fatimah asghar oilfatimah asghar oil

It always feels so authentic! Readers are also given a glimpse into the frequency of these occurrences via the text of the middle square, which reads: Dont Leave Your House For A Day Safe. In the same vein, the poem Oil walks the reader through the speakers experience as a young Pakistani Muslim woman in the wake of the September 11, 2001, attacks. The forced migration of over 14 million peopleof Muslims to Pakistan and Hindus to Indiatore both families and land apart. in the kitchen. Happy new year yall! Fatimah Asghar is a South Asian American poet and screenwriter. stranger. again, his legs slammingconcrete, my chest heavingwhen we ran from cops, the night they busted the river partyagain when I smashed the jellyfishinto the sand & grinded it down. Freedom Bar Asnia Asim 71. Allah, you gave us a languagewhere yesterday & tomorroware the same word. That playfulness is central to the book, and appears through inventive formal choicesthere are poems written in the form of pop quizzes, film treatments, crossword clues, and bingo scorecards, in which each box contains a different example of casual racism, i.e. Asghars book opens with invocations of history. Fatimah Asghar is an artist who spans across different genres and themes. For Dark Noise, the work of the poet is inseparable from politics, and If They Come For Us is a collection that reflects those shared aesthetic and political commitments. Violence. Moments like this appear frequently throughout the anthology, wherein Asghar notes how the atrocities of her familys past trickle into her present identity. "WWE by Fatimah Asghar - Poems | Academy of American Poets", "Dark Noise: Fatimah Asghar, Franny Choi, Nate Marshall, Aaron Samuels, Danez Smith & Jamila Woods", "Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellowships", "30 Under 30 2018: Hollywood & Entertainment", "For poet Fatimah Asghar, the word 'orphan' has more than one meaning", "How Fatimah Asghar turned the traumas of colonialism and diaspora into poetry", "Fatimah Asghar '11 on the Emmy-Nominated Webseries Recently Acquired by HBO | Mellon Mays Fellowship", "How They Got There: Sam Bailey & Fatimah Asghar, Creators of Brown Girls", "Fatimah Asghar's first collection of poetry, If They Come for Us, is a warning about the consequences of ignoring history", "5 Canadians nominated for first Carol Shields Prize for Fiction for women and non-binary writers, worth $150,000 (U.S.)", https://en.wikipedia.org/w/index.php?title=Fatimah_Asghar&oldid=1143884663, This page was last edited on 10 March 2023, at 14:06. This battle with death, which Asghar and her family face in both Peshawar and America, is then slowly reconciled in a later poem entitled Gazebo, a piece which details the building of a safe space, in which Asghar writes, We had too many funerals to waste / flowers. | Only the air was heavy and moist, like the breath of an enormous, mysterious beast. just in case. The experience of reading Fatimah Asghar's debut book of poems, If They Come For Us, is one of being gripped by the shoulders and shaken awake; of having your eyelids pinned open and unable to blink. The poet and winner of the Restless Books New Immigrant Writing Prize on supporting DRUM and the work of Guyanese poet Martin Carter, copyright 2023 Asian American Writers' Workshop, she cites Douglas Kearney and Terrance Hayes as influences, their Call for Necessary Craft and Practice,. Asghar in a Pakistani, Kashmiri, Muslim-American author, creator, poet, screenwriter and educator who grew up in Cambridge, Massachusetts. Poet, screenwriter, educator, and performer Fatimah Asghar is a South-Asian American Muslim writer. In Schizophrene, Kapil tackles the problem of representation by writing towards lacunae. In Asghar's latest collection of poetry, If They Come for Us, the speaker explores her identity as a marginalized orphan in a world that consistently tells her that she does not belong. Danez and Franny hop on the ole zoom zoom with legendary poet and beard icon John Murillo. Partition is too innocent of a word to describe one of the largest refugee crises in South Asian history. I buried it under a casket of scribbles. I collect words where I find them. ""I've been constantly thinking about it, and looking back into it and trying to understand exactly what happened," she said in 2018. In America, the place that is ostensibly home, the speaker faces that rejection both in her family life and in society at large. I draw a ship on the map. Subsequent poems choreograph Asghars dynamic reconciliation and continued battles between her cultural identity, sexuality, and position in America. Rehman offers a new kind of fairy tale, surreal yet rooted in harsh, ugly modern realities. Everywhere I look graves.Would I trust a God that promised me my family?Does it matter how, if theyre gone, twenty-five years, a gravewhats left of their remains? the day other kids shovedmy body into dirt & christened mehe appeared, boy, wicked, feral, swallowing my stride.the boy who grows my beard& slaps my face when I wax, my mustache. Orphaned as a girl, Fatimah Asghar grapples with coming of age and navigating questions of sexuality and race without the guidance of a mother or father. they say it so often, it must be your name now, stranger. "When your people have gone through such historical violence, you cannot shake it. If They Come For Us leaves readers with fear and uncertainty of a nation that has become arduous and burdensome for immigrants. In America, the place that is ostensibly home, the speaker faces that rejection both in her family life and in society at large. The cultural memory that lives in the speakers body is inescapable, but rather than run from it, she faces it boldly, writes it down, and shares it. A homeland, even one never seen, sticks in her blood; the trauma endured by her ancestors lives within her DNA. The poem begins with the 2014 terrorist attack on The Army Public School in Peshawar, forcing Ashghar to question whether we are meant to lower [our babies] into the ground / from the moment they are born. Asghars tone is pensive as she grapples with the notion of something as brutal and wrongful as death proximate to young individuals who have yet to understand what it means to be threatened. Academy of American Poets, 75 Maiden Lane, Suite 901, New York, NY 10038, my people I follow you like constellations. These sly, adept poems work through circumstances under threat with audacity, humor, and wonder. by pathmark. But whenever its on you watchthem snarl like mad dogs in a cagethese american men. out on the map. She is a touring poet and performer. The kids at school ask me where Im from & I have no answer. these are my people & I findthem on the street & shadowthrough any wild all wildmy people my peoplea dance of strangers in my bloodthe old womans sari dissolving to windbindi a new moon on her foreheadI claim her my kin & sewthe star of her to my breastthe toddler dangling from strollerhair a fountain of dandelion seedat the bakery I claim them toothe Sikh uncle at the airportwho apologizes for the patdown the Muslim man who abandonshis car at the traffic light dropsto his knees at the call of the Azan& the Muslim man who drinksgood whiskey at the start of maghribthe lone khala at the parkpairing her kurta with crocsmy people my people I cant be lostwhen I see you my compassis brown & gold & bloodmy compass a Muslim teenagersnapback & high-tops gracingthe subway platformMashallah I claim them allmy country is madein my peoples imageif they come for you theycome for me too in the deadof winter a flock ofaunties step out on the sandtheir dupattas turn to oceana colony of uncles grind their palms& a thousand jasmines bell the airmy people I follow you like constellationswe hear glass smashing the street& the nights opening darkour names this countrys woodfor the fire my people my peoplethe long years weve survived the longyears yet to come I see you mapmy sky the light your lantern longahead & I follow I follow. Kal meansshes holding my unborn babyin her arms, helping me pick a name. scraped wrists & steady poundinghis eyes wide, untilhe stopped making a sound. Thats what lays at the heart of my artistic practice, is building small enclaves of brave space where we can see each other as whole, human, real, says Asghar of her work. In a later poem titled Oil, Asghar further grapples with her identity, writing My Auntie A says my people / might be Afghani. Her poems do not solely inhabit the space between India and Pakistan, but push and elongate the border between these regions with words which explore self-perception, gender and sexuality, political oppression, and religion. like your little cousin who pops gum & wears bras now: a stranger. She has received fellowships and support from Kundiman, Kweli Journal, and the Provincetown Fine Arts Work Center. How has climate change changed the way we write poetry? I draw a ship on the map. Anneanne Tells Me Beyza Ozer 67. Sometimes, English needs to be broken, according to poet Fatimah Asghar. She expands the scope of Partition to include the violence of WWII, the Islamophobia of post-9/11 America and Trump, Beyonc, the partitioning of the apartment she grew up in. Snake Oil, Snake Bite Dilruba Ahmed 73 But Asghar recognizes the limits and violence of language. Asghars approach is similarly multimodal. I think we are at war! The cultural memory that lives in the speakers body is inescapable, but rather than run from it, she faces it boldly, writes it down, and shares it. Her work often celebrates her heritage, gender, and sexuality. By Fatimah Asghar. The novel follows the coming of age of three sisters who are orphaned following the sudden murder of their father. Fatimah Asghar is a Pakistani, Kashmiri, Muslim American writer. But with this understanding, Asghars compact yet clear prose also reminds audiences that, although pain exists in our world, we must reckon with our role in creating a more just community. Her work has appeared in the New York Review of Books Daily, unbag, and the Ploughshares blog. In 2011 she created a spoken word poetry group in Bosnia and Herzegovina called REFLEKS while serving a Fulbright fellowship, where she studied theater in post-genocidal countries. And what is home if the place where you areboth in public and in privaterejects critical pieces of who you are? a little symphony, so round. The body isnt home to an uncontaminated stagnant bloodstream, but to one that is continually ferrying a variety of substances. Theres an importance to recognizing the many ways histories of violence trickle through our livesthrough language, family, pop songs, policybut when the metaphor is stretched too thin, it risks losing its specific, potent significance. The editors discuss Fatimah Asghars poem Main Na Bhoolunga from the March 2019 issue of Poetry. Neither human sympathy nor nature's bounty can fill the void left by her parents' early . In the midst of all of this, she conveys how sorrow and pain can be inherited. Asghar is a member of the Dark Noise Collective and a Kundiman Fellow. The partition of If They Come For Us memorializes the violence of borders by refusing the limits of the word partition itself. The speakers feeling of un-belonging continues even at home, as she comes of age without the guidance of a mother and father. Fatimah Asghar is a South Asian American poet and screenwriter. revealed to be a white man writing under a Chinese womans name. The poem is composed of free unrhymed verse in a single stanza. The speaker's feelings of belonging until threatened in India-Pakistan and un-belonging until invited in America penetrate the anthology, imbuing each poem with a degree of duality and division. With uniquely crafted poems which take the form of floor plans, bingo boards, and crossword puzzles, she shows her audience what it feels like to be constantly told that you dont belongwhat it means to feel threatened, yet confidentin a world torn apart by marginalization. Her parents immigrated to the United States. In Asghar's work, Partition becomes the wound that wounds all wounds. VS returns with a special bonus episode to tide you over until Season 3 drops in February. Jenny Zhang described a similar negotiation of the relationship between the poet and capital in the wake of the scandal surrounding Best American Poetry 2015, in which one of the contributors was revealed to be a white man writing under a Chinese womans name. Every nonhuman living thing is held captive by our actions. In Raw Silk Meena Alexander links the fraught histories of Partition, the 1965 War between India and Pakistan, the 2002 Gujarat riots and 9/11; Kundiman Prize-winning writer Adeeba Talukder writes about mental illness and postcolonial trauma in her own work; and the experimental poet Bhanu Kapil pulls together psychoanalysis, Deleuzian theory, and personal memoir in Schizophrene. All the people I could be are dangerous. Her work has been featured on news outlets such as PBS, NPR,Time,Teen Vogue,Huffington Post, and others. in your family's house, you: runaway dog turned wild. Ive never been to my daddys grave.My ache: two jet fuels ruining the suns set play. They are taken into the custody . In the poem Microaggression Bingo, Asghar uses the physical image of a bingo board to highlight the frequency of those microaggressions the speaker faces on a daily basis. Poet, screenwriter, educator, and performer Fatimah Asghar is a South-Asian American Muslim writer. We work to amplify poetry and celebrate poets by fostering spaces for all to create, experience, and share poetry. have her forever. But twist she does, and by doing so, opens herself to everything, from painful truths to the kindness of strangers. We would like to collect information during your visit to help us better understand site use. Fatimah Asghar is the author of the Emmy-nominated web series, Brown Girls. What is home if its a place youve never been to and cant touch? Co-creator and writer for the Emmy-nominated webseries Brown Girls, their work has appeared in Poetry,[1] Gulf Coast, BuzzFeed Reader, The Margins, The Offing, Academy of American Poets,[2] and other publications. the sweet, rich scent, / the cream and white of the magnolia blossom. I have a boy inside me & I dont knowhow to tell people. Blood is a measure of perceived racial purity. Kalmeans I wake to her strange voice. A homeland, even one never seen, sticks in her blood; the trauma endured by her ancestors lives within her DNA. If They Come For Us is a navigation of home and family, religion and sexuality, history and love. I practice at night, the crater. Shes seen me at my worst, at my best, at my most insecure everything. The speaker of these poems appears at once old and incredibly new, a dichotomy that is upheld as the narrative jumps from past to present and all over the last century. Does it matter how? Examples include both visual and verbal instances, like the first square, which reads, White girl wearing a bindi at music festival, and another on the bottom row where an unnamed speaker says, I love hanging out with your family. Fatimah Asghar is the author of the poetry collection If They Come for Us (One World/Random House, 2018) and the chapbook After (Yes Yes Books, 2015). If the speaker, who comes from a lineage of heartache and violence, and who lives through her own kinds of violence, can still look at this country that has failed every immigrant to enter its harbor and find kindness in the cracks, how can we not too have hope for a better, more inclusive, kinder future? Tomorrow means I might. From "Oil" by Fatimah Asghar | Poetry Magazine From "Oil" By Fatimah Asghar We got sent home early & no one knew why. In high school, I briefly learned about this partition from a twenty-minute lecture complemented by a single paragraph in my World History textbook. Kal means Im in the crib,eyelashes wet as she looks over me.Kal means Im on the bed. This page is not available in other languages. Used with the permission of the poet. The Sacraments Ladan Osman 62. & my boy, my lovely boyhe clawed & bit & cried just likewe were back on the dirt playground. "And in a lot of ways we are. Yasmin Adele Majeed is the editorial coordinator for the Asian American Writers Workshop. Recent poems about pregnancy, birth, and being a mother. [17], When We Were Sisters was longlisted for the inaugural Carol Shields Prize for Fiction in 2023.[18]. Everyday she prays. The speaker of these poems appears at once old and incredibly new, a dichotomy that is upheld as the narrative jumps from past to present and all over the last century. Thirteen Ways of Looking at a Glacier and Good Fossil Fuels, Two scholars exchange letters on poetry and climate. Fatimah Asghar Poet, screenwriter, educator, and performer Fatimah Asghar is a Pakistani, Kashmiri, Muslim American writer. Hindi na ibinalik / ng mga dayo ang kinuhang / lupain | The settlers never returned / the land they grabbed. Asghar lost her parents young; with family roots in Pakistan and in divided Kashmir, she grew up in the United States, a queer Muslim teenager and an orphan in the confusing, unfair months and. This data is anonymized, and will not be used for marketing purposes. Smell Is the Last Memory to Go Fatimah Asghar 60. As the poem progresses, Asghar comes to the realization that every year [she] manages to live on this Earth / [she] collects more questions than answers. This understanding sets a somber tone for the rest of the anthology, which traces how Ashgar navigates a world that labels individuals like her as foreign and inadequate. youre indian until they draw a border through punjab youre american until the towers fall. She is the author of the full-length collection If They Come For Us (One World/ Random House, 2018) and the chapbook After (YesYes Books, 2015). The vacancy left by this chasm, glossed over as just another territorial battle in world history classes, is the central focus of Fatimah Asghars If They Come for Us, an anthology of poems which delves into the bare crevices of the India-Pakistan divide. III Hajj. In 2017, she was a recipient of the Ruth Lilly and Dorothy Sargent Rosenberg Poetry Fellowship from the Poetry Foundation and listed on Forbess 30 under 30 list. FATIMAH ASGHAR 145 Her references to pop music, odes to her pussy, and jokes about microaggressions are purposefully incongruous, and with them she defies the gaze that Zhang and Mehri write about. an edible flower She smiles as guilty as a bride without blood, her loveof this new country, cold snow & naked american men. She is also the writer and co-creator of the Emmy-nominated Brown Girls, a web series that highlights friendships between women of color. Poets in the diaspora have mined the relationship between the violent remapping of the subcontinent with the instability of South Asian identity, language, and citizenship in their work. Poems covered in the Educational Syllabus. Partition, the 1947 cleaving of British-ruled India into three separate countries, India, Pakistan, and now-Bangladesh, serves as the central trauma of the collection. what do I do with the boywho snuck his way insideme on my childhood playground? The text, formed from the scraps of a burned notebook chronicling a circuitous reverse diaspora, is deliberately fragmented and refuses easy interpretation. these are my people & I findthem on the street & shadowthrough any wild all wildmy people my peoplea dance of strangers in my bloodthe old womans sari dissolving to windbindi a new moon on her foreheadI claim her my NCTE, Common Core, & National Core Arts Standards. The two main characters are a queer Pakistani-American writer and an African-American musician and are played by Nabila Hossain and Sonia Denis respectively. [6], Asghar's mother was from Jammu and Kashmir and fled with her family during Partition related violence. You know its true & try to help, but what can you do?You, little Fatimah, who still worships him? Request Permissions. Fatimah Asghar redefines poetry in her full-length debut collection, If They Come for Us, which interweaves free verse and innovative forms as she explores what it means to be orphan, to be immigrant, to be human. Her work often celebrates her heritage, gender, and sexuality. She has also had her writing featured on outlets like PBS, NPR, and Teen Vogue. After great pain. The Woman in the White Chador Farnaz Fatemi 61. As a person of color and daughter of immigrants, I feel empowered by her recognition of insecurity and embodiment of history as a constellation of many perspectives. She motions readers like myself towards a more compassionate understanding of history which has been narrated by vagueness beyond a 300-word synopsis that tries to encapsulate an intricately layered pastand a realization that violence can live through generations. , Kapil tackles the problem of representation by writing towards lacunae cousin pops! Ng mga dayo ang kinuhang / lupain | the settlers never returned / the land they grabbed word... My daddys grave.My ache: two jet fuels ruining the suns set.... Limits of the Emmy-nominated web series that highlights friendships between women of.. Describe one of the word partition itself you over until Season 3 drops in February, wherein Asghar how. During your visit to help, but to one that is continually ferrying variety..., Brown Girls, a web series, Brown Girls, a web series, Brown Girls, a series... Age of three sisters who are orphaned following the sudden murder of their father, religion and sexuality new. 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A homeland, even one never seen, sticks in her blood ; trauma! Holding my unborn babyin her arms, helping me pick a name in February we like... Everything, from painful truths to the kindness of strangers do with boywho., humor, and share poetry and an African-American musician and are played Nabila! Identity, sexuality, history and love she does, and performer Fatimah Asghar is a navigation of home family! Rich scent, / the cream and white of the Emmy-nominated Brown Girls dont knowhow to tell people the. Dont knowhow to tell people like PBS, NPR, Time, Teen Vogue, Huffington Post, and Provincetown... Kapil tackles the problem of representation by writing towards lacunae school, I briefly learned about this from. The cream and white of the Dark Noise Collective and a Kundiman Fellow of age of three sisters who orphaned! And co-creator of the Dark Noise Collective and a Kundiman Fellow do?,! And being a mother and father Memory to Go Fatimah Asghar 2019 issue of.. 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