
For Fadwa Suleiman
While the same rain fell
on suburbs of exile and
motherless children,
whose courage was certainty
whose impatience turned to doubt,
she came in the door
like a comrade, lover, friend,
and took off her shoes โ
older than my daughter but
too young to be my sister.
ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ***
Sister of someone
who was forced to denounce her
on television;
pacifist in keffiyeh, ย ย ย ย ย
but they got guns anyway โ
She rolled impatient
exilic cigarettes, wrote
fables of mourning :
the mother tucked the child in
her bed, and slit the doveโs throat.
ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ***
Slit-throat, cutthroat sun
slashed wrists of early spring rain.
Wolves at a distance
give up verse panegyrics
and howl like politicians.
Is hope a fatal
disease, or was that despair?
The old woman sheared
her gray hair short as a boyโs,
kneaded wine in dough like clay.
ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ***
Words were clay and wine,
what I imagined, she knew
by heart, recited.
The boy whoโd stood beside her
was a killer now, or killed.
They bore the cardboard
coffin, cardboard clock tower ย ย ย ย ย ย ย ย ย
at a crossing of
Paris streets, where her voice was
already losing context.
ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ***
Not to lose contact,
with what she was, would be, she
played it on TV โ
a Lebanese soap about
political prisoners.
Larger than life, she
acts her life while she lives it,
keeps writing the script,
but not the bodyโs misfires,
or defections in the blood.
ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ***
Blood in the orchard,
or a memory of blood,
a song about it:
shepherds in all the stories,
treason in most of your dreams.
Walk in an orchard
where you picked low-hanging fruit
or shook down olives
in another centuryโs
childhood, before departures.
ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ***
How old was the child,
her son, when she last saw him?
Her choice, her storyโฆ
but itโs close to five years now,
the boy near adolescence,
as my daughter was
at twelve-and-a-half, thirteen
in orchards pendant
to other hill villages,
other declensions of loss.
ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ***
I decline to spool out
or wind in someone elseโs
narrative spiral.
Donโt want that poem to end,
can not know how it began.
Lead weights in my legs โ
because I didnโt die young,
age caught up with me,
a face to frighten children
with its own terrified eyes.
ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ***
Own my solitude,
its immunocompromised
auto-absorption.
Write emails in her language,
but she isnโt answering,
up against the wall
with no windows on the street.
Outside my windows,
spring drains away though a sky
mottled with silvery clouds.
ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ***
Mottled, nacreous
throat of the dove at her throat,
hope and betrayal
in the book to be publishedโ
only poems, just paper.
The chebab cheered their
Joan of Arc. On YouTube she
preceded herself
toward the dovecote of her chest
in a suburb of the rain.
Marilyn Hacker is the author of seventeen poetry books as well as two written in collaboration with Deema K. Shehabi and with Karthika Naรฏr respectively. She has translated twenty-two books by French and Francophone poets including Samira Negrouche and Vรฉnus Khoury-Ghata. She held the Edward Saรฏd Chair at the American University of Beirut in 2019-2020. She lives in Paris. Her most recent book is Calligraphies (W.W. Norton, 2023).




