pink

for Nashwa Y. Butt

after Love and Light by Lorette C. Luzajic (Canada), 2023 CE

 

 

fajr (dawn) / shephard’s candle & incense sticks / labium superius oris & labium inferius oris (baptised in prayers) / kashmiri chai / himalayan salt / nelumbo nucifera (bean of india) / chinese vase (hand-crafted) / holi / iskon hindu temple / pink ribbon / tepf tuk-tuks / pink line (first bus) / phoenicopterus (roseus ‘n ruber ‘n chilensis) / chinese silk table runner (hand-sewn) / glass goblets / stella rosa rosé / humpback salmon / red apple guava pulp / pitaya / yangmei lilly pilly berries / pleurotus djamor / lokum / fresh water pearls / pink panther / barbie (land) / milk chocolate m&m’s / fairy floss / sweet popcorn / egyptian linen chino & shacket / oak wood jewelry box (hand-carved) / bohemian bead necklace / tibetan buddhist bracelet / victoria’s secret lingerie / kisha umbrella / mini cooper (3-door hatch) / cedar wood key hanger (hand-carved) /  fear of freedom –e. fromm (cover front) / the shape of the beast –a. roy (cover spine) /  “courage is knowing what not to fear” –plato (cover back) / al-iqra bookmark / logitech desk + mouse pad / pilot 78g+ stylo / sailor shikiori ink / spectra a4 paper (acid free) / black devil pink (american blend) / zippo / گلابی آنکھیں جو تیری دیکھیں، شرابی یہ دل ہو گیا /* l' enveloppe / garoob-e-aftab (dusk)

 

______________

*“Your pink eyes sent my heart racing”/Gulabi Aankhein jo teri dekhein, sharabi yeh dil ho gaya (excerpt from a classic Indian song, “Gulabi Aankhen” by M. Rafi (1970). English translation: Author (Mine).

The King of Fruits

for Mona & Billa 

after High Noon by Edward Hopper (USA), 1949 CE

 

       1

   The Rebel

   “There’ll be no regular “Lunch is Served!” announcement, today!” my feminist mother succumbs to the (circa) 50°C baking hot noon; relays her inherited/ascribed role-defying gravamen from the kitchen floor to my father—being an IT/AI aficionado; casually immersed in the newly acquired Samsung Galaxy A04s with his newfound love for Facebook/Metaverse in the TV lounge in the yellow-green Tartan pyjamas. As opposed to uttering the anticipated rejoinder of disapproval, my father, in fact, is jubilant to receive my mother’s Oracle of Nuskuesque proclamation! And his digital keyboards-savvy fingers, at once, feed half a dozen numbers to the luminous dialler on his smart phone: The Mango Party is ON!

 

   Unable to contain the rush of blood, he leaves the smartness of his smart phone to its own devices, jumps from the sofa – like an overly excited kid leaves everything alone on hearing the bells of the ice cream street vendor – and drags 2 x sealed wooden crates of (Safaid) Chaunsa and Sindhri – fresh consignment received a couple of days ago from Multan – out from underneath the wall-mounted white marble kitchen table; grabs the claw hammer (with a wooden handle) from his > a decade+ old stainless-steel tool box; and claws all 1” long nails out from all four top sides of the both rectangular frames! So, which of the favours of your lord would you deny? – Thanksgiving from his lips echoes across the entire lower portion of our house.

 

       2

   The Dining Table

 

   AND voilà! In < 30 minutes, a couple of my maternal/paternal aunts/uncles – along with my cousins – show up at our doorstep in an array of Polish and Tartan checkered pyjamas—like the colony of honeybees descends upon the field of dandelions in the wild! […] The 20+ mangoes’—baptised in a couple of ice cubes-laden oval glass bowls—aroma-laden dining room lures everyone to the dining table – which, only ‘til the said impulsive congregation announcement for the afternoon, was a proud host to an array of my private Kraft journals, Kaweco/Sailor/Pilot fountain pens ‘n inks, Lenovo ThinkPad E15, et cetera.

 

   Following a rather brief hiatus of hugs ‘n kisses/pleasantries, we all dig in with the stainless-steel fruit silverware! […] “Mango is like a woman; you feel all its delicious, delicious curves with your bare hands; gently peel its skin off with the fingers – as if undressing her durin’ the foreplay – even let the juice stain your clothes – the proper HUMAN-ANIMAL way to eat the fruit!” U. manages to attract a couple of frowns and titters. “That’s most indecent; most rubbish analogy I’ve ever heard!” R. registers her disgust with U. and us, “you simply cut the fruit into two halves at the centre; remove the big elliptic kernel; fashion 2 x mango cups; use the spoon to savour the marrow – the CIVILISED way!” “Just spare the poor fruit all the hugger-mugger/hodgepodge of ‘civilisation/barbarism,” A. voices his discontent with the ‘right way/wrong way-mindset’, “just puncture the fruit ‘round the stem bit with your teeth; suck, suck, suck the pulpy-life out of it; feed the peels to the (un/domesticated) goats ‘n lambs ‘n cows; plant the seed in the earth – the NATURAL way!”

 

   All the harangue/tautology—on the anatomy, history, socio-economic invaluableness, health benefits, symbolism in art ‘n literature of the King of Fruits—makes my mother – a diabetic – terribly fail at taming the urge and she eventually ends up joining Le Fête! And now, my father rather advertently issues a ‘phallocratic decree’ to her: “[…] But, not > 2-3 slices, please!” (She has always been appreciative of his lovin’ ‘n carin’ disposition; no retorts slip from her mouth, this time ‘round.) […] As the ‘Mango Lovers’ carry on with their trivia, my mother retires to the kitchen to prepare a couple of pitchers of fresh salted lassi – to help us evade any indigestion episodes.

 

       3

   The Myth

 

   “What if it was, in fact, the mango, not the (in/famous) apple that the (notorious) Serpent had tempted one Eve with in the Garden of Eden?” I mischievously bid the subconscious adieu, as we all prepare to retire for the afternoon siesta after drinking 2 x 350 ml glasses (each) of the said iced yogurt-based beverage.

 

______________

1. Oracle of Nusku: A slave-girl of Bel-ahu-usur from Harran, who’d led a revolt against the late Neo-Assyrian King named Esharhaddon during 671–670 BCE – on receiving a ‘divine message’ from Nusku (Mesopotamian God of Light & Fire).

2. Chaunsa and Sindhri: Two distinct varieties of mango – among 400 others e.g. Langra, Dusserhi, Neelum, Gulab Khas, Anwar Ratol, Fajri, Malda, et cetera – that are locally grown in Pakistan.

3. Multan: A city in the Punjab province of Pakistan; a.k.a. ‘City of Saints and Shrines.’

4. Al-Quran (55:13).

5. Lassi: A traditional yogurt-based drink in India/Pakistan/Iran.

Saad Ali

Saad Ali (he/him) - bilingual poet-philosopher & literary translator - has been brought up and educated in the UK and Pakistan. He holds a BSc and an MSc in Management from the University of Leicester, UK. By profession, he is an Educationist and a Consultant (Academic Research, Management, Marketing & Communication). His new collection of poems, Owl Of Pines: Sunyata (AuthorHouse, 2021), is an homage to vers libre, prose poem, and ekphrasis. He has translated Lorette C. Luzajic’s ekphrases into Urdu. His work appears in The Ekphrastic Review, The Mackinaw, Synchronized Chaos, Lothlorien Poetry Journal, Lotus-eater, two poetry Anthologies by Kevin Watt (ed.), two e-Anthologies at TER, and Poetry in English from Pakistan – a poetry anthology by Ilona Yusuf & Shafiq Naz (eds.). He has been nominated for the Best of the Net and Best Microfiction. His ekphrases have been showcased at the Bleeding Borders, Art Gallery of Grande Prairie in Alberta, Canada. Some of his influences include: Vyasa, Homer, Attar, Rumi, Nietzsche, Dostoyevsky, Freud, Jung, Kafka, Tagore, Lispector et alia. He enjoys learning different languages, travelling by train, and exploring cities/towns on foot. To learn further about his work, please visit: www.saadalipoet.com (forthcoming), or his Facebook Author Page: www.facebook.com/owlofpines.

Why this poem knocked Martheaus out:

Before I opened these poems, I had just read a quote from Terrance Hayes where he says poetry is meant to stand against the status quo. These poems are great examples of that. The "poet word" I often hear in conversations with these works is "textured." It's an odd descriptor, but it seems to be referencing poems that have such a wide range of linguistic, referential, and formal styles that it feels like you're running your hand over an intricately detailed woodcut. With the ekphrastic frame, the poly-tonal voices, the huge array of reference points, the <+/ punctuation, the use of more than one language--ahh, it's like a great milkshake reading these.

Occasionally, I'll see "list poems" (that is, poems that have a syntax predominately cataloging) get a bad rap. I sometimes get it: writers love their verbs and communication through articles and pronouns and all the connective words--not only listing things--is how we're taught. But reading "pink," I'm awe-struck by how innovative and "textured" (there's that word again) you've managed to make it. Due to the blocky and close-togetherness of the form, the list reads at a quicker pace. So, when you get moments like "fajr (dawn) / shephard’s candle & incense sticks / labium superius oris & labium inferius oris (baptised in prayers) / kashmiri chai / himalayan salt" we become quickly oriented to all the difference variance on language we're getting. Only into the second line and we've had Arabic, English, Latin medical terminology, religious language, and Eastern (Kashmiri and Pakistani) goods that are popularized in the West. And that's only the start of a poem that goes through media and consumable products and Greek lit, and a Rafi song. "Pink" allows the reader a brief tour through the internal world of a multi-tongued speaker.

Where to start on "The King of Fruits." I'll be uncharacteristically brief and just say that the piece blends a potent flavor (apologies for the American spelling) and aroma with a quiet pause of reflection. This is a piece where you have to find the heart's quiet thump in the midst of the loud--and brilliant--roar of color and verbose. For me, it was following the mother.

Previous
Previous

Arushee Bhoja

Next
Next

Allison Wall