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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,...

Talk about the fates of young professional women today and you will often alight on two themes: the anxieties that come with living in the ‘digital age’, or the inescapability of ‘late capitalism’ and all its surreal portents It is not incidental that these women are largely estranged from the seats of power behind these worlds, as formative as these industries may be to their psychologies Silicon Valley and Wall Street and their international counterparts are both distinct but not dissimilar wellsprings of the worst forms of male delirium, and only appear to make room for women if they are preternaturally beautiful arm candy (Margot Robbie, imperious and magnificent, stamping a stiletto onto Leonardo DiCaprio’s forehand in The Wolf of Wall Street), girl-genius rebrands of iconic men (Elizabeth Holmes, forever in that Steve Jobs-inspired black turtleneck) or savvy can-do businesswomen who can play with the most vicious of them (Sheryl Sandberg, leaning into a void)   Market-friendly femininity is created in boardrooms filled by people who do not care for its subjects at all To live so far from the seat of power but feel it so intimately gives rise to a fragmented, ever-refracting selfhood that hates her particular slice of the world yet cannot help but feast on its scraps I spend too much money on Glossier products, despite knowing that the cool-girl beauty brand is snake oil for wannabe socialites I can’t stop following the Riverdale actresses on Instagram I do not know how to manage a savings account, and continually fail to girlboss my way to financial freedom despite Sheryl Sandberg’s best efforts I am impotent, trivial, shallow, and stupid – and at the same time entirely convinced of my own importance   You may call this self-delusion, or in the words of New Yorker staff writer Jia Tolentino, the inevitable result of growing up in a time when femininity operates as a ‘trick mirror that carries the illusion of flawlessness as well as the self-flagellating option of constantly finding fault’ Tolentino had written those words in 2015 as deputy editor at self-proclaimed ‘supposedly feminist website’ Jezebel while reflecting on

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

Art

March 2011

Gabriel Orozco: Cosmic Matter and Other Leftovers

Rye Dag Holmboe

Art

March 2011

‘To live,’ writes Walter Benjamin, ‘means to leave traces’. As one might expect, Benjamin’s observation is not without a...

feature

Issue No. 15

A Weekend With My Own Death

Gabriela Wiener

TR. Lucy Greaves

feature

Issue No. 15

We all have tombs from which we travel. To reach mine I have to get a lift with some...

Art

Issue No. 14

Lenin was a Mushroom

Thomas Dylan Eaton

Art

Issue No. 14

Cast as the ‘savage, ugly’ part in the Popular Mechanics live show, Necrorealists were radical artists in their own...

 

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