Issue 24
Push Black
Richard Bruce Nugent, Fire!!, 1926
Issue 24 Push Black
4
Journey/Home
Tyler Odeneal
5
ANGEL’S TRUMPET
I.S. Jones
6
Vengeance & 2002
Krystal Nikol
7
we too can write of clouds
Lena Shepherd Hamilton
8
Leaders of the Free World
Dalia A. Elmanzalawy
9
This month
Elizabeth Mudenyo
12
Women of the Sun
Esther Aminata Kamara
13
15
The Highway
Anointing Obuh
16
Nothing Else
Darryl Holmes
17
Occident or Accident?
Philip Staley
18
Fresh Cut
James Stewart III
19
20
Anti-funeral
Samuel A. Adeyemi
21
EXT. HERE – DAY & Ad-Lib
Nova Cypress Black
From the Editors
Darius Simpson, Summer Young

With such a small staff in such a tumultuous time, the call for Issue 24: Push Black went out with a particular interest in the theme of Black Resilience. So often what we gravitate towards in Black art involves death, other endings, brutality enacted solely on Black folks, etc. Here we sought to explore what survival, perseverance, and continued existence in spite of looks like. We asked our submitters for work that explored what keeps them going.

The editing team decided it was important for this to be a special issue comprised completely of Black artists. This presented a complication since only one person on the editing team was Black. In an effort to offset that imbalance and allow people who align with the identities of the contributors to interact with the work, we sought out a team of four Black advisors (two poets, one prose writer, and one visual artist) who were contracted to participate in the selection process. We sought out the same connection when it came to choosing the designer of the issue.

What we received was a generous indulgence of our theme and a surge of some challenging, interesting, and inspiring work; it made selecting a limited number of pieces in each genre even tougher. Immense gratitude goes out to our advisory team, our designer, and especially to the contributors for trusting us with their work.

As you discover this issue, we hope you find as much inspiration in our creators’ resilience as we did.

Cover illustration by Richard Bruce Nugent was originally featured in Fire!! Devoted to Younger Negro Artists (1926).
Delilah, God (A Black Woman) Speaks, & Jezebel
Asia Bryant-Wilkerson
Asia Bryant-Wilkerson

Bio

Asia Bryant-Wilkerson is a poet and installation artist from Los Angeles, California. She recently finished an MFA in Performance & Performance Studies at Pratt Institute in Brooklyn.

Delilah

Shaped in the image and likeness of her
God made me to be my own salvation
My own forgiveness is all I shall seek
I saved myself then I saved my lover
From himself. I cut the patriarchy
Off at the roots, could not let another
Strand grow out his head—an infestation
Starts to fester and ruins everything
Samson will not become the residue
Stain of a war another man started
Termites chew on foundations. Chipping away
Piece by piece, wars turn soldiers to dust
My God gifted me the knife that saved us
Carved our edges smooth enough to love.

 

God (A Black Woman) Speaks

I want no woman to fear me, freewill
A gift I have given all those who praise
Me, A God who still loves those who do not
If you fear something, let it not be me
Those who know my wrath will know my mercy
I will give you everything you ask for
In time, you’re my devoted disciples
I am the breaker of chains, you are the
Breaker of brushes and combs and barrettes
Everything about you is soft but not
Fragile or able to be broken
There will never be a need to fix you
You made yourself, I just gave you the tools
Bless me, shaping yourself in my image

 

Jezebel

I will give you nothing that you demand
I have crushed kingdoms of men who want me
to bend to their will, I spit in the face
Of any man who wants to twist my prayers
Into a weapon their God can use against me
I married a man, but my faith did not
I drape my beliefs around my neck like
Chains of gold your riches could not afford
My dignity dressed in the finest rags
Still. You want me to fold. Unbecoming
Is what you claim I am. Harlot or whore
Speak to me as if you know who I am
When they have nothing left to take from you
Ungodly men will try to take your name.


Bio

Asia Bryant-Wilkerson is a poet and installation artist from Los Angeles, California. She recently finished an MFA in Performance & Performance Studies at Pratt Institute in Brooklyn.

We’re Going to Need a Bigger Pot
Tara Campbell
Tara Campbell

Bio

Tara Campbell (www.taracampbell.com) is a writer, teacher, Kimbilio Fellow, and fiction editor at Barrelhouse. She received her MFA from American University in 2019. Previous publication credits include SmokeLong Quarterly, Masters Review, Jellyfish Review, Booth, Strange Horizons, and CRAFT Literary. She’s the author of a novel, TreeVolution, and three collections: Circe’s Bicycle, Midnight at the Organporium, and Political AF: A Rage Collection.

Work

First step: get out a big pot.

No, bigger.

Bigger! If you’re going to take on the patriarchy, you’ll need to make a shitload.

Now fill it full of tears—wait, where are you going? 

Another pot?

No, that’s too big. Why are you—?

Hold up, you’re trying to take on racism too? No, that’s too much at once.

Well, no one can say I didn’t warn you.

Now, fill your big-ass pot full of tears. Yes, of past and present generations.

And add a little sugar, because if protest is too bitter, no one will eat it.

Just a little more sugar…

A little more…

No, that’s too much; now no one’s taking you seriously. Throw it out and start over.

 

You sure you don’t want to just focus on one thing at a—?

Fine.

Start again with the tears (don’t worry, there’s plenty).

Add your sugar.

No, no vegan sweetener, that’s too “extreme;” no one will take it seriously.

Honey? … All right, fine.

A little more.

A little m—okay stop! Perfect.

Add:

a sprinkling of facts

one case study (two as needed)

a pinch of personal experience

Simmer.

Now, throw in a microaggression.

Simmer.

Stir in a narrative of injustice, roughly 400 years’ worth.

Boil.

But not that much. It’s too angry now; no one will eat it. Throw it out and start over.

 

What’s with the cauldron? You’re adding LGBTQ+ and disability rights too? And the environment? Immigrants? Healthcare? Gun violence?

Whoo, child.

Okay, we’re gonna have to make this all-American style or we’ll be accused of not loving our country and no one will eat it, okay?

So: sugar. Yes, brown sugar’s just as good.

Now add:

your sprinkling of facts

two case studies

a pinch of personal experience

And simmer.

Now, add your microaggression. Make it two.

Keep it at simmer, nice and steady.

Stir in your injustice, maybe just half this time.

Bring it to a low—not a roiling—boil.

Now, turn down your heat and add a cookie. 

I know, but they need their cookie to help it go down.

Fold in the self-interest. It’s that container with the picture of all the boats being lifted by the rising tide.

Keep it on simmer.

 

And here we are, at the final step, the most important one: send out your invitations. 

Yes, to everyone. And keep the cameras rolling.

Now ladle the protest liberally, over all media. Don’t be stingy, now.

Maybe a little splash for family and friends, as needed.

And don’t forget your elected officials. Be extra generous there.

You’re doing great now; keep going, keep going.

I’ll keep the fire burning.

You keep serving it up.

I’ll help you, as long as it takes.


Bio

Tara Campbell (www.taracampbell.com) is a writer, teacher, Kimbilio Fellow, and fiction editor at Barrelhouse. She received her MFA from American University in 2019. Previous publication credits include SmokeLong Quarterly, Masters Review, Jellyfish Review, Booth, Strange Horizons, and CRAFT Literary. She’s the author of a novel, TreeVolution, and three collections: Circe’s Bicycle, Midnight at the Organporium, and Political AF: A Rage Collection.

Journey/Home
Tyler Odeneal
Tyler Odeneal

Bio

Tyler Odeneal, a native of Milwaukee, WI, is a student in the Creative Writing MFA program at Columbia College Chicago. His work seeks to examine the complexities of the Black experience. He’s had fiction and poetry published in Furrow Literary Magazine, Glintmoon Literary Journal, Genre: Urban Arts, and elsewhere.

Work
Journey/Home
Issue 24: Push Black

When I was older I took a different route, journeyed back to that place where they killed us.

Home.


Before, we begged Momma to take us to the park, the corner store, to swerve around ancient potholes, slow for games of basketball, black bodies playing in the street, to pass our old apartment on North Avenue, facing east. We longed for the swings, these objects helping to lift us into the air, propelling us into a joy we knew as momentary, stagnant—even in youth our naivety having gone elsewhere. My brother, Bobby, was thirteen and questioned everything, cockiness oozing from his pores, sweat decorating his forehead. He studied everything too, and on the swings he’d instructed me to pump my legs, kick them with force, only way I’d go higher. When I didn’t reach my goal, he lectured me, something about being twice as good. I breathed in, out, kicked harder, the buzz of flies passing, dandelions out of reach and yellow as the sun. We were birds: free, weightless, unbridled, until coming back down to earth, recalling within seconds this place that we’d momentarily forgotten.

Upon our ride home from the park we smiled, grinned even, though we knew we wouldn’t return for a while. The swings at the park near our house had been broken for as long as my mind could recall and still we’d sat in grief hoping they’d resurrect. When we finally began the journey to the park across town, pretty houses on the lake just blocks away, we sat in the backseat of Momma’s car, excitement and expectancy crafting giddiness in our beings. Craved a myriad of snacks—hot chips and oatmeal cream pies and juices—Momma would scrunch her nose, purse her lips, but she’d give in as long as we’d agree to finish dinner.

The journey to the park was a gift, granting faces lax and smiling and music pulsing from cars fast, slow, a colorful variety. We watched men, laughter like fireworks shooting into unsuspecting air, women holding hands with children, and warmth, and hair flowing, eyes eating, darting in wonder—my brother’s and my eyes too.

The clatter of Granny’s cane startled us as she swung her body into the car, and we laughed hard, harder than we should have, Momma cutting us a dirty look through the rearview mirror. Granny waved goodbye to a tall man slouching in a wheelchair in the courtyard of her apartment and Momma joked that the man was her boyfriend. “Please,” said Granny, waving a hand in Momma’s direction. And Granny’s fingers were long and brittle, branches stemming from the tree of knowledge.

In sunlight reflecting the dashboard, the radio sang high and low and hasty and sweet and hard. A decisive noise escaped Granny’s throat and she flicked over to “Love’s Holiday” by The Elements. She and Momma chuckled and I wasn’t sure why but I caught bits of laughter like warm rain anyhow.

We drifted around curbs, gasped quietly at a tree dressed in balloons, deflated, and faded photographs and ribbons and teddy bears for a girl, my age, who’d been killed, bullets straying,  intended for grown men but Kenya’s blood staining the playground. We marched in the street with Momma, a Baptist church nearby heading the walk. Everyone wore orange, held signs and Momma cried, held me tightly, cooked meals, took up donations for Kenya and her family.

Momma volunteered at a picnic in honor of Kenya, painted faces—children looking into mirrors and seeing themselves as more, extensions of qualities already there, in bloom beneath the surface. They were whatever they wanted to be, paint fading, melding with their skin, their truest selves. Pinks and purples and yellows and spirals covering my face—Momma birthed me a butterfly. I hadn’t asked for anything, indecision fueling my young mind, so she said she’d work her magic. And I saw myself transformed in the mirror, and asked her why she’d chosen the intricate creature. “Butterflies transform. They come from caterpillars, start off as beautiful little things and the world allows them to change. To grow into something even better. That’s what I want for you, baby girl.” And then she shooed me away while another girl approached surveying my face, expectancy a twinkling in her eyes.

Granny swayed her head as her song neared its end, silver hair flowing in the wind. She turned toward me, did that thing only she could do, caught my eye while I gazed at her, a smile growing quickly upon her face. Granny could see me even when I was invisible. 

At night I was afraid to open my eyes in the dark, thinking that with my skin, the color of night, I would vanish and no one would notice. Granny would. 

I smiled too and gave in, my mind droning in whimsicality, toying with the lyrics of the song: Look into your eyes ‘till I’m hypnotized… Look into your eyeeeees.

Men and women and children, sometimes wearing school uniforms in summer, same as mine, met my gaze and Momma’s deep breaths and Bobby too excited to notice any of it. My brother locked eyes on the store, mouth open, wonder pulling him forward. The woman in a faded pink t-shirt asked Momma if she could help her family and Momma told her she’d see what she could do but I knew that Momma would help. It was her nature, she’d extended herself—a highway. 

We traversed the isles, pirates searching for treasure hidden in plain sight. Darted over to coolers for sugary drinks and Momma scolded us for running in her motherly way and when she wasn’t looking we’d run again. We turned down an isle and discovered a boy from our block, Johnny, who shook hands with Bobby, tended to the treasures we’d left behind. Soon, Johnny was standing behind us at the register, Momma passing us bags, arms sagging, too excited to complain.

Officers traversed the block, cars—apparitions—in the street, pulled us over at times, bored, proud men, manufactured toughness radiating in their voices. They parked outside of the corner store – elephants and whales, and we, spiders – fire surrounding their vessel. Eyes watching them, but wanting to see God, the sky, pear trees for my consumption. Up above, our skies were graying. 

They watched as we exited the store. And Bobby shook hands with Johnny one last time, and they smiled, bright teeth contrasting their dark skin. I smiled too. And the cashier rushed out behind us, fingers pointing, hands grabbing, Johnny, Bobby pulling away from the man’s grip. The cashier went for Johnny’s pockets, firm hand on Bobby’s shoulder. 

I watched. I did not remember them taking anything.

The officers surrounded us, our nature that of performance in their eyes. They saw us as a glob of nothingness: dark, unidentifiable, guilty. Momma wrapped Bobby in her arms, offered herself as a barrier, instructed me to the car, paint peeling on our bumper, and I moved slowly, watching still, worry painting Granny’s face. The cashier quickly explained that he’d seen Johnny stealing, that Bobby had too. My mother questioned everything, shrill, pleading, Bobby’s teeth gritting in his mouth. Johnny tried to move away, but an officer grabbed him, voices loud, confusion festering, a bitter smell in the air. There was a man wandering at first, then stable, watching, grinning even, and eyes meeting mine. I entered the car, its purple exterior appearing blue on days when the sun refused to shine.

Stratus clouds darkened above our heads, and Momma pleaded her case with the officers, these men and women who could not see her fully, a haze covering them, blue fading to gray. Amidst the yelling, Johnny emptied his pockets, items he’d paid for falling to the ground, a lighter also, but he’d bought everything, I remembered, and Bobby did the same. My brother’s pockets were plentiful with things of a varying nature: candy and mechanical pencils and a small notebook for scientific observation, all his. The officers met the tone of the cashier, training disregarded, kicked the items around with heavy feet, giants, no stones, slingshots just out of grasp. When Johnny decided to pull away, the officers quickly took him to the ground, his thin frame smacking the pavement, blood spilling from his mouth.

They repeated the process with Bobby, scratching his face against the grayish pavement decorated with gum, beaten by footprints. He bled and Momma yelled for them to stop, and lawyers, and cursed the men. My mother was not a disorderly woman; that is what they called, wrote, her. 

By the time they’d released Momma from the chokehold, she had stopped breathing, Granny screaming, a sinking feeling in my gut. Momma’s unconscious body lay on the pavement for an hour before an ambulance arrived, the officers retreating, given bottled water from the cashier to revive themselves. My eyes watched the numbers flicker on the car’s radio, an eternity in every minute. They took my brother, thirteen, away, juvenile. Took my mother, her body drenched in rain, lifeless before she’d reached St. Mary’s hospital. There was a man, stable, back against a crumbling brick wall, slipping away into an alley, expression changed, and eyes avoiding mine.

I spoke to a therapist every damned week. And years passed before I could recall, recount— 


After, I journeyed there again, back seat, Bobby smiling, laughing even, Momma’s eyes wide, glaring into mine, feet hovering above the ground, burly arms wrapped around her neck, eight-year-old legs frozen in my seat, water from the Atlantic pooling, cascading over us, last time that she looked at me.

Awoke in darkness, sweat drenching my head, chest. 

They were still with me: those images, bodies, eyes darting, breath escaping. 


“Angela, you two sure are twins.”

Granny always spoke about Momma as if she were still here. And she’d tell me that she was, in fact, living—that we carried her spirit with us, gifts from the ancestors girded in our beings. The last time I visited Granny, she mistook me for Momma. Told me many times that we looked just alike, and I’d smiled quietly, fought back the urge to grimace. Took down every mirror in my apartment, avoided the bathroom, her eyes staring blindly into mine. The pavement. 

The pavement. 

My mother’s spirit floated in the streets near the corner store, police stations filled to capacity with her’s and the like, my home. And I couldn’t bare to look at myself, to be reminded—the last time I sat with my thoughts, after a routine call from Bobby, I took too many of my clonazepam, visions of my mother bringing me back.

Bobby couldn’t attend Granny’s funeral because of his newest residence, the House of Corrections. He couldn’t attend Momma’s either as a juvenile, a judge striking down a request for his then teenage self to see his mother one last time. 

“How Granny been? She ain’t answered lately.” I didn’t tell him she’d died. Decided I’d let him know once he was released, consulted with my therapist, anger, fury replacing introspection. Exhaustion grew on me a thickened skin, sickness lurking, preying on my body, could see every good thing that my brother had planned for his life, a path abandoned. Pain, hopelessness, trees falling and dying and blocking the way.

My apartment door was cracked upon returning home a few days ago, and I know that I’d closed, locked it when I left. There were signs of forced entry according to my landlord, eyes prowling, suggestions to call the p—–. I closed the door, lugged a dresser in front of it from my bedroom, avoided answering his follow up. That night I sat awake in my room, pistol in hand, darkness pulsing, my mind, back against the wall facing my bedroom door. 

Whenever I needed to call the p—–, I saw my brother, his grin shelved for something flat, devoid of melody, light in his eyes once bright as the sun during equinox now dimly lit, fluorescent bulbs flickering from time to time, the gash spanning his face now a scar, raised and still visible, his friend Johnny’s mouth full of blood, teeth swimming, my mother—I took a ride last night, parked my car just outside of the corner store, its cashier standing outside, cigarette smoke escaping his mouth. The cashier had gotten older, a luxury. 

Breathed in, out, as instructed. Found a color, an orange traffic cone, and focused my energy on it. Stared at the pistol in my lap.

Heard rain, stratus clouds darkened, filling the sky. And Momma returning from the store, Bobby at her side, both grinning, bags large and overflowing. Abundance.


We are home.


Bio

Tyler Odeneal, a native of Milwaukee, WI, is a student in the Creative Writing MFA program at Columbia College Chicago. His work seeks to examine the complexities of the Black experience. He’s had fiction and poetry published in Furrow Literary Magazine, Glintmoon Literary Journal, Genre: Urban Arts, and elsewhere.

ANGEL’S TRUMPET
I.S. Jones
I.S. Jones

Bio

I.S. Jones is an American/Nigerian, poet, and music journalist. Her works have appeared or are forthcoming in Guernica, Washington Square Review, Hayden’s Ferry Review, The Rumpus, The Offing, The Shade Journal, and elsewhere. Her work was chosen by Khadijah Queen as a finalist for the 2020 Sublingua Prize for Poetry. She is an MFA candidate in Poetry at UW—Madison.

Work
ANGEL’S TRUMPET
Issue 24: Push Black

I was never afraid of the world
until you were born then fear
was the only country I could live in.
I cut the umbilical cord that binds us together.
You arrived to me in a dream like a fever.
Safety is an illusion I’ve told myself
so daylight would return.
Your soft head to my chest
& when you lifted to meet my gaze
blood pooled from your mouth
& it wouldn’t stop. When my mind was soft
& unburdened by longing,
I should have known something was wrong
with you, Cain.
Every night you returned to me in different mediums:  

a fawn with its jugular torn out  

a lamb trailing a red parade      the fields turning to thistles & angel’s trumpets

I knew then you were a great song or curse or both.


Bio

I.S. Jones is an American/Nigerian, poet, and music journalist. Her works have appeared or are forthcoming in Guernica, Washington Square Review, Hayden’s Ferry Review, The Rumpus, The Offing, The Shade Journal, and elsewhere. Her work was chosen by Khadijah Queen as a finalist for the 2020 Sublingua Prize for Poetry. She is an MFA candidate in Poetry at UW—Madison.

Vengeance & 2002
Krystal Nikol
Krystal Nikol

Bio

Krystal Nikol is a Detroiter who began performing poetry while obtaining her Bachelor of Science in Psychology. She is currently a graduate student studying Community Psychology at Florida A&M University. She uses poetry as counterstorytelling to explore intersections of identity and address social inequities. In her free time, she bakes and lectures people about the evils of gentrification.

Work
Vengeance & 2002
Issue 24: Push Black

Vengeance

I am not interested in entertaining
conversations or opening dialogues
about the way blood pools when it is drying
Nor how paperbag the skin
it flowed through was
+before it was dammed

Nor the best place to be buried
Neither epithet nor elegy
Nor eulogy has been contemplated
Nor minister selected
Nor Swanson
Nor Cantrell contacted
Nor tin purchased to explore
time passing

during the afterlife’s eternity
I have no desire to exert
effort to defame the name of other
sinners that escape mention here
At any rate,
vicious as they appear, we know
it is not innocent. But it is
not murder. For
God’s sake, we are dying here!
There is not time for talk of mixed cloth nor
Holy Sabbath nor unclean meats
either

When I tell you
of us dying, I am only interested in your
rage, in how bulletproof your body, in
how bloody your hands, in
leveling the charred soil
Death by your hands, in our names, I pray, Amen.

 

2002

There is enough water
and vegetables from my grandma’s garden
and fruit preserves from
my great grandmother’s cupboard
and bread
to feed the multitudes
But we still go fishin’
cause it’s Lexington, in July
and I haven’t hit puberty yet
but Saphira has
and now, I look up to her
and all my brothers are still here
healthy
enough to play outside
as long as it doesn’t rain
and the clouds are hidin’ the sun

 and we gather ‘round the table
to eat what is prepared
for promise of fresh baked pound cake
while my great uncle smokes outside
and the caged ‘coon
takes one more crack at freedom
and my great grandfather watches sports
from the next room in his favorite chair,
close enough to hear
my grandmother
sits at the table of her mother-in-law
and smiles
and she is the bridge between four generations
that may not remember to thank her
when they’re old enough to realize
what she has done


Bio

Krystal Nikol is a Detroiter who began performing poetry while obtaining her Bachelor of Science in Psychology. She is currently a graduate student studying Community Psychology at Florida A&M University. She uses poetry as counterstorytelling to explore intersections of identity and address social inequities. In her free time, she bakes and lectures people about the evils of gentrification.

we too can write of clouds
Lena Shepherd Hamilton
Lena Shepherd Hamilton

Bio

Lena Shepherd Hamilton of Boston, Massachusetts currently resides in Decatur, Georgia. She has spent the past twenty-odd years teaching literature and writing, and cultivating a collection of poetry. She is a member of the Rhode Island Writers Colony (’18) and participates annually in the community’s celebration and presentation of in-coming artists.  You can find her work on penumbraonline.org.

Work
we too can write of clouds
Issue 24: Push Black

I’m in the shower thinking of war
the TV is on
and
we are at home/
always
half listening
& they speak of war.

The television yells of war
& I think
of X-Men and Raiders
& Orchard Park Trailblazers – young boys marking concrete in ink-spill of night
Blue Hill Ave as it runs past Humboldt/
a slash of lamb’s blood marks the spot
of my father’s front door.

I think of numbers
the annual count from shadowed battle fields/
of shadow children:
153/
boys
who will always be
19, 17,
15
even 20
but never 21.

Today’s color is war
& I think of brother/
real boy of bone
the red of his shroud
&
his face an icon worn on T-shirts/large
draped regalia
of
his boys
they/forever
circling his casket
lilies of the field
bent limply
toward his
extinguished
light.

All this time–
his grave/just dirt after all
bare, forlorn
(back then they didn’t call it war)
no
shelter/
in place/no
plan
nothing/
to bail out.

The water is hot
and the window above me
–just the span of the width of palm
does not open
I am old now & tired
today
just another day
at other side of door is clipped speech of man
in suit and tie with numbers at the ready
the water is hot
and I am naked, noting
the window above me is clear/
not fogged
–some trick of science.

Beyond the frame of this window the sky reaches
& I consider:
16,790 days
& a Black mother’s magic of slowing heart & smoothing face
of turning, turning blind eye
and other cheek.
Another look beyond the frame/
square of glass still clear
a spread of open sky
–if I can make this magic
of self
I can make beauty of these days
we too
we too
we too can write of clouds.


Bio

Lena Shepherd Hamilton of Boston, Massachusetts currently resides in Decatur, Georgia. She has spent the past twenty-odd years teaching literature and writing, and cultivating a collection of poetry. She is a member of the Rhode Island Writers Colony (’18) and participates annually in the community’s celebration and presentation of in-coming artists.  You can find her work on penumbraonline.org.

Leaders of the Free World
Dalia A. Elmanzalawy
Dalia A. Elmanzalawy

Bio

Dalia A. Elmanzalawy was born in Cairo, Egypt and raised in Los Angeles, CA. An avid reader and writer, she is currently working on a debut fiction novel and a short story anthology simultaneously. She holds a BS in biochemistry and BA in creative writing from the University of California, San Diego. Her work can be found in English, French, and Arabic in Middle East Times, Le Progrès Egyptien, El Tahrir, and The Magazine, among others.

Work
Leaders of the Free World
Issue 24: Push Black

Assalamu Alaikum,” Imam Hakim said in greeting, the long vowel sounds rolling smoothly and richly off his tongue. 

A nervous titter ran through the throng of teenagers as they twisted and turned in their seats. All eyes settled on the Imam as he crossed the short breadth of the mosque’s multi-purpose room. He wore his body so lightly. There wasn’t the smallest twinge of self-consciousness in him. He knew how to stand, where to put his arms and feet, and how to accomplish what needed doing—and never seemed to doubt himself or any part of the world he moved in. 

I didn’t know what stunned people more about Imam Hakim. It could be his towering height. It could be his glass eye. It could be that he was a Black man. Though his looks no longer took me by surprise, I couldn’t say the same for his words.

There was a rustle of anticipation as he prepared to drop a few pearls of wisdom on these young people. Gradually, a hush fell over the room. 

He looked around at his audience with infinite fondness and, in his stentorian voice asked, “When did you first become aware of your race?” He hit on the word “race” with such bile it made me shudder. 

The crowd conceded quietly among themselves, afraid their silence would betray their ignorance. 

“Can anyone answer my question?” He looked around skeptically. “No? Well, how about I answer it first?” A murmur of approval rippled through the crowd. 

He took a sip of water and smacked his lips as if he’d been in the desert for a month. “I was first confronted by my Blackness when I became a Muslim,” he said, spacing the words evenly, and made a soft clucking noise—as if swallowing air, or immovable fact. Twenty years prior, before he converted to Islam and long before he became a leader in the Muslim community, Kareem Abdul Hakim was a gangster. By fifteen years old—then known as Demetrius Cook—he was a thin, nearly seven foot swaggering member of the Bloods, a Los Angeles contingent whose wide reach spread east to his home in the streets of Oklahoma City. In time, selling weed turned into moving cocaine and heroin, carrying a knife turned into gun-slinging, rivalries turned into murderous feuds, friendships turned into faustian pacts and prison stints turned into stretches—at one point, he even did time with his father. While in the gang, he had been shot at twice, luckily by bad marksmen. He’d once told me that he witnessed a rival gang member bleed to death outside a liquor store. 

Cook’s first spiritual mentor was an Oklahoma City rapper by the name of Chilly Price. As he recalls, the rapper was a “pseudo-Muslim.” He was a cocktail of Black nationalism, Judaism, and Islam—a “guy with dreadlocks who read the Qur’an and smoked a lot of weed.” Price spoke in cosmic terms, telling the impressionable Cook, “Islam is where Black people come from.” 

Cook was intrigued. 

He bought a copy of the Qur’an and began reading, clandestinely. When he neared the end of the eighteenth surah, he encountered these words: “If trees were pens and the oceans were ink, you could never exhaust the words of God.” 

This set him off. 

Significant instances in Cook’s life could be read as a checklist towards dangerous radicalisation: a gun-toting, drug-dealing outlaw jumps bail while awaiting trial for armed robbery, devotes himself to Islam and ends up in Yemen—a country notorious for being home to a number of jihadist training grounds. But his faith only deepened. He changed his name to Kareem Abdul Hakim, which translates to “the Generous, servant of the Wise.” He moved to Egypt and spent eight years studying Islam at Al-Azhar University. In Cairo, he learned to speak Arabic fluently. He became a hafiz, effectively joining the thousands of Muslims worldwide who’ve memorized the entirety of the Qur’an. It was then that he apprehended his mission in life: to be a guiding spirit. He’d connect with young Muslims by speaking the casual street patois of his youth—spreading the word of God through simple terms—and it would take effect. 

On a cool, bright Sunday afternoon in September, he now stood before a congregation of adolescents who were raised Muslim—many reminiscent of the believers who followed Muhammad into the hinterlands of the Arabian desert—only to come of age in the fractured techno blur of the twenty-first century. He’s forty or so pounds heavier than he was in his gangbanging days, but his hard gaze has not softened. 

“I will not deny that I have enjoyed a fair amount of celebrity.” He said this with a certain smugness, then allowed it to hang in the air for our benefit. I was surprised to see a crinkle of humor around his eyes and then a crooked smile on his lips. 

In 1996, Imam Hakim was the first Muslim to lead a prayer before the start of a session of the House of Representatives. Former Secretary of State Madeleine Albright had once hosted him and other Muslim notables at a State Department banquet of lamb, lentils and saffron rice to break the Ramadan fast. 

“But make no mistake; the reception has not always been so cordial,” he said, his voice betraying an edge of bitterness. 

When our former Imam was unexpectedly relieved of his duties—my superiors nibbled around the edges with enough innuendo to convey what they thought happened—the board recognized that change was necessary. But when Imam Hakim was appointed to his new post, the backlash was disheartening. Because the Islamic Mission of Orange County catered to a coterie of Arabs and Asians, a great wave of alarm shook the community. It was a reaction fueled by a volatile mixture of crass ignorance and a taciturn suspicion of outsiders. The rhetoric of moral superiority that comfortably inhabited this was all lies and bizarre logic and insufferable self-righteousness. 

To have a Black man shepherding their ummah was a travesty. 

Imam Hakim discerned this attitude as a distortion and stereotyping of a people rooted sometimes in malice and calculation, but more often in ignorance. He envisioned a space fashioned not on a racial, linguistic, or nationalistic basis, but created exnihilo on an ideological basis—the fruit of a movement deeply rooted in love for Islam. And at this unique juncture in American history, a great pressure rested on the shoulders of such leaders as Imam Hakim. 

There were still glares and whispers directed his way by strangers and acquaintances alike, but these rolled off him now. He carried himself straight, which I thought made him look even taller, and ignored the hisses like white noise. 

“Those busy fanning the flames of prejudice will have you believe that Black people have no rightful place in Islam. They are oblivious to the fact that the first Muslims in America were Black, stolen from the western coasts of Africa—Gambia, Nigeria, Senegal—and brought to the New World. Some twenty percent of enslaved Africans brought as chattel practiced Islam as their faith when they landed on American shores. Muslim slaves were not allowed to practice their faith precisely because slaveowners feared it serving as a locus for resistance. Despite such efforts, and often at great risk to themselves, many slaves retained aspects of their customs and traditions, and found new, creative ways to express them. 

“From the genesis of the American project, their labor—Black Muslim labor—would build this country from the ground up. You see, Muslim existence as Black resistance is as old as America itself,” he said, in a way that invited no argument. 

“Let’s travel back even further. The rites and pilgrimages we have in Islam were initiated by the efforts of a Black woman from Egypt—Hajar. Before Islam was accepted in any Arab societies, Islam was established in Africa. The first journey was to Abyssinia, where Muslims inaugurated a community where they could practice Islam freely,” he continued. “So, those who view Arab culture as a proxy for Islamic authenticity deny the legitimate spiritual expressions of others. Against the racial context in the United States, it’s not difficult then to see how this bias against Black Muslims persists. 

“The reality for today’s Black Muslims is bifurcated into a war fought on two fronts. To be Black and Muslim in America is to live a sort of Du Boisian double consciousness. To be Black and Muslim is to occupy a space of simultaneous invisibility and hypervisibility. This signifies a subjecthood—a self whose identities are at odds with one another. It is a long, existential struggle for survival, a struggle not only to negotiate a place in the religious tapestry but also to gain legitimacy,” he said, solemnly. 

“We have this myth of identity—that who we are is the summation of choices we’ve made in the past, that we’ve got a map for the life we’re supposed to lead, and we mustn’t deflect from it. But that’s assuming that we’re static beings, and that’s not how people work at all.” His impassioned voice went up a notch. “We are allowed to recreate, rediscover and rebirth ourselves whenever we so choose. 

“Realizing that there is an internal authoritative voice that clouds our intuition is key. It’s a voice rooted in traumatic events—both subtle and harsh conditioning—and moments that we experience as failure. It dominates our self-judgement, doubt and fear, and grows stronger every time we submit to it. But I choose to say ‘no,’ to challenge this false voice. I choose to trust myself. I have no time for shame and no place to retreat. The Qur’an reinforces my presence here,” Imam Hakim said, his voice deep and loud. 

“Some believe that the past wholly fixes our futures. But are we really condemned to a new millennium of misunderstanding between Muslims and Blacks without any hope of amelioration? Or is the time propitious for the heirs of these two great people to sow the seeds of peace and cooperation, to nurture them and gather their fruits for the benefit of the whole of mankind?” 

I was mesmerized by his voice. His cadence was slow, with thought given to each word. His diction was perfect, every consonant treated equally, every comma and period honored—eloquence that came only from years of practice. 

“Unless we collectively change our ways, we will bring the death of humanity to our own doors,” Imam Hakim counseled. 

“In his last sermon, Prophet Muhammad reminded his followers that all Muslims are equal. He said, ‘All mankind is from Adam and Eve. An Arab has no superiority over a non-Arab, nor a non-Arab has any superiority over an Arab. A White has no superiority over Black nor a Black has any superiority over White, except by piety and good action. Learn that every Muslim is a brother to every Muslim and that the Muslims constitute one brotherhood.’ What Islam requires, above all else, is mercy. So, let us celebrate our differences, rather than strike one another down because of them. We know not what is to come, so let us rejoice in the unknown and welcome it with open arms and pure hearts,” he added, looking at me with a glint in his good eye. 

A smile—a weird one—nestled in his mouth like an egg, and I felt my depths loosen. I suddenly felt a pleasant sort of sadness without having anything at all to be sad about, and a kind of wanting, without knowing what I wanted. I felt giddy, like I’d lit a fuse and an explosion of good news would soon be on the way. But what I learned later that evening was anything but good. 

The mosque’s director called to deliver the news.

“Imam Hakim was shot,” he said, heaving a sigh of an old and tired man, relieved of an immense burden.
His words slid down my spine and made a hard landing at the backs of my knees. I was instantly caught in a whirlwind of emotions, with disconnected thoughts presenting themselves all at once, thoughts mingling and bursting with both hope and horror. 

“His family is holding the janazah at the mosque tomorrow,” he continued. “They think it was a drive-by gone wro—.” 

“Faisal, please! I can’t hear anymore,” my tortured voice croaked, tears lapping at the edge of my words. I felt my throat constrict and swallowed against the knot. His words crashed again and again in my ears like a thunderclap. My insides were in revolt, churning and twisting, and I felt as though all the color had seeped out of me. I fell into a silent wretchedness for the rest of the evening. 

The following day was a blur of black cloth, long faces and trembling silences. I could only bear the service for so long before I began wandering aimlessly around the masjid—dazed and confused. The mosque was housed in an old, peculiar building built in the thirties, with black and white marble floors and walls, and enormous white pillars. The paint was peeling, the pillars resembled crumbling cheese and the floors were grayed over with seventy years’ worth of dust and disappointment. I unwittingly found my way to the pulpit Imam Hakim had sermoned from less than a day ago, unaware that it would be for the last time. I wanted to hear his throaty voice again, to see the way his bushy gray eyebrows arched and his eyes flashed. Now, I would turn these walls and sinks and turpentined dust to a memory, make it the scene of mild crimes, and think of it with a false willowy love. 

After the funeral, I spotted Imam Hakim’s eldest son crouched beside the back door, crying. He clenched his teeth so hard his jaw bulged. His smooth face seemed turned to stone, and big tears rolled out of his dark eyes. Yet, he never made a sound. 

I’d never seen a sight so frightening as that. 

I looked inward then, stunned and absorbed by something unfamiliar in my life to that point—complete and utter loss. I felt my hold on the present growing increasingly fragmented, with nothing anchoring me to real life. 

It took another catastrophe to jerk me back to reality. 

When I awoke Tuesday morning, the headlines imposed themselves upon me. My parents and I were glued to the television screen, as grainy footage beamed live from New York City. 

As the towers collapsed, my heart plunged into the depths of my stomach. 

Everything stopped whirling for a moment and stood stock-still. Then, it hit me like a thunderclap. My mind began wandering and jumping around, and time seemed to leap forwards and backwards constantly. This moment was huge, and it seized me so quickly, so severely, so unlike anything else I’d ever known; I felt like I’d flatten beneath the weight of it. 

The images from the attacks ran in a loop, each new repetition hitting harder than the last. 

I looked at my parents earnestly, trying to read their expressions; all they could do was give me a pained, almost apologetic look. Language had always separated me from my family, but in this horrific instance, their wordless terror was enough to tell me all I needed to know. 

I tasted cold metal in the back of my throat, and a delicate whiff of hate curled around my nostrils. It was a smoldering anger, a barely contained fury and desire to lash out, but at whom? 

I thought about the violence that would be done, not just to bodies, but to language as well—the word “terrorism” becoming a catchall phrase used to indict individuals on accusations

alone. Grand proclamations about an “axis of evil” would preface wars that would kill hundreds of thousands of innocent humans—tabulated as mere casualties, the sanctity of their lives incinerated just like the twin towers. 

I thought about the youth I’d been entrusted with leading. What will I tell them? Those idealistic hearts knowing destruction for the first time and learning it well. They will only ever know that the times in which they are growing up are indelibly marked by this singular tragedy—the paranoid and terrorized world that these attacks gave us. The hyper-militarized borders, selective detentions and enhanced interrogations, the constant surveillance of the national security state, the endless secret wars waged in the cover of night, in distant places where the victims are invisible—all to be taken as ordinary. 

Yet, because these children hold blue passports, they may never fully understand the extent to which this day further shackled the vast swaths of the world not so fortunate—people born to the wrong countries—who’d be sent to the back of the line for as long as they lived. 

I might tell them a few things my parents were not able to tell me. 

All these thoughts lay on my conscience in a dreary, shaming sort of way. And when I looked in the mirror, there was a grayness in my face. My life seemed to be untacking itself— lying loose about me like a shirt. 

A life could do that. 

The reality of that sank in deeply and seemed to stretch larger as I struggled with it—like a patch of quicksand. Looking into the distance, where darkness gathered like a storm-cloud, I felt my courage weaken. And although chaos was sure to ensue, Imam Hakim would advise me to search for the bright spots within this bleak panorama. He’d somehow be certain that, far in

the distance, past these tempestuous hours, were traces of bona fide bliss. 

I was not so confident. 

Suddenly, all the emotions I had suppressed exploded inside me. They jumped from self-pity to anger to irony to guilt to a kind of feigned indifference. These feelings coursed through my veins and I could feel the tiny cracks starting to form in me, fractures of a self I was no longer sure of. 

I was working myself into quite a state when I realized what I should’ve done sooner. 

I fell to my knees, raised my hands to the heavens and began, “Oh Allah, Your servant is in need of Your mercy and You are without need of his punishment. If he was righteous, then increase his rewards and if he was a transgressor, then pardon him.” 

“Oh Allah, forgive him and elevate his rank among the rightly guided, and be a successor to whom he has left behind. Make spacious his grave and illuminate it for him. He is under Your protection and in the rope of Your security, so save him from the trial of the grave and from the punishment of the fire. Forgive and have mercy upon him, for surely You are Most-Forgiving, Most-Merciful.” I forced back my tears and pushed ahead, despite a knot tightening in the pit of my stomach. 

“Oh Allah, forgive our living and our dead, those who are present and those who are absent, our young and our old, our men and our women. Whomever you give life from among us, give them life in Islam, and whomever you take away from us, take them away in faith. Do not forbid us their reward and do not send us astray after them,” I pleaded, my voice baritone with tragedy. 

“Oh Allah, keep me alive so long as You know such a life to be good for me, and take me

if You know death to be better.” 

I paused and took a deep breath, hoping that my duas traveled further than the ceiling. “Amen.”


Bio

Dalia A. Elmanzalawy was born in Cairo, Egypt and raised in Los Angeles, CA. An avid reader and writer, she is currently working on a debut fiction novel and a short story anthology simultaneously. She holds a BS in biochemistry and BA in creative writing from the University of California, San Diego. Her work can be found in English, French, and Arabic in Middle East Times, Le Progrès Egyptien, El Tahrir, and The Magazine, among others.

This month
Elizabeth Mudenyo
Elizabeth Mudenyo

Bio

Elizabeth Mudenyo is a poet, artist, and organizer based in Toronto, Canada. She was a fellow of the 2018 Poetry Incubator in Chicago, and a participant of the 2020 Hurston/Wright Poetry Weekend with Danez Smith. Her first poetry chapbook, With Both Hands, is available through Anstruther Press.

Work
This month
Issue 24: Push Black
There were rumours                           This month me and my             This month felt like summer
It might die in the heat                      friends got                                      saw People out in parks saw
This month ends in flames               Good news,                                    People out on concrete saw
This month saw                                    Good news,                                    Three friends find a home
A rise                                                        Good news,                                     saw Three Ready For The
A rise                                                        This month my friends               Road saw A new friend
A rise                                                        end fasts                                          From a window
An extreme high                                  end prayers                                     in a breakout room
An extreme high                                  This month saw a rise                 From messages
It was unseasonably                           in prayer                                          everyday
warm This month                                Could This month mark          +To the concrete
It was unseasonably                           A beginning?                                  at the march
cold This month                                   This month marked                     To the fading sun
For the first time                                                                                              at the park
since March                                            An End
Less than a hundred
More than a thousand In a day       An End
Thousands marched
In a day                                                     An End
The heat came early due to
The climate                                             An End
The climate
The climate                                             An End
Hard to look away from
the window                                             This month marked
the window                                             A deadline
the window                                             A deadline
the window                                             A deadline
+++++++++++++++++++++++++++ A deadline

Bio

Elizabeth Mudenyo is a poet, artist, and organizer based in Toronto, Canada. She was a fellow of the 2018 Poetry Incubator in Chicago, and a participant of the 2020 Hurston/Wright Poetry Weekend with Danez Smith. Her first poetry chapbook, With Both Hands, is available through Anstruther Press.

Sabat Ismail
Sabat Ismail

Bio

Sabat Ismail is an artist, writer, and student based in the Greater Toronto Area. Her work has been featured in Spacing and RaceBaitr. She is passionate about storytelling and Black art. She is currently working on a thesis project and zine that will explore the experiences of Black girls, women, trans as well as gender non-binary experiences related to bicycling.

Resilience is Love, Resilience is Care

Bio

Sabat Ismail is an artist, writer, and student based in the Greater Toronto Area. Her work has been featured in Spacing and RaceBaitr. She is passionate about storytelling and Black art. She is currently working on a thesis project and zine that will explore the experiences of Black girls, women, trans as well as gender non-binary experiences related to bicycling.