Shadab Zeest Hashmi is the author of poetry collections "Kohl and Chalk" and "Baker of Tarifa." Her latest work, "Ghazal Cosmopolitan," is a book of essays and poems exploring the culture and craft of the ghazal form. Winner of the San Diego Book Award for poetry, the Nazim Hikmet Prize and multiple Pushcart nominations, Zeest Hashmi's poetry has been translated into Spanish, Turkish, and Urdu, and has appeared in anthologies and journals worldwide, most recently in McSweeney's "In the Shape of a Human Body I am Visiting the Earth." She has taught in the MFA program at San Diego State University as a writer-in-residence and her work has been included in the Language Arts curriculum for grades 7-12 (Asian American and Pacific Islander women poets) as well as college courses in Creative Writing and the Humanities.
Website: http://shadabhashmi.com
by Shadab Zeest Hashmi Award-winning essayist, novelist, critic, and poet Anis Shivani's second collection of poems Whatever Speaks on Behalf of Hashish was published a few days ago. Here is our conversation about his latest book: SZH: These poems are first and foremost an ideational field, one in which the emotional takes the form of…
by Shadab Zeest Hashmi Once, in Italy, I had gelato in a place with a hidden door that opened into a garden with a gazebo. When I discovered it, it was like entering a movie set. Minutes ago I had herded my young children, negotiated foot traffic carrying ice cream and now I was in…
by Shadab Zeest Hashmi The sun burnishes the walls every day for just over three quarters of an hour out of the fourteen I spend at my shop; the mannequin assumes a buttery glow then, her organza scarf liquefies in the golden light. The CD skips at mi amour every time but this hiccup is…
by Shadab Zeest Hashmi I was first inspired to write a Qasida in English when I came across Lorca’s “Casida de la Rosa” while researching the history of Al Andalus for my book-length series of poems on Muslim Spain. I also knew of Qasida poems in Urdu. For Lorca, who was a native of Granada,…
by Shadab Zeest Hashmi In a lineated poem, the line-breaks are used to produce verbal or sonic emphasis, in addition to creating a structure that is arranged such that it is easy to parse and comprehend the poem. When line-length varies, emphasis shifts and dramatic tension or narrative effect is produced. Generally speaking, in a…
by Shadab Zeest Hashmi WRITING IS ALL ABOUT EXTENDING: When I was a child, I heard the story of the scholar jinn disguised as a boy, who once extended his arm all the way to the end of the palace courtyard to reach his ink pot, thus exposing his identity to his human tutor and…
by Shadab Zeest Hashmi When home comes back to you as a calamity, its name appearing with death tolls and gut-wrenching photos of its youngest population, it feels as if the place itself, its memory, is lodged inside you like a bullet. The wound, inflicted by the War-terrorism binary, is a complicated wound, worsening with…
by Shadab Zeest Hashmi As I put my wildly colicky baby to bed, I would unclench his tiny fists, and hold each finger, one by one, listing names of desserts in Urdu: gulaab jamun, halva, russ malai, jalebi, burfi. Adam was taught names in a garden; I taught my son names that likely came from…
by Shadab Zeest Hashmi This past summer, news of the Gaza massacres came most revealingly in images and videos taken with cell phones— the devices originally intended to connect us through voice, chronicling instead the horrors befalling Palestinians in real time, horrors that defy conventional language, and will not be chronicled with fidelity by the…
by Shadab Zeest Hashmi Allahu Akbar or God is Great, the anthem stolen by the wicked terrorist, whose attack is aimed at life, what holds life together for me— the zikr: Allahu Akbar, God is Greater, greater than prayer, greater than the spectacularly leaping science, the elegance of logic, the morality police, the lust of…
by Shadab Zeest Hashmi Starry night, a large starry night with infinite trees, is the background of what seems to be an architectural form— a balcony, bridge, courtyard with pillars? In the foreground, a sphere with a curve draped over it like an arm. This drawing has the expansiveness that suggests eternity (or waiting for…
by Shadab Zeest Hashmi The fridge is between pesto and grasshopper green; the dining table is oval. A cubist picture hangs on the wall. It changes meaning, depending on the time of the day and the way I fall into its shapes and clever shades. The fish in the painting’s octagon looks like a remote…
by Shadab Zeest Hashmi There is nothing more exciting to me as a writer than catching a new place at daybreak— the moment that marks the beginning of a city's unique rhythms, when a traveler may somnambulate into its most secret, subtle self, its still-dreaming, unspoken quintessence. In this sliver between night and day, before…
by Shadab Zeest Hashmi A single feather, milky blue, just fallen on my threshold, is from a Turkestan hill dove flying south from China to Peshawar, I imagine, though it is more likely to have been shed by a buttonquail which is common in these parts. There is no house or door, only a threshold…
by Shadab Zeest Hashmi Photo by Ian Boyden When you listen as keenly for humanity’s pulse as Sam Hamill does, you “fall into the place where everything is music”— in Rumi’s words. This is the music where all cultures meet, where the spirit finds its truest articulation: a place impossible even to imagine in our…
by Shadab Zeest Hashmi You write of your country as if from a great distance. Distance is journey’s squinting twin; it courts vision. My country, you will understand, came from vision’s egg. It came from a dreamer of journeys—a poet who entertained nightly the spirits of distant poets: Plato, Ghazali, Rumi, Hafiz, Goethe— sojourners all.…
by Shadab Zeest Hashmi Jinn: a spirit capable of appearing in human and animal forms and influencing humankind for either good or evil. A startling laugh, low as if muffled by a dupatta, an old net dupatta I imagine, makes me turn but there is no one there. The walls are the color of vanilla…
by Shadab Zeest Hashmi Language on the tongue is need and desire and now, but more potently, it is the taste of ancestral memory: the truest flavor of our origins, almost indescribable and yet at the root of the desire for expression itself, like Michelangelo’s Adam reaching for God, permanently in pursuit of exactitude but…
by Shadab Zeest Hashmi It was in a small, black, hardbound volume of Iqbal’s Urdu verse, that I saw the name Goethe for the first time. Iqbal’s Baang e Dara had belonged to me since before I could read and it became an object of mystery, likely due to the manner in which it entered…
by Shadab Zeest Hashmi Exile is a state of mind and quite necessary in the kind of critical awareness, imaginative empathy and artistic autonomy that go into a work of excellence, a “global work.” Our lists of poets we consider as “world poets,” assuming that “world poet” is indeed a meaningful category, may vary dramatically…