Hazem Fahmy is a Pushcart and Best of the Net nominated poet and critic from Cairo. He is currently pursuing his MA in Middle Eastern Studies from the University of Texas at Austin. His debut chapbook, Red//Jild//Prayer won the 2017 Diode Editions Contest. A Watering Hole Fellow, his poetry has appeared, or is forthcoming in Apogee, HEArt, Mizna, and The Offing. His performances have been featured on Button Poetry and Write About Now. He is a reader for the Shade Journal, a poetry editor for Voicemail Poems, and a contributing writer to Film Inquiry.
Hazem Fahmy
At the Airport, Again
What would I be but a liar
if I did not confess that
I too have felt that bloodlust
which America fears so
intimately. Once or twice
I have trembled with the un-
ceasing desire to watch he
who would have my tongue fall to
his knees. I have longed for my
hand to grow braver than my
words. This, I am neither proud
nor ashamed of. It is what
it is: a flight delay, a
sly remark, a lingering
stare. Yes, I am still alive —
thank you for asking, and in
asking assuring me I
am alive but so is he
who would have my tongue and this
I am neither proud nor a-
shamed of.
This time before the plane a
frowning woman with a badge
asks me why I'm going where
I'm going, poison dripping
from her sad mouth, and I want
to respond like a child, arms
wide open, untethered by the
fear of her gun. I want to
say: fuck it means to you — cold
blooded American what
do you know of home, what is
this tragic country but a
broken house dreaming of get-
ting fixed but I don't ask such
a question, first because of
the gun, second because the
woman with the gun and the
poison is not white, not a
beast by the gate, yet she has
a gun and badge and poison.
It's true; America does
not see color, almost as
much as irony. At the
movies every ad for a
war film does a tremendous
job of diversity: be-
hold the cornucopia of
mayhem, the spick and shine of
death.
Read closely: at the end of
the trailer for 12 Strong there
is a message in bold. The
director and producer
would like you to know, need you
to know, that no horses were
harmed in the making of this
picture. What would I be but a fool
to let the metaphor go,
but then again what would I
be but a lazy poet
to not let the metaphor
go — let sight and sound speak for
themselves. No, I am not in
Afghanistan — you are right
to remind me. Yes, I am
in an airport going a-
way, again. No, this is not
a war, at least not in the
traditional sense, but there
is still a gun held by an
American who has a
badge, a mouth full of poison
and that is far more mundane
than war. What would I be but
hyperbolic to compare
such petite fear to that which
I have never lived? I got
on the plane so it could not
have been war.
Glass: A Journal of Poetry is published monthly by Glass Poetry Press.
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