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.





Previously in Glass: A Journal of Poetry: Autopsy of an Arab


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.



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