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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’d like to introduce you to a book, an impressive book that no one read when it first came out in Romania in 1936 or later when it was reissued in 1970: Adventures in Immediate Irreality by M Blecher And when the first German edition appeared, which wasn’t until 1990 in a translation by Ernest Wichner, no one read that either, even though few books published in Germany since 1990 could compare with Blecher’s novel for sheer literary intensity But perhaps that’s why the book never attracted a wider audience?   In order to convince you, I’d like to let the book speak for itself   ‘The crowds, making the rounds, would pass from zone to zone, bright lights to darkness, like the moon in my geography book’ is how Blecher describes people visiting a fair And no other sentence better describes his own text The external plot isn’t easy to describe – it’s really the ongoing reflection of an interior narrative, a manic inner monologue written in the first person, in which the narrator’s striving for self-assurance becomes a confession This narrator is a nameless adolescent roaming through the summer heat of a small town He has no goal whatsoever, he is searching, as Blecher says, for the correspondence between himself and the waxwork panopticon of places, people, and objects set in the world The search produces emotional upheavals that he calls crises, which all come from the ‘terrible question of who I actually am’ – a question whose answer ‘requires a lucidity more basic and profound than that of the brain’ In the words of Blecher’s narrator: ‘And I have returned implacably to the surface of things … Never, under no other circumstances, have I felt so clearly as in moments like these when every object must occupy the place it occupies and I must be the person I am’   Places, persons, objects – and this vagabond narrator that speaks of himself so perplexingly and so intriguingly that it goes far beyond being ‘a complete stranger’ to himself Because what this person says about himself goes beyond what even a person might

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

Prize Entry

April 2017

Remain

Ed Lately

Prize Entry

April 2017

The apology had been the most charged and contested gesture between us, the common element in arguments whose subjects...

poetry

March 2017

Two Poems

Uljana Wolf

TR. Sophie Seita

poetry

March 2017

Mittens   winter came, stretched its frames, wove misty threads into the damp   wood. fogged windows, we didn’t...

feature

September 2016

The Rights Of Nerves

Masha Tupitsyn

feature

September 2016

‘I transform “Work” in its analytic meaning (the Work of Mourning, the Dream-Work) into the real “Work” — of...

 

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