MY ROOM: YOUR PRISON

The line between “in” and “sane”

is soft to the touch.

you grasp it, and it feels

like the worms that hide beneath your pillow.

you hear it,

through your bedroom wall

thumping against cold paint

that has gone warm

because you keep trying to unhear it.

you taste it,

and it tastes like bile at the back of a throat.

you smell it,

and it smells like decay, and a rotting sandwich

on a warm February morning,

stuck between heavy breath, and two hills.

you see it,

and it looks.

like the claws behind your eyelids,

the peering eyes dotting the walls,

the blood between your fingers,

death ringing the bell,

and your own reflection on the mirror.


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TEXT:
HANAA MANSOURI
SAUDI ARABIA

CONSTELLATIONS

They call me the Woodwose.

But they know that I am the forest; I am the canopies and the wind and the soil underneath. I have been, ever since I inhabited its heart long ago, and settled in another still, in the heart of the Great Tree.

“I have come,” she says in a voice far too large for her frame, “to purge you, fiend!”

To that I sigh, and pay no thought to the years that the exhale holds. I have heard it a thousand times, from kings and knights and furious farmers alike. I've made their water and their wealth mine, and so have I their harvest and lands.

Their yield is poor this year. Not the fault of rainfall or the sun, but mine. I grow more able to bring suffering upon them, season by season.

Her father owns a nearby land, she says. Her anger is understandable, but she’s a fragile thing. A girl in her homespun skirts and flimsy limbs, with golden hair curiously chopped to her nape. Strange things they are, humans, that a fortnight of starvation could kill them, and yet they defy, and yet they dare.

She comes with a spade, and it becomes clear that no sorcery could flow from those fingertips. She fails on the first day, and she fails on the second. On the third, I ask why, thinking that it’s a redundant thing; because she’s a farmer’s daughter, and I make their crops suffer.

“To be granted knighthood.”

And my belief in the limits of foolishness disappears. It wasn’t a very strong belief to begin with, not with her futile efforts at my sides, digging at roots that recover in instants.

Being a farmer’s daughter isn’t completely irrelevant, I learn on the fourth day, because her mother died. They couldn’t provide what she needed; I took their yield. On the fifth, she cries and I can’t distinguish tears from the sweat running down her cheeks, and it’s the bitter, furious kind because she’s miserable and a little broken. On the sixth day, she learns that I forgot the sight of the sky; and on the seventh, I learn that she can chart it.

Days pass, and she brings apples with her sometimes. When she allows herself to rest, she weaves flowers into her braids. It grows, that hair, but so do my roots, back into the dirt where they belong. Soon I learn her name, and Constance watches as her efforts become vain.

She listens when I scoff and tell the tales of her predecessors. Sometimes she laughs too, at the knight who promised the heart of the tree but fled when it talked, and the old king who led his men to where the horses wouldn’t follow, and tripped into the river while he hailed his call.

When I ask if she’s searching for my weakness in their stories, “Perhaps I am,” she cheekily says. But no, and although I am incapable of emotions beyond sins, no tenderness to be offered to humans, I can see it; that earnestness in eyes that should be set on horizons.

“Find my virtues,” I tell her after months she spends visiting, the secret of uprooting the heart of the woods.

Seven, scattered across lands and seas far beyond her little village. It intrigues her, and she asks where, not how. And it is a little charming how willful the weaker beings can sometimes be. At least she, whose eyes bear something I can’t read, when she’s told in which scorching desert my Patience I’d left, and in the depth of which sea my Honesty dwells, and how high the mountain that holds my Humility is.

Then they call for her and she heeds. She leaves on a ship, and the wind brings back news of her when he can. She disembarks, and she finds her first companion, a small monkey, on a strange land I must have journeyed during my old life. It wasn’t so robust then.

She spends the year away, guided by voices and the stars. My virtues are gently awakened throughout, but I can’t possess them yet. She is captured and put to suffering for stealing my Charity from a land that honored it far beyond its worth, then she escapes unaided. The wind tells me she finds another companion, a boy, and is taught the way of the sword. Beasts become less frightening, and her sobs more courageous and sparse.

Her laughter comes in abundance, and the freckles on the bridge of her nose become more defined by the sun. She struggles still, against mountains of snow and ice and furious skies. But Constance grows and flourishes and takes the world by a storm.

I hear her curiosity finds ways to discover me, and seas away my secrets unravel in old myths and tales of havoc. She knows that I once had the freedom she seeks, and that I exploited it. I raged and plundered; I remorselessly sinned until that heart was spoiled beyond the capacity of a body to contain.

I begin losing myself, perhaps as she finds me elsewhere. I grow weaker in the entirety of my existence. Their crops prosper and her father writes and sends birds with joy. It appears that it soon would be gone, my vision, but it doesn’t shake me, because the wind sometimes carries her voice, but never the sight of her.

She’s carrying trinkets in the palms of her hands when she returns. Seven of them; little, old things that gleam even in the dead of the night, even to eyes that could see nothing else. I’ve become too weak for the year she spent away to feel as insignificant as it should.

She cries again, and it’s a headache how much she does. “Why have you withered away,” she says, her voice barely wrapped around a sob. “We had an agreement, I was meant to purge you.”

I lie and tell her that it was because she found my virtues that I began dying, but she only weeps harder. “But I have many stories to tell,” she says, and a number of them are about me, small, lost pieces of a past. “You’re not meant to just die yet.”

But I am, because finding my virtues wouldn’t take me, but my own desire to leave would. To leave the tree that took me in when the rest of the world refused is how I am made to die.

She tells her tales as I disintegrate. The bark that kept me for centuries falls apart in the circle of her arms, and the roots that held me dissolved beneath her feet. “Stop crying, you fool,” I say, and it is met by a mess of small laughs and sobs and persevering stories.

“You never told me your Kindness was swallowed by a Kraken. That took a whole crew of pirates to retrieve, and another band of outlaws, too. And a massive carnivorous flower was guarding your Tolerance! I almost decided you could live without it at that sight.”

The Tree vanishes along with all the sorcery that rooted the forest. I feel it in me that it remains behind unchanged, and it could recover and grow without my notoriety keeping it in place. I have lived a burden, and remorse finds its way into me unprompted by the waiting virtues now scattered around her. Her stories are rushed and desperate, and so are her breaths. She breaks a little farther when my past as a human tumbles down her lips. She tells me that she knows and she says it again, that she knows and she knows, and she never says what it is. But it resonates in my body, every piece of the past she unraveled and willfully discovered, that left me with only envy and wrath. I feel it in the form that I undertook, and whether I am a beast or the human I’d once been I don’t know. But I am weaker than I’ve ever been, and even Pride can’t hold me upright against it. My head is cradled on the harsh fabric of her breeches. And my eyes are gone, but she shifts me so they’re looking up. Constance pours Forgiveness on them, and, “Open your eyes,” she says, “Look at the sky, Woodwose, isn’t it beautiful?”

 “That, she is,” I say, slipping away under her tears, “That she is."

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TEXT:
MARYAM M.H
UNITED ARAB EMIRATES

A MOMENT IN TIME

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•••

This piece combines my hand-drawn illustrations with photographs I have taken on my journeys to visit family back in Iran, giving the viewer a chance to peer through the stereotypically oriental windows and get a glimpse of moments in time in a country whose real side is often not portrayed.

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ART:
MARIAM TAFSIRI
UNITED KINGDOM/IRAN

CEREMONY

Home is where my mum lights the Shabbat candles. A ceremony that marks the end of the week (at Friday sunset) and signals the start of rest, of family coming together and of religious and cultural identity. A scene repeated in Jewish households wherever they may be. However, it is also the manner in which my mother wraps her head with a scarf or a shawl that speaks to me of home. As an individual of Arab-Jewish/Mizrahi descent, I have always sought to turn my camera lens on the nuances of Mizrahi identity that continue to connect us to the Arab world. It's the manner in which Mizrahi/Sephardi women cover their heads during religious ceremonies, like a small unconscious nod to their Middle Eastern roots. There is something in their instinctual reach for a shawl or scarf, thrown over their shoulders or resting beside, in a manner reminiscent of a loose hijab rather than donning a hat or wig as practiced by European tradition. It is a simple, silent act but like your choice of coffee in the morning makes a comment on your home and cultural identity.

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PHOTOGRAPHY:
LEEOR OHAYON
UNITED KINGDOM

LOST & FOUND

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I've been away from for a long time , and I forgot how my hometown changed my life and shaped me the way I'm. Now after returned home I have the opportunity to explore the house that I've lived in for 21 years and my home town and take a second look after all these years. I found some stuff and remembered a lot of things . I want to tell a simple story of my childhood in 5 pictures.

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PHOTOGRAPHY:
AMUR ALKHUZAIMI
OMAN

UPON MY DEATH

Upon my death tell my mother that I still do not know how to word my apologies. Let her know that I can’t apologize for growing too large for the cage I was born in. Tell her my wings were burdened by the expectation to stay grounded when all they wanted to do was leave. That the staying made me bitter and the mundanity of it all made me spiteful. Tell her I’m sorry I was made of clay that couldn’t be molded, I know my rage scared her. It scared me too. Tell her I’m sorry she couldn’t shield me from myself, I’m sorry I got scorched playing with flames she had warned me against. Most days I was the flames I was warned against. I have learned that there are those who are and those who aren’t, those who welcome the familiar and those who crave the unknown. Tell her I’m sorry I fell into the latter. Tell her I grew up feeling too much and now I can feel nothing at all. Tell her I don’t recall when the walls came up or why they were so adamant on keeping everyone out. Tell her I didn’t feel lonely behind them. Tell her I’ve made a home out of the trauma and a bed out of the discomfort; I feared nothing but myself. Tell her I don’t know how my edges grew to be so sharp, but I still loved the only way I knew how. Tell her I know she loved me the only way she knew how and I can only hope she forgives me. Tell her I regret nothing and everything.


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TEXT:
AISHA
UNITED ARAB EMIRATES

BLUEPRINT OF YOU

breathing blueprints

i knew rooms that suffocate 

and secret halls

      that

         lead 

              to trick doors  

and trap doors

      that 

         release 

             to confine me

i lived in the faultiness  

i have felt my weight buckle 

beneath the floor 

where anger slept

i confused structures with shelters 

i did not need deceptive palaces

embellished outside 

tarnished inside 

their sprawl 

pushed me to a spiral

i moved into the field 

past the fences of love  

to a shelter in your shadows 

i traced the outlines 

and sketched passageways 

learning that some homes

have a pulse

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TEXT:
AMALEE NSOUR
UNITED STATES

HOME-TIME

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I am a watch, and an impressive one at that - the kind that does not tick or tock. Her father picked me up from the jewelers on Mansour Street, the only place in town that you would ever have found me back then. You could never buy one like me now, not in that city, not by a long shot. But back then, in 1984, there were a few of us.  I was picked up as a gift on one hot afternoon, when Abu Hussein had opened the glass cabinet and plucked me out of my box, handing me over to a groomed man with a short moustache and a Western suit. He had barely looked at me, but back then you did not need to look twice to know that I was the one you wanted. I was carried in a bag, swinging by his side on the short walk to the big house. He had knocked as if he were a guest, greeted as if he was the master. After dinner, I had been removed from my boxes, and ceremoniously placed on the chubby white wrist of his eldest daughter, and it is from this place that I learned all that I can tell you about home. 

See, this woman’s wrist was my first home, and our love story spans over forty years. I have watched a whole life lived; and many deaths died, from the day I was given to her to appease the guilt of an unfaithful father, to the day we rolled our suitcases through customs at Saddam International Airport, to the day of her small lonely wedding, to the three days across seven years on which her babies were born, to the day the marriage ended, the day the children left – all of the big days. These are the days that mark a life in retrospect – but these are not the moments in which a life is truly lived. I have come to see and feel, that life is in the quiet and less dramatic moments, the moments where you are safe, where you feel peace, the rest of the time – well, you are simply chasing it, trying to make it home. 

The city of her birth and her youth had never known peace, and so she had never even thought to call it a home. When “home” is a place riddled with coups, where the markers for time are not years, or the minutes and hours I was carefully built to measure, but wars, you cannot call it so. She was born before that war, went to school after it, but graduated before the other war, studied abroad before that one and came back to escape in the summer between the other two. And so home becomes a make-believe place, constructed through the stories we tell, which are marked by points in time.  If you try to count the clocks that tell the time, there will be more than you think to find. We watch the sun, and we keep calendars to see how many days there are to come, and diaries to show how we have spent the ones that have been. We bottle history in literature and songs, and tell each other tales that make-believe our world. We buy expensive toys that chop time into smaller pieces, little moments that are short enough to get through painlessly, only to help ourselves forget that in the end, wherever we end, there is only one clock for each of us that matters, and it isn’t one you can buy on Mansour Street. 

We arrived in London on a Tuesday in 1990. In the preceding weeks before our departure, I had witnessed whispered conversations in darkened corridors of the big house. I learned that Saddam had opened up the borders for the summer between that first war and the second one he started shortly afterwards. Everyone had seen their chance and seized it with both hands and feet, running for the airport with just enough clothes for a two-week holiday, so as not to raise suspicions. I was there as she packed three cassette tapes; two Abdel Halim Hafiz and one Abba, and I was there when she had stuck her head out of the taxi as it raced down the highway. I saw the palm trees she looked back at as she choked on the hot dusty air, and I heard her spit violently at the city as it disappeared quickly behind us. She couldn’t wait to leave. I felt her deep sigh of relief as she relaxed into her seat on the aeroplane. With her return ticket crumpled in her bag and beads of sweat barely dry on her forehead after a lengthy interrogation at the departure gate, they were finally leaving. Two generations, one mother and two daughters, leaving everything behind, but taking home with them in the stories they would later tell, and re-tell, each time leaving out small details of terror, fear, boredom and depression, and all the other ugly decorations that make a home unsightly. Through the stories, by the time home was passed down to the next set of daughters, it was completely unrecognizable. It had the smell of hot bread and it felt like acceptance and it looked like perfect Arabic script. 

The day we left London, twenty-five years and two days later, there were a lot of tears. It happened three days after the old woman had died in the hospital. I was there for her last breaths, could feel the quickening pulse through her daughter’s arm as she gripped her mother’s hands tight in those final moments. Three generations were in that room together for the last time, to say goodbye. When she died she took everything of importance with her; she had left money and a house, a small pension fund, but she took with her the stories. And if you haven’t understood yet, home is in the stories. You take them with you, you tell them again, and you make new ones until your clock runs out. 


We landed in Baghdad International Airport, we had gone back to bury her, in the family plot. Two generations, two mothers and three daughters, standing on Mansour Street trying to guess where from this point, the big house may have stood. Returning to Baghdad exhausted me. Whichever route we took through the unrecognizable yet overwhelmingly familiar streets, I knew we were only chasing multiplying ghosts. Baghdad had become a city that despises itself. Those who were able to had stopped telling the stories, and so the city does not want to remember. Baghdad had erased its magnificence as time had continued, with a cloth soaked in the lie of an Islamic golden age that never was. The city had become harsh, the world’s countless cruelties had taken their toll, and the poor and hungry roamed the streets with a new ruthlessness that I had never seen before. On our fourth night there, I was snatched from the chubby white wrist of my home, and in the struggle my face was shattered on the sandstone walls of the Al-Khasaki sweet shop. 

I am a watch, and I lasted longer than any house she ever lived in. I stayed with her longer than any person she ever believed in. I was there through it all, and here is everything I learned about home:

When home is the rug that is repeatedly snatched from under your feet whilst you are running from lands that still bleed, then inaccurate stories are just as good a home as anywhere else. For those who were born in chaos and somehow brought it with them wherever they ran, almost as if it were in the dust on their luggage or the mud under their shoes, home is simply a word that is sharp and is heavy like lead on their tongues. They may learn to say it, to sing of it and write of it, but they can’t tell you where it is. Home is make-believe, an elusive imaginary, where we go when we close our eyes and breathe, and imagine a kinder place to exist.   

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TEXT:
HANA ABID
UNITED KINGDOM

ART:
ANONYMOUS