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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 cough while the technician tinkers with the projector, although the two are not related, and I wonder why my throat is sore but I quickly decide that it was the airplane, those things are a wonderland for bacteria, and at least the snafu with the projector gives me time to take a sip from the glass of water in front of me, a glass that I’ve already topped up with a little whisky, which is a crime against single malt, I know, believe me I know, but it’s become a ritual now, every time I give one of these keynotes I find myself reaching for the hip flask, and it doesn’t hurt anybody in the end, and I don’t think anybody would blame me for needing to steady my nerves (even though my nerves never need steadying, I’ve often felt that they’re not so much made of organic material as they are built from some sort of steel or copper, pinging under my skin like telephone cable) given the size of the audience and the importance of this speech, which is not to say that I’m bragging about it, because somebody has to be on the podium and it might as well be me, and the years I put in at the coal face mean that I have a certain amount of experience to share, and my natural gravitas (again, I’m really not bragging, this is just a statement of fact based on my appearance – a full head of silver hair, a certain sharpness around the eyes – and voice – which isn’t as deep as you might expect, but there’s gravel on the riverbed) means that people tend to listen to that experience; you can see them now if you look around the hall, backs still straight in their seats and eyes still clear from coffee, hungry for somebody to explain to them why they bothered to register for this conference, hungry for somebody to bring some life to what would otherwise be a dry and dirty topic (I won’t bore you with the details,

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

November 2011

Nude in your hot tub...

Lars Iyer

feature

November 2011

I. Down from the Mountain   Once upon a time, writers were like gods, and lived in the mountains....

Art

Issue No. 10

Patterns

Christian Newby

Art

Issue No. 10

Interview

Issue No. 12

Interview with Douglas Coupland

Tom Overton

Interview

Issue No. 12

Douglas Coupland likes crowdsourcing. I should know, because he crowdsourced me shortly after the first part of this interview....

 

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