Prose

Time Is Dancing

hold it in

now let’s go dancing

I do believe

we’re only passing through

Ben HowardTime Is Dancing

THAT summer we were in the ED together. Patients poured in until every room, every wall, every hallway was packed. But it was good. We worked hard through the hot days, ministering to the masses, until every cough, every fever, every errant heartbeat was beaten into submission. We were young; we thought we could cure the world. And, often, we did. It was that kind of summer.

There were more of us there, of course, but, for me, there was only her. After work, she’d invite me back to her place, just a couple of floors down from mine. We were poor residents, living in the broken mid-century monstrosity across from the hospital in Uptown. We wouldn’t even change, just sprawl onto her IKEA couch in our filthy scrubs, nursing our battered bodies on each other. We never kissed; it was more intimate than that. We held each other, softly, fiercely, breathing in sweat and last night’s shampoo and shards of our souls. Or whatever was left of them after a year of emergency medicine. We watched movies together, too. Shitty ones. Always horror flicks, somehow. Arms wrapped around every inch of skin, hungry for something soft and warm after the beating we’d taken in the ED. Once, during a jump-scare, she gasped, and bit into my arm. But we never talked about it afterwards. Not to each other, or to anyone else.

We were friends — good ones, even — laughing at our own insular jokes, catching each other’s eye and, always, always, finding reasons to brush, caress, stroke any inch of skin. She was small and soft and smelt of spices I’d never heard of. When she grasped my forearm, her tiny fingers with their painted nails looked absurdly small, absurdly adorable. She’d always dig in, just a bit; never too hard, but hard enough that, later, I’d remember she’d been there.

The hospital was near Lake Michigan, on Lakeshore Drive. I could see the lake from my window. The hospital, too. And, of course, the crumbling detritus of Uptown. The first time I’d walked in, seeing all those city lights sprawled out across the night sky, it’d taken my breath away. And it still did. Sometimes, because we were poor residents, they’d make us do twenty-four hour shifts, trying to squeeze as much labor out of our young bodies as they could. When she had one of those, I’d sit on the ledge by the window before turning in for the night, breathing in all of it: the lake breeze, the endless, darkling waters, and the flashing lights of yet another ambulance on its way to the ED.

Whenever I was at her place, we’d eat with one spoon, taking turns to feed each other a bite of buttered rice, or vanilla ice cream, wiping the excess from the corners of each other’s lips. What the hell were we doing? It was beautiful, in a way. After caring for so many patients, I guess, we just needed someone to care for us. I’d only eat halal so she’d bring up a plate of whitefish from the cafeteria, making sure I had something for sustenance. It was strange, really, watching our sense of self enlarge, ever so slightly, to envelope each other until it was second nature. She’d always leave little hearts on the sign-out for me, right next to my name. Two of them: one larger than the other. Was it an echo, or an affirmation? All I know is that I’d look down at those scribbles on long shifts and feel the stirrings of something I thought was lost long ago.

One night, she held her hands out to me, shyly, and asked me to paint them. I did; a thick, pink coat first, then — once it dried — a second, shiny lacquer. They sparkled where they caught the light from the lamp by the open window. She had an old guitar — a hand-me-down acoustic — and I dusted it off and tuned it and played it late into the night; sometimes badly, but, sometimes, the stars aligned in the room and out across the dark Midwestern sky where the aurora danced with no one to watch them and all I could do was lay back with my head in her lap, the heat from her browned thighs burning, burning bright.

In a couple of years we’ll be done with residency and tossed across the vast expanse of America like a handful of seeds from the pockets of a dilettante farmer. What‘ll be left, then, of these long days and longer nights? Memories, their edges softened and sepia-ed by time, glitter in the starlight. I’ll leave you with one:

Soon after a large lightning storm passed on, out over the lake, you called. Let’s go for a walk, you said. Wear something nice, you said. We walked down to Montrose Harbor, arm in arm, and sat on the rocks, feet dangling in the water, watching the birds and the boats come home for the night. On our way back, past the thick woods, I asked if you’d ever seen a firefly. You looked up at me and shook your long, dark hair; no, never. I held your bare, sun-kissed shoulders and spun you around to the deep woods. Look, there. Just pick a spot; don’t try too hard. And you did. That night, jaan, you saw the fireflies. I saw you.

Summer begins in Chicago, IL (2022)

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Prose

Monsoons

for Papa — the paterfamilias

one by one

the old guard

passes on

and

oceans away

we grow old, too.

LONG before my grandfather was my grandfather, he was a boy who went to a large, colonial boarding school in the foothills of the Himalayas. At dawn, they would all wake, bleary-eyed, and run a couple of miles before showering and heading to the mess for breakfast. There were three kinds of meals prepared each morning — English, halal, and vegetarian — for the three kinds of students. When summer arrived, he would often go to stay at one friend’s or another’s, following a patchwork of brotherhood that stretched across India, linked by the efficient trains of the Raj and schoolyard camaraderie. But, sometimes, he would come home, and then he would spend his days bicycling through the streets of Bombay; through sheets of monsoon rain; through Partition itself; until time caught up to him.

Now he walks in the neighbourhood park in the late Karachi afternoons with the other old men until the sun sets.

But, sometimes, in his dreams, he is a boy again and it is warm and bright again and his mother is still in the kitchen, humming as she cooks, and he hears a shout from outside and he grabs his bike and runs out to meet the other kids and together they cycle through their beloved Bombay once more, a city that, finally, lives on in them, lives on until the very last one remembers it for the very last time.

***

This morning on the news they said the monsoons will begin soon.

Photograph by Shanzeh Najam.

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Prose

Melancholy Tastes the Same in Italy and Other Stories

“A sad story, don’t you think?”
Haruki Murakami, On Seeing the 100% Perfect Girl One Beautiful April Morning

1.

I thought all the kids did it. Whenever it got too much, you’d just take it all, unspooled as it was, and pick a song. (Any song.) You’d listen to that song again and again and again, until the feeling was the song and the song the feeling. And… then you didn’t have to worry about it ever again. It worked really well — it still does. The only problem is that now I’m old enough to forget things. And sometimes I’ll play a song that’s vaguely familiar and, before I know it, all those threads that I’ve carefully stashed into it will come flying out. And high up on Mount Olympus, Ariadne can’t stop giggling. 


2.

I remember the softness of her naked feet on the cold, clean tiles. 


3.

At dusk, bright billboards of you across Lahore pursue me home.


4.

Even the smallest Dairy Milk is purple. Once, purple was worth its weight in gold. The Phoenicians would crack open hundreds of thousands of Mediterranean sea snails to make an ounce of Tyrian purple. Imagine that. Imagine the audacity of trying to overwhelm her with quantity, to stretch my hands out “thiiiiiiis much”, “to the moon and back”, “infinity times infinity”, but I can’t say all that, of course, so I do the best I can and save up for weeks and weeks and buy as many of the small, purple bars of Dairy Milk that I can. And when I turn the large backpack upside down before her, I can see the concern for my sanity in her eyes. Believe me, this is the best that I can do to show you how much. Forgive the quality of the chocolate. Once, purple was worth its weight in gold. I stand before you, hoping that the quantity is enough for you to extrapolate the quality. You were always good at math. 


5.

The indolent Sunday afternoons of my childhood are estranged from me. Lost in time. They seemed so endless back then. Will I ever get them back? Or, if I do, will it simply lead to a relocation of those longings to another horizon, still further back. I dream of horizons of yearning, each gazing at the other, a succession of infinite funhouse mirrors in a Barnum and Bailey multiverse. “But it wouldn’t be make-believe / if you believed / in me.” 


6.

A final memory. Another birthday party. She is not coming. So I talk to an old friend. An animated conversation about politics — the usual. When, suddenly. Small, soft palms cover my eyes. The heart-note of a perfume I can always pick out, no matter how crowded the school’s corridor. A voice breathes in my ear. Guess who? And I can not breathe. For I know that this moment will forever be a barometer for my happiness, a high-water mark left on the levees of my heart.


7.

And now here I am, on the last train home. And I do not know what to make of that.


we were running through the autumn leaves /
a couple kids just wearing out our jeans…

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On the sweet sounds of static on old radios

Time was a string of knots, a spiked wheel,

a seam that you could split and heal—

As a boy, reclining on horsehair

one morning on a train,

you watched the countryside,

a single light-filled frame

in which lives flickered, drawn forward

like a train along a track; you saw yourself,

suspended in a fractured, endless motion,

going, never going back.

Lauren Wilcox, The Moving-Picture Principle,The Paris Review, Summer 2004

AND then there was that band that had that song called the Loving Sounds of Static. Before then, I’d never thought of static as something that could be loving; beautiful, even.

And then I learnt the only thing I remember from high-school physics: that 2% of the static you hear on old radios as you turn the dial from station to station at sunset is primordial waves — remnants of the Big Bang destined to course forever more through the lonely spaces between the stars and I feel a bit strange knowing that, don’t you?

And the band was called Möbius Band and a Möbius strip is a band, too — not the musical kind — but kinda like the one you wear around your wrist except it has a twist in it so you can visit both sides — inside, outside — without lifting your finger.

And Arthur C. Clarke once wrote, famously, about the bittersweet songs of distant earth but he also wrote about a wall of darkness at the edge of an alien universe and I remember reading it twice in one go and wondering at the magic of it all, and wanting to be a writer, and that was about a Möbius strip, too.

And since then, that’s what I think of whenever I hear static on old radios: sci-fi and interstellar origins and whatever it is that lies just beyond the border of everything. But more and more, now, I think of those quiet evenings spent endlessly tracing a finger along the continuous surface of a band worn, once upon a time, by you.

 

 

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Prose

How I Discovered the Conference of the Birds

This post was first published here, on the Ziauddin University Atlas Blog.

WHEN I was a boy and still believed in magic, I would frequent book fairs searching for the first poem I fell in love with. Some books, with their glossy covers, promised so much… but they never could live up to those glistening promises. Others were dingy paperbacks, coming apart at the seams and, while they were alright for a slow Sunday, they weren’t much good for much else. And so it was that I found myself at yet another book fair, picking my way through the endless shelves, careful to avoid the stacks of solemn textbooks, hoping to find it – whatever it was.

And there it was.

There was just one copy, standing upright on a small, empty table. And the cover was purple. Why the hell is it purple? I thought. I picked it up. It was a hardcover; a slim little volume printed in a timeless serif typeface. It seemed to be divided into short anecdotes, punctuated with gorgeous brush drawings. “A gift for distinguished men and a boon for the common”, it claimed. Cool. I hoped it wasn’t too expensive: I had just a bit of pocket money left. I took it to the counter. One hundred and thirty rupees, please. I fished around in my pockets. A red note – yes! That’s a hundred rupees! And… a bunch of tens, too! One, two, three. Perfect! I had the exact amount. Poor but happy, I returned home to see if this purple thing was worth the last of my lucre.

In the coming years, after I had read and re-read and folded and scribbled and underlined my copy of the Conference into tatters, I would look back on those one hundred and thirty rupees as the best one hundred and thirty rupees I had ever spent.

Ostensibly, the Conference of the Birds is about a epic quest by a group of birds to find their king. They journey across mountains and valleys and seas. They journey through the many gilded cities and rural backwaters of love. It’s about love. And the yearning in your tired, aching heart, late into the night, when all your desires melt away, save one.

Look, either the Conference of the Birds is the best book you’ll ever read, or it’s not. Great things are polarising that way. Anything else I say beyond this point will just ruin it for you. There’s only one way to find out and there always has been. Read the damn book.

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Sohni

This post was also published here, on the Ziauddin University Atlas Blog.

Man’s heart a river be

deeper in depth than the unfathomable oceans,

Ah! Who knows the wailing of the heart

in search of its Lord?

Sultan Bahu, d. 1691, (translated from the Punjabi by Sayed Akhlaque Husain Tauhidi)

THERE is a stubborn Sohni in my soul who longs to cross the Chenab of two worlds to reach her beloved, Mahiwal. I refuse. She persists. I patiently explain how fragile my ghaṛiya; how vast—how turbulent—the waters. It is but a simple thing fashioned of simple, unbaked clay: how dare it aspire—ad astra—to the stars? She smiles at me and slowly shakes her lovely head. 

A marvellous thing: as we watch the shoreline recede behind us—and the waters swirl higher, ever higher—my turbid heart settles for the first time since I was a boy of twelve and found that battered old copy of the Conference of the Birds and learnt of love and Love. 

And together, my Sohni and I watch as our Mahiwal appears on the distant bank and dives into the waves and strikes out for our simple, fragile, star-seeking, little ghaṛiya.

(Still from the music video of Coke Studio’s “Paar Chanaan De(Across the Chenab) by Noori ft. Shilpa Rao.)

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Dear Baba

Dear Baba,

A million years ago — as they sat by their little campfire — a father pointed out the constellations to his son. And the infinite night sky didn’t seem as intimidating anymore.

It’s the stories we grow up with that whisper the loudest within our hearts; they are the framework for our dreams; they pulse with the rhythm of our short, bright lives.

Thank you for giving me the stories that have made me who I am today. (Here is one of them.) Stories of social justice and dignity and equality. Stories of a divine love that is greater than the stars. And stories of who I was, who I am, and who I will be.

They are stories that will last a lifetime and I shall never tire of telling them.

Love you, forever and always.

Your son,

Shahzéb

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The best bit of Brooklyn Bridge isn’t

Just as you feel when you look on the river and sky, so I felt;

Just as any of you is one of a living crowd, I was one of a crowd…

What is it, then, between us?

What is the count of the scores or hundreds of years between us?

Walt Whitman, Crossing Brooklyn Ferry

THE best bit of Brooklyn Bridge isn’t the walk across it at sunset.

It isn’t the sparkling Manhattan skyline stretched out before you.

It isn’t the endless East Coast sky; beckoning, forever beckoning.

And it isn’t the quiet ships plying the dark waters of the Atlantic beneath you.

The best bit of Brooklyn Bridge is reading the little letters to tomorrow carved into the walkway by thousands of travellers.

Like the Lascaux cave paintings, they speak to a deep and profound human need to say:

I was here.

I existed.

Remember me.

Remember me

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(Why I Love) the Nostalgia of the Infinite

Strangers leave us poems to tell of those

they loved, how the heart broke, to whisper

of the religion upstairs in the dark,

sometimes in the parlor amid blazing sunlight,

and under trees with rain coming down

in August on the bare, unaccustomed bodies.

Jack Gilbert, Relative Pitch

THE Nostalgia of the Infinite has been my favourite piece of art for as long as I can remember. 

I don’t know when I first saw it — perhaps it had something to do with the indie game, Ico — but none of that truly matters. What matters is this:

That there is a deep and yearning nostalgia within Man’s heart. He feels it flutter when he looks upon the endless sea. He feels it tighten when he gazes up at the beckoning stars. He feels it even when he is with the one he loves most in the world. 

The heart yearns to mingle itself with the object of its desire and it can not and so it yearns to be whole. It has yearned since the dawn of consciousness and it yearns still with each (lub dub) and every (lub dub) beat. 

For there was once a time when it was not so — the heart was whole and it knew no sorrow. But that time has long since passed and is but a half-remembered dream from a childhood siesta for ever ago. But men will do strange things to appease their half-remembered dreams. Alexander led his armies to the very edge of the world. Thousands died in the impenetrable rainforests of the Amazon searching for El Dorado. And in a town called Babylon, a man built the greatest tower ever built to look upon the Face of God. It has always been so. 

But look closer. 

There they are, in plain sight. 

(two)

And, as they lean closer in the empty piazza, for a moment, their shadows become…

(one)

Giorgio de Chirico, The Nostalgia of the Infinite (Paris, 1911)

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