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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,...

I unearthed a little brothel in the spring of forty-three, It was captained by a midwife who was ninety years of age She produced a little bottle saying ghoulishly to me: ‘you must try this new elixir, it is all the fucking rage’   I awoke a fortnight later at a clinic underground Where the patients all were painters, and they’d each consumed a pin And when one was called to surgery his friends would gather round With their brushes at the ready, to paint ‘life beneath the skin’   When the skinner-boys discovered I had swallowed no such pin They concealed some in my dinners, and although I had no proof I was forced to give up eating and I soon became so thin That I fled the washy dungeon through a cat flap in the roof   I emerged in a cathedral with a wedding in full swing, And I sprinted down the middle (like a batsman up the crease) And by chance I reached the altar (with the timeliness of spring) At that moment when the vicar says ‘forever hold his peace’   I surveyed the gloomy couple with a piercing, hungry look; It was clear he was a bastard and that she belonged with me, So I clambered up the pulpit and I opened up the book And declared the marriage ‘filthy’ using Jeremiah, 3   All the bridal guests were cheering but the others were aghast So I grabbed my new fiancée adding slickly ‘stick with me’, And the armies of relations started fighting as we passed, Clashing rashly into combat like the closing of a sea   We were wedded in the crow’s-nest of a galleon in Goole Which we sailed to Vladivostok through a melted Arctic sea In the prow there was theatre, in the stern there was a school And in all the

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

feature

February 2013

Famous Tombs: Love in the 90s

Masha Tupitsyn

feature

February 2013

‘However, somebody killed something: that’s clear, at any rate—’ Through The Looking Glass, Lewis Carroll   I. BEGINNING  ...

poetry

February 2014

Promenade & Dinner: Two Poems

Joe Dunthorne

poetry

February 2014

Promenade I was pursued by an immersive theatre troupe two of whom lay on the textured paving and performed...

feature

May 2014

Art Does Not Know a Beyond: On Karl Ove Knausgaard

Rose McLaren

feature

May 2014

Karl Ove Knausgaard’s My Struggle has an oddly medieval form: a cycle, composed of six auto-biographical books about the...

 

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