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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,...

‘I had to create a world of my own, like a climate, a country, an atmosphere in which I could breathe, reign, and recreate myself when destroyed by living’ Anaïs Nin, The Diary of Anaïs Nin, Vol 5 (1974)   HOSTILE, ALIEN, ALIENATED FROM LIFE   I’m not sure I would make a good collectivist I’m the kind of girl who, when asked by a neighbour to help weed my building’s shared garden, would look up from where I was sun-tanning and say I was too pretty to work (OK – I helped anyway) If dinnertime conversation drifts to utopia, a friend will concede that I can have ‘my own personal corner’ in the commune It’s embarrassing to admit, but I’m not all too gifted at living with other people, even if I romanticise it by dreaming of the ‘hot girl singularity’ that will merge my consciousness with that of my best friends The tendency worries me, given the state of the world Consider that:   The word for world is forest1 The word for world is mother2 The world is made, and remade, through ‘worlding,’3 ‘worldmaking,’4 or ‘worldbuilding’5 The world is rendered by empire, destroyed, and remade forever after The world is a model, a simulation, an ‘infinite game’ that is open all the way up to its borders The world is autonomous and alive It teems with life and voices Some voices are hallucinations, resounding across dimensions Some worlds are hallucinations, hewn in great detail from the base material of the void The world is meant to go on, and on, and on, with or without you The world is defined by its boundlessness in time, dis- and reassembling infinitely Yet the world can only be engineered through the finitude of rules, borders, and forces The world isn’t just an impression, smeared together with other impressions; it needs physics, mechanics, and designers to work Because the world labours to understand its own origins, and constantly re-plots the coordinates of where it might like to end up, the world depends on momentum It requires collective desire Without these things – without a tight relation between

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


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Interview

Issue No. 20

Interview with Anne Carson

Željka Marošević

Interview

Issue No. 20

Throughout her prolific career as a poet and a translator, Anne Carson has been concerned with combatting what she calls...

feature

Issue No. 17

Editorial

The Editors

feature

Issue No. 17

An Englishman, a Frenchman and an Irishman set up a magazine in London in 2010. This sounds like the...

Essay

Issue No. 18

The Disquieting Muses

Leslie Jamison

Essay

Issue No. 18

I.   In Within Heaven and Hell (1996), Ellen Cantor’s voice-over tells the story of a doomed love affair...

 

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