have limped to the Lord by now
And sat by the foot of his throne
And held on to it
With both hands
And whispered: ‘you are the Greatest,
most Beautiful, most Wonderful and Capable,
Will you create a lover for me?’

I mean only for me.

But I know
That my prayer will not be answered
Not because it is impossible.
More than that really,
Since I have never known
A man
Who has never betrayed his lover.
*******
Translated by Dikra Ridha



© Copyright 2016, by Faleeha Hassan. All rights reserved under the Copyright laws of the United States of America and international copyright agreements.  No portion of this book maybe reproduced in any form, electronic or otherwise, without written permission from the author.    Email:  d.fh88@yahoo.com

Shortly before my father died, he whispered to me longingly: “Daughter, treasure this, because it authenticates your heritage to our kinsfolk!”  When I accepted this object, I discovered it was a stone with inscriptions I did not understand and delicate, mysterious lines.  He continued, “It is a keepsake from our great-great grandfather and can ultimately be traced back to Bilal, the Holy Prophet’s first muezzin, and his father, who was the king of Ethiopia.”  I accepted this small heirloom, which I carried everywhere with me in my handbag.  The person who shared my life under the title of “husband,” however, threw it down the drain at our house, thinking—as he told me—that it was a fetish.  From then till now I have endured successive exiles.  So I wrote this poem to explain the secret of my skin color—given that I am a native of al-Najaf, Iraq—spiritually, mournfully, and poetically!

My father said: “You were born quite unexpectedly,
Remote from Aksum, like a beauty spot for al-Najaf—‘the ******’s Cheek.’
Your one obsession has been writing, but
The sea will run dry before you arrive at the meaning of meaning.”
He affirmed: “During a pressing famine,
I devoted myself to watching over every breath you took.  
I would ****** my hand through the film of hope
To caress your spirit with bread.
You would burp, and
I would delightedly endure my hunger and fall asleep.
I could only find the strength to fib to your face and say I was happy.
I would feel devastated when you fidgeted,
Because you would always head toward me,
And I felt helpless.”
Aksum!  They say you’re far away!
“No, it’s closer to you than your exile.”
“And now?”
“Don’t talk about ‘now’ while we’re living it.”
“The future depresses me.  How can I proceed?”
How can the ear be deaf to the wailing from the streets?
Aksum, you have colored my skin.  Al-Najaf has freshened my spirit.
She knows and does the opposite.
She knows that I inter only dirt above me, and
That I deny everything except spelling out words:
M: Mother, who went walking down the alley of no return.
F: Father, who hastened after her.
B: Brother, who never earned that title.
S: Sister who buttoned her breast to a loving tear, no matter how fake.
………………….There’s no one I care about!
The trees tremble some times, and we don’t ask why.
My life surrounds me the way prison walls surround suspects;
I am the victim of a building erected by a frightened man.
With its talons time scratches its tales on me,
And I transform them into a silent song
Or, occasionally, a psalm of sobs.
Father, do you believe that--the roots have been torn asunder?
Fantasies began to carry me from al-Najaf to Afyon
And from Afyon to nonexistence,
Yellow teeth stretching all the way.
“History’s not anything you’ve made,”
One American neighbor tells another.
He’s surprised to see me.
“Who are you?” he asks when he doesn’t believe his eyes.
Would he understand the truth of my origin if I told him I was born in al-Najaf
Or that Aksum has veiled my face?
I have walked and walked and walked.
I’m exhausted, Father.
Is your child mine?
Show yourself and return me to the purity of your *****.
Allow me to occupy the seventh vertebra of fantasy!
Don’t eject me into a time I don’t fit.
I need you.
I ask you:
Has my Lord forbidden me to be happy?
Am I forbidden to preserve
What I have left
And sit some warm evening
Averting my ear from a voice that doesn’t interest me?
Answer me, Father!
Or change the face of our garden
So it changes . . . .to what they believe!
Translated by William Hutchins

During moments I yearned for forests grown for me alone,
Caressing them in a dream,
I could sense the throbbing of the heart
Hidden beneath my ribs to bless my journey.
Summoning me with a pulse that he recognizes in me.
I heard the noise of abandoned smoke from a moment of care
Join with me,
Forcefully traversing desires to the hidden-most one.
My spirit swung toward him,
Creating a tingling
On lips that devour breaths alive.
I felt ashamed,
But the eye,
In moments—I scarcely know what to call them—that took me on another route
Toward the television, saw warplanes . . . spray death on them.
At that moment,
The fire of machine guns raked all the bodies,
And another fire raked my body when I trained my eye on him
Hesitantly inclining his head
Toward a shoulder unaccustomed to the secret of the stars of war
Or to insomnia.
Oh . . . . I leaned on it!
And when he caressed a dumbfounded person
I felt his fingers like coiling embers inside me.
Bashfulness seized the excuse this caress gave . . . and vanished,
Eliminating distance till the two of us were one.
And the eye—he moaned: May love not forgive her the eye—repeated another evasion
Toward a drizzle of men flung about in the air by just the rustling of a pilot penetrating a building
To fall on screens as the debris of breaking news.
But his breaths . . . shattering the still down of the cheek,
And turning their picture into mist as
Eddies of the screen’s corpses . . . varieties of death that they brought them.
The spirit that became a body,
The body that was sold for the sake of a touch,
The eye that was concealed in his image
And that approached the firebrand of conflagrations.
Everyone drawing close to everyone,
Everyone,
Everyone,
Everyone.
But the thunder of their machine guns splintered them:
Corpses piled on corpses,
I mean on me,
The eyes of those in it were extinguished.
They slept in a trench of silence.
My eyes’ lids parted in a wakefulness obsessed with them.
I rose … and embraced the chill
That the screens brought me in commemoration of Stalingrad.
………………………………
Translated by William Hutchins