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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,...

ESCAPE AT RED ROCKS   I am the colour of the outside, a stillness moving like a winter tide, a new shoreline in formation, a marshland waterlogged – soggy ground needs time to dry it out –   but time as sea wind not calendar, the time found inside spaces stretching out and over like skin on a drum is a resonance, a wave that submerges the entire rock, not chiseling or scratching at one area only, not just a mind to impress upon   but a flattened and silken self all bound into the support of the water, head rising up then down to find my breath     DIVINATION AT HIGH WATER   Small birds dip on the tide, one instant silver, next dark as shadow and, seep-into-it, disappear again in the glint of sun on the wave; and turning under into the crust of water, taking on edges and then reversing, then – flicker –   there is no need to carry a narrative high on my shoulders as the light makes me another story, touching distance huge as the earth’s arc,   no collapse of form or dissolution, but an alteration, a submission to the sky and then, for a moment, enlarged as wide as a firmament, my body, a long afternoon of rain, becomes thunder     PORTENT IN THE HIGH WOODS   The men sit before the hearth, spit words into flames Some thing is coming over the mountains, along forest tracks and past the stream   They know this as he saw it in a dream, heard horses’ hooves stick in sandy mud, saw in his sleep a shadow in the high wood, long-lined like a tree but swerving down the path like a torrent   He says this out loud Men lean inwards, look east across lead-lined windows, terraced gardens, sodden topiary to feathery fog, the flood   And in woods, at a fire-pit in the grove, twigs are laid on the centre-stone, a mist swirls then scatters as oaks creak and crack, cloudy droplets skulk like rainclouds over the earth   At their hearth, the men cackle, scramble for spears and swords Across mountains, in the estuary, the thick tide is far and out Lithe winds ride in over the valley One man licks his lips to taste the salt   *   In the grove, weary bodies rest on the sound of the mist, which crunches  now like the rock that

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

July 2013

Occupy Gezi: From the Fringes to the Centre, and Back Again

Alexander Christie-Miller

feature

July 2013

Taksim Square appears at first a wide, featureless and unlovely place. It is a ganglion of roads and bus...

feature

February 2014

Only Responsible to Their Art: Heilan and the Chinese Avant-Garde

Chen Wei

TR. Tu Qiang

feature

February 2014

Heilan was established for a simple reason: over the past twenty years, there has not emerged a single medium...

feature

Issue No. 10

Seventeen Contradictions and the End of Capitalism

David Harvey

feature

Issue No. 10

Prospects for a Happy but Contested Future: The Promise of Revolutionary Humanism   From time immemorial there have been...

 

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