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 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…
by Shadab Zeest Hashmi Federico Garcia Lorca’s casidas are free adaptations of the Andalusi-Arabic qasidas, which he had read in Spanish. In Robert Bly’s English rendition of Lorca’s casidas, the flavor of the classical Arabic qasida form has been preserved to a considerable extent, even though it reaches us through various levels of distillation: first,…
by Shadab Zeest Hashmi Mughal miniature showing a poetry reading, c. 1640-50 The ghazal entered my consciousness first as music (on Radio Pakistan or my parents’ LPs), accessible only through melody, beat, rhyme, refrain; the poem’s literary heft, of course, utterly lost on me. The ghazal was really a visceral stimulus in my pre-language existence…
by Shadab Zeest Hashmi Peshawar Railway Station If there is a thought urgent enough to return to, it came on a train and was cut off at my station. All the rest is an obsessive plan to go back, find the nodes and connect them. In 1996 when I moved to San Diego with my…
by Shadab Zeest Hashmi The camera, on the roof of a teashop, was abandoned for two reasons: In the winter mist of a Persian garden, the camera had caught a green-cloaked figure. Then, at the moment a village lorry belched, tearing the song of a Snow Finch into confetti, there were five seconds of static…
by Shadab Zeest Hashmi Heat is eerie: lipsticks left unrefrigerated melt into deformity, ice cream liquefies and renders the scoop useless; fruit and flower stalls carry the smell of that peculiar cusp between ripe and rotten. Then rain comes, licking the sky green; the veil between the mysteries and the sun-weary, bleached and hardened world…
by Shadab Zeest Hashmi I felt in the pit of my stomach the proximity to my school as the car approached the Air Force base and the diminutive Air Force planes in (almost pretty) earth tones became visible on the runway through the large gates. The car would now turn into the school lane and…
by Shadab Zeest Hashmi What they did not understand at the PTV station was that it's in my nature to be elsewhere, nodding attentively one minute, gone the next. I didn't understand it either, the tendency to let myself be stolen into another world, switching between here and there like flashes of moon jellies, now…
by Shadab Zeest Hashmi Dear Partitioned Dead I write to you of folding, tucking, burying side by side. The silk you worried the centuries into being, has arrived; bolts of it. But when we opened the trunks, all we saw was a smooth tongue: Urdu's cascade, a shimmer in ruins. We had to snap shut…
by Shadab Zeest Hashmi Torkham, the border between Pakistan and Afghanistan, felt like an utter release— as if we were random things, a fistful of summer insects set free in space. This, of course, was before the Soviet war. I was in elementary school. Dwarfed by the standoffish ice blue mountains on the road to…
