Poems / October 23, 2023

I Have Brought You Syria

Ghayath Almadhoun

I have brought you a rose of concrete that resembles my days that have passed, and dreams stripped of nightmares, so you don’t get infected with memories, and whenever I am lost in translation, I peel the metaphor like an orange for you, and hide my poems that suffer from postmodern stress disorder.

I have brought you the month of July, so you can take off your white shirt, and a cold sun I stole from the north of Sweden, to make you suffer from depression, and whenever the massacre devours you, I dig up your dead grave, and resurrect your corpse which is as beautiful as a homecoming.

I have brought you a country occupied by others, so you are born in the diaspora, and birds crying blood, so you can release them from their cages, and whenever my mother gives birth to me, I run forward, and a green rain pours down on my murdered poems.

I have brought you cities destroyed over the heads of their people, so you can reconstruct them, and mothers waiting at windows, so the martyrs can return in the evening, and whenever you are moonstruck, I make you wine compresses and the homeland flows like my spilled blood.

I have brought you a mass grave, so you can meet new friends, and unexploded bombs, for you to distribute to children, and whenever the peace machine crushes you, I sew up your wounds that bleed music, so the memories don’t die.

I have brought you poisonous butterflies, so you can spread joy in cemeteries, and closed windows so you can look up at the sky, and every time the soldiers execute me, I return to you when people are asleep, with a body full of holes and a memory like forgetfulness.

I have brought you a white arm, for you to slaughter the days, and black blood, cheaper than water, and whenever I lose my Arabic language, poems I haven’t written arrive by registered mail, so I remember a young poet I left in Damascus.

I have brought you an Arabian horse, so you remember your mother tongue, and a civil war from the Middle East, so you don’t feel homesick, and whenever an elementary school dies in the bombing, I scatter its flesh for the birds and distribute its body parts to the poor.

I have brought you the Promised Land, so we can meet, and a genocide suffering from loneliness, because no one was spared, and whenever the general besieges us I feed you the news bulletin, as if you haven’t been weaned before, and as if you weren’t born to a woman from the land of milk, honey and bombs.

I have brought you a stray bullet, so you believe the odds, and a road that leads to the desert, so you trust water, and whenever I smell the scent of the country where I was born, a woman takes me by the hand and feeds me to the wolves.

I have brought you smart bombs, because the world is stupid, and soldiers who haven’t had children, so they’ll carry out orders, and whenever I remember you and forget the war, a bullet saves me from life.

I have brought you a panic attack so you feel calm, and roads blocked by militias, so you reach safety, and whenever they find my corpse in the morning, I believe in God and grass and memories.

I have brought you a small grief, so it can grow in your hands, and doors open to absence, so you can attend, and whenever my cousins kill me, my mother gives birth to me again in refugee camps.

I have brought you sarin gas, so you can breathe deeply, and indiscriminate shelling of civilians, so you believe in luck, and whenever life misses me once, death misses me twice, so my poems escape the silencer.

(Translated by Catherine Cobham)

Thank you for reading The Nation!

We hope you enjoyed the story you just read, just one of the many incisive, deeply-reported articles we publish daily. Now more than ever, we need fearless journalism that shifts the needle on important issues, uncovers malfeasance and corruption, and uplifts voices and perspectives that often go unheard in mainstream media.

Throughout this critical election year and a time of media austerity and renewed campus activism and rising labor organizing, independent journalism that gets to the heart of the matter is more critical than ever before. Donate right now and help us hold the powerful accountable, shine a light on issues that would otherwise be swept under the rug, and build a more just and equitable future.

For nearly 160 years, The Nation has stood for truth, justice, and moral clarity. As a reader-supported publication, we are not beholden to the whims of advertisers or a corporate owner. But it does take financial resources to report on stories that may take weeks or months to properly investigate, thoroughly edit and fact-check articles, and get our stories into the hands of readers.

Donate today and stand with us for a better future. Thank you for being a supporter of independent journalism.

Thank you for your generosity.

Ghayath Almadhoun

Ghayath Almadhoun is a Palestinian, Syrian, and Swedish poet.

More from The Nation

American author, screenwriter, and satirist Terry Southern (1924–1995).

Why Terry Southern Was “the Most Useful Writer” in America Why Terry Southern Was “the Most Useful Writer” in America

The satirist, Nation critic, Dr. Strangelove cowriter, and “eggheaded prankster” was born exactly 100 years ago, and his work remains as relevant as ever.

Column / Richard Kreitner

Mike Faist as Art, Zendaya as Tashi ,and Josh O'Connor as Patrick in “Challengers.”

The Only Relationship That Matters in “Challengers” The Only Relationship That Matters in “Challengers”

What truly matters in Luca Guadagnino’s sexed-up tennis thriller is not the love triangle at its center but all the details that surround it.

Books & the Arts / Erin Schwartz

The Cook County Jail in Chicago, Illinois, 2020.

Want to Fight Mass Incarceration? Start With Your Local Jail Want to Fight Mass Incarceration? Start With Your Local Jail

A new collection of essays from academics and activists devoted to prison abolition focuses on the quiet but rapid expansion of the carceral system in small towns and municipaliti...

Books & the Arts / Jarrod Shanahan

The New York location of the Laugh Factory, 2004.

Is Comedy Really an Art? Is Comedy Really an Art?

A history of comedy’s last three decades of pop culture dominance argues that it is among the consequential American art forms.

Books & the Arts / Ginny Hogan

Jessi Jezewska Stevens

Data, Desire, and Where Fiction Goes Next Data, Desire, and Where Fiction Goes Next

The Nation speaks to Jessi Jezewska Stevens about her new short-story collection, which dramatizes late-capitalist living.

Q&A / Rose D’Amora

Talking “Solidarity” With Astra Taylor and Leah Hunt-Hendrix

Talking “Solidarity” With Astra Taylor and Leah Hunt-Hendrix Talking “Solidarity” With Astra Taylor and Leah Hunt-Hendrix

A conversation with the activists and writers about their wide-ranging history of the politics of the common good and togetherness.

Books & the Arts / Daniel Steinmetz-Jenkins