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Kaleem Hawa

Kaleem Hawa has written about art, film, and literature for the New York Review of Books, The Nation, and Artforum, among others.



Articles Available Online


Hating it Lush: On Tel Aviv

Essay

May 2023

Kaleem Hawa

Essay

May 2023

I   They made the desert bloom, tall sparkling towers and clean Bauhaus lines, and apple-ring acacias, and teal blue shuttle buses, and stock...

Poetry

Issue No. 28

Three poems from issue 28

Sarah Barnsley

Valzhyna Mort

Kaleem Hawa

Poetry

Issue No. 28

Valzhyna Mort, ‘Music for Girl’s Voice and Bison’   Sarah Barnsley, ‘Virginia Woolf Has Fallen Over’   Kaleem Hawa,...

 1 PhD   Blue bedroom, Grandma’s house, Aigburth, Liverpool   I gave birth to one hundred thousand words Tessellated, affectless, still   I was in a pair of stirrups, draped in black Behind me were cascades of water and municipal marble, people sitting inanimately I printed me out on acetate for the overhead projector   Vagabond pronunciation, vigilant renunciation, off with her head   Brashness and redness and badness and rudeness and leaving and wasting and waste   Fat lowly bearable extrapolation, fine gradations of change   Grandma came in and turned the big light on, offered photographs Women in terracotta silk, cars parked outside garage doors, Mum shoving an apple in Jeremy’s mouth She put a cup of Douwe Egbert’s on the side Was I sad because I wanted a boyfriend? I turned away, rinsed in salt     Hornsey, London   Matthew was in the kitchen, glancing with accusation at a Bolognese tidemark in the sink His grey jogging bottoms were tucked under his heels, nestling in his arches He switched off the little lights underneath the kitchen cupboards and turned it into the sort of conversation that is a prelude to an unlit room I don’t like those sorts of conversation He wished me luck   On the train a little boy was talking at his dad, who was thumbing his screen with maniacal grace They started a game of what five things the little boy would put in his supermarket basket Cucumber, ice cream, tomato, all the puddings, and trifle   Lunch with Paul He kneaded his sandwich with his fingers It was doughy and airless at the perimeters and the butter and salmon fattened into triangular pouches, a sophisticated solution to refrigerated bread His teeth were translucent   We spoke for ninety minutes, the foetus on my lap He gave me a gift, his book I asked him if he wanted to sign it My cheeks were hot Let me look at it No I need to see it No Can’t you blog it?     Rose’s, Bristol   We went to a café in the rain Children ate sausages from Falcon enamel The goats at the petting zoo had their horns zapped off If Rose were an animal she would be a fox Not

Contributor

November 2019

Kaleem Hawa

Contributor

November 2019

Kaleem Hawa has written about art, film, and literature for the New York Review of Books, The Nation, and...

after Mahmoud Darwish    Why is a boy an exclamation,  and why are his dead a period?,  why do his sinews tighten when he sees  a Palestinian body? Does his vision narrow  because of their flight,  or because their world is raining with salt?  Why is a boy with a gun different  from a boy with a jail cell?,  if the tools of rupture are our arms for  repurposing the body, and the arms of  the state are our means of repurposing the male,  are we finally useful and breathing and nervous…?  Does the white mean Night’s arrival?,  or does night signal the white’s escape?,  and when that white city boy becomes  a White City man,  does the hate in his heart subside?,  or does it become an ellipses,  a Bauhaus history of stories started  and left unfinished 
You Arrive at A White Checkpoint and Emerge Unscathed

Prize Entry

November 2019

Kaleem Hawa


READ NEXT

fiction

June 2012

Spinning Days of Night

Susana Medina

fiction

June 2012

Day 1 in the Season before Chaos   These were the days before the glitch. The weather was acutely...

Interview

June 2012

Interview with Malcolm McNeill

Patrick Langley

Interview

June 2012

I first met Malcolm McNeill in 2007. He was in London to do some printing for an exhibition, and he showed...

poetry

September 2011

The Cinematographer, a 42-year-old man named Miyagawa, aimed his camera directly at the sun, which at first probably seemed like a bad idea

Michael Earl Craig

poetry

September 2011

Last night Kurosawa’s woodcutter strode through the forest, his axe on his shoulder. Intense sunlight stabbed and sparkled and...

 

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