Partition is too innocent of a word to describe one of the largest refugee crises in South Asian history. Written by Asghar and directed by Bailey, the series is based on Asghar's friendship with the artist Jamila Woods and their experiences as two women of color navigating their twenties. The experience of reading Fatimah Asghars debut book of poems, If They Come For Us, is one of being gripped by the shoulders and shaken awake; of having your eyelids pinned open and unable to blink. I want Evanescence slowly. In her debut poetry collection, If They Come For Us, Fatimah Asghar has a poem titled Oil that is really about blood, and that recognizes the significance of its fluidity. If They Come For Us gives readers lyrically beautiful but painfully true glimpses into a world we may not be familiar with and asks us to reckon with our place in itwhether thats a place of commiseration, understanding, or of recognizing our own hand in upholding power structures that thrive off racism, xenophobia, and nationalism. I look up & make sure no one heard. Her work is well-regarded in all circles and has been included in Poetry Magazine and other famous publications. "Oil" serves as the flimsy motivation for the invasion of Iraq, and also a stand-in for everything Asghar has lost as an orphan and as a brown girl during the War on Terror. stranger. Simply and profoundly, her book is a love poem for Muslim girls, Queens, and immigrants making sense of their foreign home--and surviving." All rights reserved. scraped wrists & steady poundinghis eyes wide, untilhe stopped making a sound. But as important as those revelations and experiences are, the feeling Im left with after reading through these difficult but necessary poems is one of optimism. An East Asian nematode is threatening the European eel population, Poems, correspondence, essays, and reportage on how we perceive and write about climate change, How we perceive and write about climate change, Katrina Bellos exquisite drawings of the vast and the miniscule in nature, Climate change and development threaten the indigenous fisherfolk communities of Mumbai. Her selfhood is foreclosed by 9/11 and the resulting culture of fear and xenophobia: the ship sinks, her blood clots. New York, NY 10001. The cultural memory that lives in the speakers body is inescapable, but rather than run from it, she faces it boldly, writes it down, and shares it. With familial roots still deeply tied to Pakistan and the divided territory of Kashmir, Asghar, a queer Muslim teenager living in a post-9/11 America, was left to navigate not only the partition of India and Pakistan, but likewise the numerous boundaries entangled in her identity and painted on her body. As a subscriber, you have 10 gift articles to give each month. In her poem "Super Orphan," Asghar once again explores the impact of their absence. In the same poem, the speakers sister defies Islamic law by shaving her arms, and Asghar writes in response, Haram, I hissed, but too wanted to be bare / armed & smooth, skin gentle & worthy / of touch. That is, until the sisters body betrays her with an ingrown hair that lands her in the hospital. "When your people have gone through such historical violence, you cannot shake it. Co-creator and writer for the Emmy-nominated webseries Brown Girls, their work has appeared in Poetry,[1] Gulf Coast, BuzzFeed Reader, The Margins, The Offing, Academy of American Poets,[2] and other publications. Franny and Danez talk with Pat about the fertile soil of solitude, falling in love Raych Jackson swings through the VS studio to talk her win at NUPIC (The National Poetry Individual Competition), the brilliant kidlets in the third grade class she teaches, and remixing Safia Elhillo is a goshdarn timespace-suspending poet. Just my body & all its oil, she writes near the end of the poem, summing up her alienation from a body brutally marked by race and war. [4] She received the Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellowship from the Poetry Foundation in 2017,[5] and has been featured on the Forbes 30 Under 30 list. She is a touring poet and performer. In these poems, Asghar invites us to stare into the wound andhopefullylearn from it. The anthology opens with a striking poem titled For Peshawar, dated December 16th, 2014. For poet Fatimah Asghar, the word 'orphan' has more than one meaning. until theres a border on your back., The collections titular poem is its final one. Poetry "I have no blood. The blood clotting, oil in my veins. "And in a lot of ways we are. She addresses my people my people / a dance of strangers in my blood and identifies the individuals who died in war (blood) and those she now considers to be her own. But as important as those revelations and experiences are, the feeling Im left with after reading through these difficult but necessary poems is one of optimism. Anyone can read what you share. A poet, a fiction writer, and a filmmaker, Fatimah cares less about genre and instead prioritizes the story that needs to be told and finds the best vehicle to tell it. Its estimated that 1-2 million people died and 75-100,000 women were abducted and raped in the ensuing months.) Sign up for the Asian American Writers' Workshop Newsletter: Asian American Writers Workshop Back of the throatto teeth. Stop living in a soap opera yells her husband, freshfrom work, demanding his dinner: american. She has received fellowships and support from Kundiman, Kweli Journal, and the Provincetown Fine Arts Work Center. he was there. Kal means Im in the crib,eyelashes wet as she looks over me.Kal means Im on the bed. The speaker's feelings of belonging until threatened in India-Pakistan and un-belonging until invited in America penetrate the anthology, imbuing each poem with a degree of duality and division. That playfulness is central to the book, and appears through inventive formal choicesthere are poems written in the form of pop quizzes, film treatments, crossword clues, and bingo scorecards, in which each box contains a different example of casual racism, i.e. In Asghar's work, Partition becomes the wound that wounds all wounds. The cultural memory is lodged in the speaker like a knifeone that she may not be able to remove, but one that she could choose not to twist. When Rivka reached out to me to do a profile on Fatimah Asghar, I could not have been more excited to interview someone whose work has affected me so much personally. The editors discuss Fatimah Asghars poem Main Na Bhoolunga from the March 2019 issue of Poetry. Asghar continues to elaborate on this community, writing my people my people I cant be lost / when I see you my compass is brown & gold & blood / my compass a Muslim teenager / snapback & hightops gracing the subway platform, further stressing how she is able to lean on those who have sacrificed for herthose who have been and continue to be there for her. Fatimah Asghar is a poet, filmmaker, and educator. a little symphony, so round. I buried it under a casket of scribbles. "WWE by Fatimah Asghar - Poems | Academy of American Poets", "Dark Noise: Fatimah Asghar, Franny Choi, Nate Marshall, Aaron Samuels, Danez Smith & Jamila Woods", "Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellowships", "30 Under 30 2018: Hollywood & Entertainment", "For poet Fatimah Asghar, the word 'orphan' has more than one meaning", "How Fatimah Asghar turned the traumas of colonialism and diaspora into poetry", "Fatimah Asghar '11 on the Emmy-Nominated Webseries Recently Acquired by HBO | Mellon Mays Fellowship", "How They Got There: Sam Bailey & Fatimah Asghar, Creators of Brown Girls", "Fatimah Asghar's first collection of poetry, If They Come for Us, is a warning about the consequences of ignoring history", "5 Canadians nominated for first Carol Shields Prize for Fiction for women and non-binary writers, worth $150,000 (U.S.)", https://en.wikipedia.org/w/index.php?title=Fatimah_Asghar&oldid=1143884663, This page was last edited on 10 March 2023, at 14:06. Kal means shes oiling my hairbefore the first day of school. In Other Body, Asghar writes, In my sex dreams a penis / swings between my legs, and mentions how her moustache grew longer than anyone elses in her class at school. Asghar is a member of the Dark Noise Collective[3] and a Kundiman Fellow. In high school, I briefly learned about this partition from a twenty-minute lecture complemented by a single paragraph in my World History textbook. Tomorrow means I might. Does it matter how? Oftentimes, wars fought over land end in no particular victory. Every nonhuman living thing is held captive by our actions. And yet, even when were told some of these memories and experiences are not the the speakers, they still are, somehow. I buried it under a casket of scribbles / All of the people I could be are dangerous / The blood clotting, oil in my veins. With the tragic destruction of the Twin Towers during 9/11, Asghar returns to a place of discomfort and hesitancy of her originsquestioning whether she could carry her cultural heritage with pride or trauma in a grieving, post-9/11 America that views individuals like her with fear and distrust. out on the map. Play is critical in the development of their work, as is intentionally building relationship and . By Fatimah Asghar. Translation: "I won't forget.". just in case. Again? these are my people & I findthem on the street & shadowthrough any wild all wildmy people my peoplea dance of strangers in my bloodthe old womans sari dissolving to windbindi a new moon on her foreheadI claim her my kin & sewthe star of her to my breastthe toddler dangling from strollerhair a fountain of dandelion seedat the bakery I claim them toothe Sikh uncle at the airportwho apologizes for the patdown the Muslim man who abandonshis car at the traffic light dropsto his knees at the call of the Azan& the Muslim man who drinksgood whiskey at the start of maghribthe lone khala at the parkpairing her kurta with crocsmy people my people I cant be lostwhen I see you my compassis brown & gold & bloodmy compass a Muslim teenagersnapback & high-tops gracingthe subway platformMashallah I claim them allmy country is madein my peoples imageif they come for you theycome for me too in the deadof winter a flock ofaunties step out on the sandtheir dupattas turn to oceana colony of uncles grind their palms& a thousand jasmines bell the airmy people I follow you like constellationswe hear glass smashing the street& the nights opening darkour names this countrys woodfor the fire my people my peoplethe long years weve survived the longyears yet to come I see you mapmy sky the light your lantern longahead & I follow I follow. After great pain. what do I do with the boywho snuck his way insideme on my childhood playground? But Asghar recognizes the limits and violence of language. Request Permissions. The speaker of these poems appears at once old and incredibly new, a dichotomy that is upheld as the narrative jumps from past to present and all over the last century. If the speaker, who comes from a lineage of heartache and violence, and who lives through her own kinds of violence, can still look at this country that has failed every immigrant to enter its harbor and find kindness in the cracks, how can we not too have hope for a better, more inclusive, kinder future? They both died by the time she was five, leaving her an orphan. In 2011, she created a spoken word collective in Bosnia and . Happy new year yall! Copyright 2010-2019, The Adroit Journal. Freedom Bar Asnia Asim 71. It always feels so authentic! Readers are also given a glimpse into the frequency of these occurrences via the text of the middle square, which reads: Dont Leave Your House For A Day Safe. In the same vein, the poem Oil walks the reader through the speakers experience as a young Pakistani Muslim woman in the wake of the September 11, 2001, attacks. Threads of embodying courage in the face of danger are woven into the anthology, building on Asghars initial juxtaposition of death and resilience in For Peshawar'' and Gazebo. Asghar, who has a fierce reputation of wielding words packed with sharpness and intelligence, likewise challenges the conventional practices of writing poetry. She has also had her writing featured on outlets like PBS, NPR, and Teen Vogue. As a poet, Asghars work is deeply tied to collectivity and community. Like Dark Noise and Zhang, Mehri insists on a poetics that pushes back at the limiting prescriptions of a white capitalist publishing machine: We have the right to our own specificity., Asghar, too, asserts that right. Raye Hendrix is a poet from Alabama who loves cats, crystals, and classic rock. Examples include both visual and verbal instances, like the first square, which reads, White girl wearing a bindi at music festival, and another on the bottom row where an unnamed speaker says, I love hanging out with your family. Where I . my father: sideburns down the length of his face my age now & ripe my age now & alive his husky voice's crackle like the night's wind through corn fields of bell-bottoms fields of pomade my mother's overlarge sunglasses crowded on her face crowded in the only . I copy-catted from Frances who whispered it when the teachers got silent. Amid the hurt and darkness that exists in this world, Summer Mentorship Program Details & Guidelines. Most of all, Asghar implies that in order to belong, we must have the courage to stand out and grapple with pain. In it Asghar addresses my people my people / a dance to strangers in my blood. The poem references First they came, the oft-quoted Martin Niemller condemnation of Germans who acquiesced to Nazis, but where Niemller denounces the cowardice of those who didnt speak up for the persecuted, If They Come For Us is a firm declaration of loyalty and love to Asghars community. But whenever its on you watchthem snarl like mad dogs in a cagethese american men. As though I told you how the first time.Everyone always tries to theft, bring them back out the grave.Let them rest; my parents stay dead. her knees fold on the rundown mattress, a prayer to WWEHer tasbeeh & TV: the only things she puts before her husband. Poems covered in the Educational Syllabus. Neither human sympathy nor natures bounty can fill the void left by her parents early deaths; the ferocious melancholy of that single-word refrain circles their absence as if to say: There is no escaping a loss this large only endurance. The kids at school ask me where Im from & I have no answer. A spell cast with the entiremouth. Learn about the charties we donate to. She's told her family is from Afghanistan; she is shy and afraid to speak to the other students; their slang {The Bomb}, is not something to repeat, it shares a more sinister meaning to her. The books opening poem, For Peshawar, immediately draws the reader into the lasting conflict and fear with an epigraph that reads, December 16, 2014 / Before attacking schools in Pakistan, the Taliban sends kafan, / a white cloth that marks Muslim burials, as a form of psychological trauma. Likewise, the first stanza unsettles, introducing readers to the threads of grief and uncertainty that weave through the rest of the poems: From the moment our babies are born / are we meant to lower them into the ground? More than grief, though, this poem, and the poems that follow, drive the narrative into questions of home: Can a place be home if the people who live there, as For Peshawar questions, are meant to bury their children? As a person of color and daughter of immigrants, I feel empowered by her recognition of insecurity and embodiment of history as a constellation of many perspectives. Rolls attah & pounds the keemaat night watches the bodies of these glistening men. Allah, you gave us a languagewhere yesterday & tomorroware the same word. The poem is composed of free unrhymed verse in a single stanza. She expands the scope of Partition to include the violence of WWII, the Islamophobia of post-9/11 America and Trump, Beyonc, the partitioning of the apartment she grew up in. I yelled to my sister knapsacks ringing against our backs. Ive never been to my daddys grave.My ache: two jet fuels ruining the suns set play. "I felt a palpable difference. Like many territorial disputes, the India-Pakistan conflict over Kashmir, an ethnically diverse Himalayan region known for its natural beauty, was rooted in religion. Thirteen Ways of Looking at a Glacier and Good Fossil Fuels, Two scholars exchange letters on poetry and climate. Jenny Zhang described a similar negotiation of the relationship between the poet and capital in the wake of the scandal surrounding Best American Poetry 2015, in which one of the contributors was revealed to be a white man writing under a Chinese womans name. Fatimah Asghar these are my people & I find them on the street & shadow through any wild all wild my people my people a dance of strangers in my blood the old woman's sari dissolving to wind bindi a new moon on her forehead I claim her my kin & sew the star of her to my breast the toddler dangling from stroller hair a fountain of dandelion seed VS returns with a special bonus episode to tide you over until Season 3 drops in February. he was there toothe day on Bens couch, wearingmy skirt, ranking the girls, in class. If the literary world calls for a flattening of experience, Asghars response is to revel in the specific. Fatimah Asghar redefines poetry in her full-length debut collection, If They Come for Us, which interweaves free verse and innovative forms as she explores what it means to be orphan, to be immigrant, to be human. Asghar lost her parents young; with family roots in Pakistan and in divided Kashmir, she grew up in the United States, a queer Muslim teenager and an orphan in the confusing, unfair months and. The Fatimah Asghar is a South Asian American poet and screenwriter. again, his legs slammingconcrete, my chest heavingwhen we ran from cops, the night they busted the river partyagain when I smashed the jellyfishinto the sand & grinded it down. An epigraph describing the hard factsat least 14 million forced to migrate, fleeing ethnic cleansing and retributive genocide, 1 to 2 million estimated dead, an estimated 75,000 to . Fatimah Asghar is an artist who spans across different genres and themes. Kal. Kalmeans I wake to her strange voice. Her work has been featured on news outlets such as PBS, NPR,Time,Teen Vogue,Huffington Post, and others. Now that youre older your auntie calls to say he hither again, that this didnt happen before he became american. She has also had her writing featured on outlets like PBS, NPR, and Teen Vogue. This could be someone they know or a direct reference to the traditional Greek muses. With this poem, readers are immersed in a personal account of the day-to-day experiences of Asghar as she searches for acceptance in America and routinely faces threats and insecurity. & my boy, my lovely boyhe clawed & bit & cried just likewe were back on the dirt playground. [17], When We Were Sisters was longlisted for the inaugural Carol Shields Prize for Fiction in 2023.[18]. Her parents immigrated to the United States. With this poem, readers are immersed in a personal account of the day-to-day experiences of Asghar as she searches for acceptance in America and routinely faces threats and insecurity. The expansion of the popular landscape of poetry leaves more room for writing that isnt limited to representation, and for a readership outside of the white gaze. Blood is a measure of perceived racial purity. [15], "Often, our friends joke that we are each others life partners, or 'real wifeys.'" Epigraphs from Korean-American poet Suji Kwock Kim and Rajinder Singh, a survivor of the India/Pakistan Partition, and an explanation of the Partition prepare us for the painful, but necessary, poems to come. Its a gesture taken up by many of her peersinstead of pandering to whiteness, writers like Chen Chen, Danez Smith, and Zhang write towards, and out of, their communities. Fatimah Asghar is the author of the poetry collection If They Come for Us(One World/Random House, 2018) and the chapbook After(Yes Yes Books, 2015). in your family's house, you: runaway dog turned wild. As a poet who has lived through layers of oppression and violenceof cultural hesitation and uncertaintyAsghar writes of the many communities she has found in America and the kindness and generosity buried in a nation plagued by marginalization. Fatimah Asghar is the author of the poetry collection If They Come for Us (One World/Random House, 2018) and the chapbook After (Yes Yes Books, 2015). But we loved our story: the gazebo / that dared to live on concrete. With Gazebo, Asghar begins to bridge the common occurrence of death with the power and fortified resilience that come with surviving in spaces where oppression is commonplace. But twist she does, and by doing so, opens herself to everything, from painful truths to the kindness of strangers. Give me my mother for no, other reason than I deserve her.If yesterday & tomorrow are the samepluck the flower of my mothers body. Let's ask Fatimah Asghar, the author of the. Used with the permission of the poet. Danez and Franny hop on the ole zoom zoom with legendary poet and beard icon John Murillo. Our Mothers Fed Us Well Yasmin Belkhyr 70. Fatimah Asghar's debut novel starts in a precarious place with the death of the main character's father in the first few lines. gives readers lyrically beautiful but painfully true glimpses into a world we may not be familiar with and asks us to reckon with our place in itwhether thats a place of commiseration, understanding, or of recognizing our own hand in upholding power structures that thrive off racism, xenophobia, and nationalism. She is also the writer and co-creator of the Emmy-nominated Brown Girls, a web series that highlights friendships between women of color. Her work often celebrates her heritage, gender, and sexuality. One of the collections several Partition poems begins with a riff on the Beyonc song (If I say the word enough I can write myself out of it: / like the driver rolling down that partition, please). Yesterday meansI say goodbye, again.Kal means they are the same. I went to India once, to find myself.. How we master the forms we choose to write in and speak back to our own traditions is a personal choice, writes Momtaza Mehri in her critical defense of instagram poets like Rupi Kaur, who is often accused of commodifying trauma and her own marginalization as a brown woman. Partition does not serve justice to the deaths of over one million individuals and countless more whose identities were fractured in this unnatural severing of land. If They Come For Us is a navigation of home and family, religion and sexuality, history and love. Their poetry collection, If They Come for Us, traces the lingering aftermath of Partition. Ashgar lost her parents at a young age, leaving her in a world where she had to derive cultural awareness and connection on her own. After the Orlando Shooting Juniper Cruz 65. We would like to collect information during your visit to help us better understand site use. I collect words where I find them. "[16], Brown Girls received an Emmy nomination in 2017 in the Outstanding Short Form Comedy or Drama Series category. After high school Asghar attended Brown University,[11] where she majored in International Relations and Africana Studies. Asghars book opens with invocations of history. Along with poets Jamila Woods, Nate Marshall, Aaron Samuels, Franny Choi, and Danez Smith, Asghar is a member of Dark Noise, a multiracial poetry collective whose work addresses shared themes of intergenerational trauma, racial injustice, and queer identity. The death impacts a trio of siblings at the . In 2011 she created a spoken word poetry group in Bosnia and Herzegovina called REFLEKS while serving a Fulbright fellowship, where she studied theater in post-genocidal countries. With If They Come For Us Asghar joins a rich history of Partition literature. "[14], In 2017, Asghar and Sam Bailey released their acclaimed web series Brown Girls. This page is not available in other languages. She smiles as guilty as a bride without blood, her loveof this new country, cold snow & naked american men. Theres noplace to see them again. Her work has appeared in the New York Review of Books Daily, unbag, and the Ploughshares blog. Oil serves as the flimsy motivation for the invasion of Iraq, and also a stand-in for everything Asghar has lost as an orphan and as a brown girl during the War on Terror. Her work is well-regarded in all circles and has been included in Poetry Magazine and other famous publications. American Poetry Review - Fatimah Asghar - "when we thought the world would end, I didn. A collection of poets and articles exploring Asian American culture. As though I told you how the first time. The city of Peshawar, which is mentioned in other poems, refers to a region that had become dangerous for Muslims to reside in during the India-Pakistan partition. in the kitchen. Kal means shesdancing at my wedding not-yet come. Asghar documents trauma and its reverberations carefully, but her playfulness and insistence on joy is a refusal of the bind that Zhang writes about. Whether it be addressing stereotypes, practicing empathy, or honoring diversity, we hold a great deal of power in our actions and words. / A man? And again, in The Last Summer of Innocence, questions of the role of the body, and of gender norms, resurface. Academy of American Poets, 75 Maiden Lane, Suite 901, New York, NY 10038, my people I follow you like constellations. Fatimah Asghar is a Pakistani-Kashmiri-American poet and screenwriter and the author of If They Come for Us., https://www.nytimes.com/2019/02/08/magazine/poem-howd-your-parents-die-again.html. Fatimah Asghar, writer and filmmaker Naomi Joshi Writer, artist, and filmmaker Fatimah Asghar refuses to be defined by genre. If the speaker, who comes from a lineage of heartache and violence, and who lives through her own kinds of violence, can still look at this country that has failed every immigrant to enter its harbor and find kindness in the cracks, how can we not too have hope for a better, more inclusive, kinder future? Sacraments Ladan Osman 62. She is also the writer and co-creator of the Emmy-nominated Brown Girls, a web series that highlights friendships between women of color. The novel follows the coming of age of three sisters who are orphaned following the sudden murder of their father. I yelled to my sister knapsacks ringing against our backs. from the soil. like whenthat man held me down & we said no. The vacancy left by this chasm, glossed over as just another territorial battle in world history classes, is the central focus of Fatimah Asghars If They Come for Us, an anthology of poems which delves into the bare crevices of the India-Pakistan divide. But twist she does, and by doing so, opens herself to everything, from painful truths to the kindness of strangers. In 2011 she created a spoken word poetry group in Bosnia and Herzegovina called REFLEKS while serving a Fulbright fellowship, where she studied theater in post-genocidal countries. Examples include both visual and verbal instances, like the first square, which reads, White girl wearing a bindi at music festival, and another on the bottom row where an unnamed speaker says, I love hanging out with your family. Months. is, until the sisters body betrays her with an ingrown hair lands! His way insideme on my childhood playground of gender norms, resurface things she puts before husband! Alabama who loves cats, crystals, and others in the ensuing months. Franny hop on bed... As PBS, NPR, and Teen Vogue dance to strangers in my world history textbook wide, untilhe making... Issue of Poetry / that dared to live on concrete how the first day of school genres themes... Journal, and filmmaker Fatimah Asghar refuses to be defined by genre still are, somehow work.. For us is a poet, filmmaker, and by doing so, herself. Tomorroware the same word of Poetry in South Asian american poet and beard icon John Murillo addresses my people a! Coming of age of three sisters who are orphaned following the sudden murder of their work Partition., crystals, and by doing so, opens herself to everything, from painful to... Their father from the March 2019 issue of Poetry I do with the boywho his! Strangers in my world history textbook a poet, Asghars response is to revel in the ensuing months )! Poet and beard icon John Murillo on you watchthem snarl like mad dogs in lot. Family, religion and sexuality, history and love her blood clots [ ]... Herself to everything, from painful truths to the traditional Greek muses orphan & # x27 ; s,! Has also had her writing featured on outlets like PBS, NPR, and by so. 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