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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,...

Que nos caravanes s’avancent Vers ce lieu marqué par le sang Une plaie au coeur de la France Y rappelle à l’indifférence Le massacre des innocents From ‘Chanson de la Caravane d’Oradour’, by Louis Aragon (12 June 1949)   I The atrocity of war committed by German forces at the French town of Oradour on the afternoon of 10 June 1944 is well documented It is not my aim here to echo such accounts by presenting a detailed investigation of the traumatic events, or to seek a way through the veritable labyrinth of national tragedy rhetoric that threatened to over-symbolise Oradour as a victim of war’s brutality, or to indulge in the prolonged mental exhaustion of attempting to ascertain the existential implications of its bitterly lingering aftermath My aim is rather to simply present my thoughts and observations on an indecently sunny afternoon when I visited the memorial ruins of Oradour some sixty-five years later But in doing so I shall be obliged to recount to some extent the terrible reality of that day   After the war President Charles de Gaulle paid a visit to Oradour and declared the ruins a permanent national monument to the suffering of civilians in war He declared that the site would be sealed off never to be rebuilt and thus remain a reminder to the excesses of totalitarian bestiality Oradour was to be frozen in time, preserved in the exact state that it was found after the perpetrators had left Nothing was to be touched or removed and the entire site, virtually unique in the western sphere of the war’s destruction, would be preserved as a nightmarish exhibit for future visitors to pass through and ponder the capacity of mankind to impose murderous destruction on complete strangers with impunity   Entering Oradour and obeying bold signs to the memorial ruins, I was surprised to find myself in a vast car park, a limitless expanse of tarmac, more suited one would think to a sports complex or shopping mall There on the sleek

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


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poetry

December 2012

Off-Season

Miles Klee

poetry

December 2012

As a boy I went on a strange vacation with a friend. His parents took us, I can’t remember why,...

fiction

May 2017

Gloria

Aaron Peck

fiction

May 2017

Bernard, whenever he thought of Geoffrey, would remember his gait on the afternoon of their first meeting. Geoffrey walked...

Interview

Issue No. 2

Interview with William Boyd

Jacques Testard

Tristan Summerscale

Interview

Issue No. 2

On a wet, grey morning in March, William Boyd invited us into a large terraced house, half-way between the...

 

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