never forget that softness is strength, unflinching / against the knife and it is also the knife.
Jess Rizkallah, from “Ghada says,” The Magic My Body Becomes: Poems (via lifeinpoetry)
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@jessr
never forget that softness is strength, unflinching / against the knife and it is also the knife.
Jess Rizkallah, from “Ghada says,” The Magic My Body Becomes: Poems (via lifeinpoetry)
in the way i talk in all the splinters i’ve swallowed i’ve been burying things my whole life
— Jess Rizkallah, from “‘i’ll bury you,’” The Magic My Body Becomes: Poems
english is such a calculated language. leaves no room for blood. just fills in the spaces it made between me and the homeland, wants to protect me from the wreckage it sent over there to birth me here i could swim so long as i don’t think about drowning, but then what would i have left but lungs slowly filling with polished words, cries sounding so much like the ancestors but more like their echoes
Jess Rizkallah, “my arabic,” from her chapbook you look like we could be cousins (via bostonpoetryslam)
never forget that softness is strength, unflinching / against the knife and it is also the knife.
Jess Rizkallah, from “Ghada says,” The Magic My Body Becomes: Poems (via lifeinpoetry)
english is such a calculated language. leaves no room for blood. just fills in the spaces it made between me and the homeland, wants to protect me from the wreckage it sent over there to birth me here i could swim so long as i don’t think about drowning, but then what would i have left but lungs slowly filling with polished words, cries sounding so much like the ancestors but more like their echoes
Jess Rizkallah, “my arabic,” from her chapbook you look like we could be cousins (via bostonpoetryslam)
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i’m better at updating my website than i am at updating my tumblr - here’s where you can read my published work & order my book (if you want to)
the census classifies middle eastern people as white but if we can be called terrorists and white people can’t then are we really the same? is the distance between guantanomo and an acquittal just a pair of parentheses?
jess rizkallah in HEArt
a white poet once told me that no one cares about my politics or experiences. we all start writing too early. we should only be roving eyeballs, our writing stilted on cones & rods. no teeth. all lips to the ass of the canon. 'just see and you must never be seen.' so i consider all this sand & wonder if it makes me seen or unseen. probably depends on the gaze. i consider the deep bruise stretched over the sky. i see armageddon taking a nap. peach pits scattered from when we’ve dared but dared too late. piled so high they blot out the sun. now, a useless reservoir of cyanide. here we are: the world a trashfire illuminating the floors of silent seas,their silences an aftermath of miscalculation now, this negative space where once there were two roaches trapped under a glass & the whole world watched. and no one asks about them anymore they’re out of sight, biding their time & nutrients so we made memes we leaned into the nuclear apocalypse we coped this just in: tonight’s debate comes at you LIVE from the inflamed taste bud like a thunderdome on the collective tongue of the republic, breath held, face turned skyward the clouds all shaped like drones. and not to get political but the brown kids pulled out of the rubble in your newsfeed are complex beings with lives & memories that aren’t yet or soon will be their bodies, but they look like my cousins after a beach day, their skin covered in the haze of glass that woke up sand their blood rising to their cheeks but not breaking skin so you see, that’s where the resemblance ends, until of course they open their mouths, say something right to left about wanting to go home i can’t rightfully call it home but last time i went to beirut’s coastline, i slipped on rocks still covered in oil from a rig israeli jets burst like a cyst on the city’s jawline, i fell into a shadow thrown from an echo under the waves i fell into a silence by the sea i was a tongue sliding over the gum of a toothless mouth of which we have successfully ripped out the tracking devices & the teeth they lived inside of but now everything all at once is screaming even when its not screaming even when its breath held, its head turned skyward there are things i can’t unfeel
t.s. eliot in the time of trashfire, jess rizkallah in rattle
and the body, a prayer to feel guilty about whispering into the night.
jess rizkallah in sukoon
sometimes i forget how big my thighs really are. my thighs could kill a man. they could snatch the lightning like a cigarette from between zeus’ fingers. they high five. they’re always high fiving, always stoked about something. they meet each other like a prayer. they’re always praying for something.
Jess Rizkallah, “they call me Thunder Thighs,” published in Voicemail Poems (via bostonpoetryslam)
sometimes there is only the bubble on the job applications where you fill in the circle next to “white/middle-eastern” because you’re working hard you’re a good American today. you get to be white today. you’re white when you’re behaving you’re a terrorist when you’re angry you’re a liar when they wound you you’re stupid when you’re sleeping, you’re a predator when you’re backed into a corner.
Tonight’s Cantab feature is local moonbeam and open mic favorite Jess Rizkallah! This is from her poem “if teta never had to leave lebanon i wonder if she would make preserves,” published in Drunk in a Midnight Choir (via bostonpoetryslam)
and did you know i punched a hole in my nose to be closer to a bull than a piece of china did you know my throat is all oud strings my tongue is splintered mahogany body that held them taut once i killed it in the storm of myself
Discovering Astarte in a Punchline from a White Man’s Mouth by jess rizkallah (via qahwaproject)
i feel like i am all arms in my insides. i feel like i am arms becoming more arms and then fists when i don’t know how to hold or when i can’t reach. i think i am always reaching.
Jess Rizkallah, “IDK,” from If You’re Reading This I’m Probably Still Yelling (via bostonpoetryslam)
It feels different being an Arab(-American) poet in the wake and midst of this. It’s scarier. Like years of my father’s warnings are lining up around me.don’t scare me like this, with your words. don’t make me think about what they’ll do to you when they read these things. when they pay enough attention to who your parents are …..don’t let them notice you …..don’t let them realize where your last name is from. I’m not saying I’m some martyred artist. I’m saying I’m an Arab saying anything at all.
Jess Rizkallah, “Lyric Essay for Beirut,” published in Nailed Magazine (via bostonpoetryslam)
my body is a prison for my organs. my body keeps them in tune until it can’t. people you love are organs living outside your body. love keeps them in tune until it can’t.
Jess Rizkallah, “The Daylight Is Equal Parts Funeral Procession and Parade,” published in Wyvern Lit (via bostonpoetryslam)
"You want to hear about when our neighbors called us drug dealers or terrorists at stop signs and little league games."
Check out this brilliant essay from Jess Rizkallah, the newest in our revamped blog series.