TEXT

MEMORY

It's a derelict space; a land of bygone wealth and broken stones. You meander along the laid path, letting the rain pelt you as the clouds pass by.

It's peaceful. Even magical, maybe. Just a little bit. And as the pitter patter of the waterdrops speed up on your umbrella, you close your eyes and see it as it once was, bustling with people and furs and nobility, with children and coal and bales of hay. With injustice and slavery and prejudice. You see a prince pass by, and a maid sweap the hearth. You watch as a mother quietly nurses her babe. You breathe in the wonderfully cold air, and add a fairy or two to the scene in front of you. Goblins underneath the grate. Ghouls in the highest tower. Gryphons descending from the skies to feast on the grazing sheep below.

And you smile. Because you can still see that world, the past one and the magical one. It's still in your brain, in the deep recesses of your mind. Age has not taken it away from you. Yet.

You sidestep a sprite that's sticking its tongue out at you. Step carefully over a toadstool house. And then your brother calls you from the bottom of the hill and you accidentally leave the place you were just in. But he's calling you to a perch on the cliff with a view that takes your breath away.

And as you stand there, with your brother, with your family, in a fog that the worlds would envy, you remember, again, that sometimes the real world is even better.

Sometimes.

(Quick! Look! That dragon is waving hello!)

 

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TEXT: JOHARA ALMOGBEL
ART: AZIZ

NOISE FROM THE RADIO

As a nocturnal poet, most of the lines I’ve penned stems from memories— and they usually follow the same range; painful, joyous, hurtful and ones that causes particular annoyance. It’s the fuel behind what I write. What my words thrive on. Most often, these memories are tied to how I view myself as an individual, which, if you read my work, can sometimes be pretty dark or self-deprecating.

Once I’m in that zone I built for myself, it can be hard to get out of it. To believe in myself, or to shrug off the dark thoughts I shroud myself in.

It occurred to me recently how these memories we collect as adults aren’t the only ones that should be counted.

On one of the gloriously clouded days that we’ve been having lately, I was stuck in traffic. The radio was turned up, and I tuned it from one channel to the next, shuffling from some boring radio commercials, to mediocre mainstream music, to a station that completely lost its signal. Suddenly one of the channels blasted an old song—and it’s always songs that snags at the memory.

Flashbacks may be a narrative device, but that doesn’t mean you can’t experience them in real life.

Back in my nerd teen phase, on pre-dating the marvelous invention of iPods, I had on my desk this old stereo I’d “borrowed” from my father (and I never gave it back). It was the typical long stereo, and took a fair bit of space on my desk, but I wouldn’t move it anywhere.

During homework or just on my free time, the earphones were plugged into my ears as I switched between radio stations. Whenever a song I liked came up, I scrambled fast—empty tape on the right side, and record.

I depended on that one tape, gathering music, a song recorded more than once, one on each side of the tape, and re-recorded when I got bored of the older ones.

I didn’t know that what I was doing at the time was making mixtapes (ah, what a thing of the 90s!).

This memory, when it came to me, reminded me of what I was at that age—not built on other people’s expectations. I was just doing what I could to listen to good music. I was doing what I liked because I liked it, and I didn’t care what anybody thought.

Why couldn’t I remember that girl anymore? 

Why is it so hard to be that girl anymore? 

 

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TEXT: ASMA A. J
AUDIO: SFX-LAB

FIRST FAST

July 1948, Beirut. The State of Israel is created. Britain withdraws from Palestine, formerly their territorial mandate. Fighting breaks out. Palestinians flee into Lebanon and Jordan. 

The ninth day of the ninth month finally arrives. My mother tells me we are at war, but I have seen only stars lining the night sky, heard only the tree frog sing outside my window.

Perhaps it is best we not contemplate what is happening at Beirut’s threshold because Ramadan calls us to refrain from talking gossip or even thinking anything negative about others. I try to stamp it from my mind.   

This is the first year that I am to fast, which I am of two minds about. I am flushed with pride to be mature enough to pay proper homage to Allah, but I am worried my stomach will get the best of me. It is strange to eat my breakfast before getting dressed, but I consent.

It being a Friday, I spend most of the day lying on the cool tile of the kitchen floor under the table, reading. My brothers are outside in the courtyard by the fig tree, but my mother’s declaration makes me uneasy. The thoughts of guns return. I continue to trudge to the courtyard and gaze up into the sky, yet my searching reveals only white puffy clouds. A dragon. A triangle. A lion. I wonder what a real lion would look like.

Zap! My brother’s football hits me in the temple, almost knocking me to my feet. I retreat before he can cuff me. I seem always to be in his way.

I prefer the kitchen with its stowed herbs, its promise of ashaa, dinner, with my mother already lining the dates on plates. I prefer my books. My father taught me how to multiply large figures in my head. He went to his office today in spite of our Holy Day, in spite of Friday. He is always at work. Yet I find I can do it by myself now. It comes easily to me, like a game. In fact, it is a game. The numbers curl in black lines across my mind’s eye, as though they were lining a page, literal and solid. Two times two will always equal four, no matter what Palestine is called.

My stomach growls and echoes. I am unfamiliar with this sensation. Each growl reminds me of the chopped vegetables on ice, but also of my pledge to Allah to keep the fast. I dowse the fantasy of a slice of cold cucumber, and I gulp down a full pitcher of water my mother offers instead.

“It is fine for a child of your age,” she informs me, but I raise one eyebrow in doubt. Even so, it is abominably hot for May. The tiles warm my toes as the sun pulls itself ever higher. I hear the strains of my brothers’ laughter and whoops, and wonder how they can be so active in this heat. How they can forget about Ramadan. How they can ignore the war. I wish I could take my vest off, but that is not an option in this home.

My thoughts drift toward the salty, cool bite of the sea when my mother calls me for midday prayers. I stand with pride next to my father and brothers as we face Mecca. My father guides me as I kneel and rise, kneel and rise. The sun will soon yield to the moon. Soon we will be breaking our fast. We will start with water and a few dates, and then we shall have a small feast.

“Are you certain you can make it through the afternoon?” my mother asks after we finish prayers. “Observing Ramadan in the seasons with longer, hotter days is more difficult, and you are young yet.”

“No, Mama, I can make it,” I assure her. I click my tongue against the roof of my mouth so it will not feel so dry. She ruffles my hair again and pats me roughly on the back. “My youngest, my baby, is almost a man,” she grins.

I grin back at her. She is my nine-year-old world. I want to make her proud. I want to make Allah, may His Name be praised, proud. I climb the fig tree, full of sweet-smelling fruit, to the roof to await sunset. I hold my belly in anticipation. The sky is blue and clear and hot. I must descend.

We study the Quran as the day grows old. I fidget in spite of myself when the longer Qur’an passages are recited. I usually love the lilt of words mixed with the space of breath in between. This Book is like music to me. Yet today the words about peace confound me, and my thoughts drift once again to what will happen to our country tomorrow.

Twilight finally avails herself to us. I am thankful as we pray. We are blessed. I jump up as the neighbors flood in for the evening meal. I scamper away from their greetings of Ma’brouk, their kisses of greeting. I can only run toward nourishment. I barely taste the food as it goes down.     

After the dates, bananas, olives, tabouleh, grape leaves, and a platter of cold meats await me. Food has never tasted so delicious, and it never will again. I know this to be so because today marks many more fasts, and I shall be stronger the more I practice Allah’s will.

That night, after prayers, I stare up at the new moon. Still no sign of bombers. Each year, at the end of Ramadan, we donate five gifts to the needy. It helps us remember the poor, just as fasting helps us remember the less fortunate. Perhaps we will take our traditional Ramadan gifts to the Palestinians this year. I wonder if there are any yet in Beirut. If not, where are they? I wonder how my mother will react to my idea of bringing the refugees gifts.

I hear her murmur to my father, and I sense the worry in her tone. I hear the tears in her voice. Is she weeping over the war? Surely not, our region is always at war. We were at war the year before I was born. Is she weeping over the people coming to stay in our country? It is clear to me that she has sympathy for them, but it is also clear that she does not want them here, with us. If we offer them gifts, they may want to stay. I wonder if Palestine is as beautiful as Lebanon. I wonder if the people crossing our borders miss their homes.

I think not. No land exists as beautiful as our country, full of mountains of cedar, aquamarine waters teeming with fish, clear, clean springs, its souqs overflowing with the scent of spice, its boulevards lined with red-roofed cafes. And my home that the breeze whips through even on hot days like this one, full of tile, bookshelves, rugs of every design—and love.

I creep to the door. I hear the words blight on the land from my mother and temporary from my father. What does blight mean? What does temporary mean? A day, a month, a year? Where are these Palestinians? I have yet to see them.

I continue to wonder if the Zionists will invade our country. Perhaps they are angry at the Palestinians and will come after them. A breeze flows though my open shutters, and I shiver in anticipation. I hope not. It is strange to me that my first Ramadan fast should occur at such a time of violence, that while we are feasting, people are crossing over with all their belongings on their backs. Perhaps with no food at all. Perhaps with no water.

What were they trying to escape? What could have possibly been happening to them for them to leave their houses? I cannot imagine having to leave mine—ever. If Islam means “peace,” I think, why must we fight at Ramadan? Why must we fight at all?

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TEXT: KATHRYN BROWN RAMSPERGER
ART: HANNAH KIRMES-DALY / BRUSH & BOW

THE MAN WHO COULD SEE EVERYTHING

Some people say I’ve gone over the bend. Gone nuts, out of my mind, lost it, went bananas, rented the upper flat, flew off the handle, blew my top, dove in the deep end, popped my cork, went apeshit crazy crazy crazy crazy madinsanecrazylookinhiseyesthey’vegone darklikethedevilheisthedevilleavehimalonestayawaykidshouldbelockedupthrownawaykilled.

But they don’t know anything. They don’t know they don’t know they don’t know theydon’tknowthey do n’t k no w- Know. I’m not. I’m not any of those things. I’m not any of those things I’m more. I didn’t just dive into the deep end, I drank the whole ocean swam in it breathed lived threw it up again because the seabeds were looking so empty so sad and that wouldn’t do oh no it wouldn’t. Know. No. Now.

Now you’re looking at me inching away. I can see you. I can see your eyes wide big blank unblinking mask of politeness put on tight watching me wondering when it would be socially acceptable to leave leave me leave you leave us leave this mortal plane we are on that is nothing nothing nothing. You are nothing. I see you. I see your words too. I see your words too and I see mine, every where, ev er y w h er e in the sky in the air in your face written everywhere just words words yours mine theirs everyone’s words just floating that never go away so I can never stay because then I can’t breathe I can’t be it just gets so full with letters are you regretting you sat next to me? Regretting you asked? Remorse. Remiss. Renounce. Reimburse. Revenge. Rewrite. Your face is horrified. I don’t blame you. My face is horrified all the time too.

It’s like living in a thesaurus. A thesaurus mashed with dictionary mashed with an episode of Barney where the Cookie Monster spells things over and over and over and I never get to eat. Synonyms adjectives nouns verbs everywhere alive alive and I can’t escape. Not since I fell into the lab’s new invention. Not since I died and came back again this monster of literature that used to love reading but now can’t thinkbreatheeatlivesleep just words words everywhere everywhere EVERYWHERE. Everywhere when they say action speak louder than words and I just sit there shaking wondering hating loathing stop don’t open your mouth shut up shut up shut up shut up and listen.

Nothing’s sacred anymore. When you see I Love Yous where your loved ones once were after they left you because you couldn’t listen as they yelled at you in big block letters and cried in ugly bold ones love is just another word humans say like a bandaid to hide the other words they don’t. Lies big and fat dripping unlike the truth that flashes red in the black print of my universe. My universe my world my dimension that is just like yours but with the pages of your speech all over my eyeballs burned into my retina scrambling to find a place in my brain.

They say I am insane. I’ve gone over the bend, eaten bananas, fried the control centre, rented my soul, broken the handle, hit the ball too hard, knocked on the noggin.

I am so much more.

I am you.

------
TEXT: JOHARA ALMOGBEL
ART: AZIZ 

A PALE-BLUE HOLOGRAPHIC MAN THAT LOVES ME SO MUCH

You wake up on a perfectly clear glass bed. It’s perhaps a familiar place; albeit full of mirrors, hundreds — a confused mental nod speaks about the dissociation, but withdraws your face and your scent before hugging you. Now torn by your image, you consider how alert you should be as you scan the room: constant reflection shoots your sight to the ceiling, or, well, back inside your glass brain and neck. Sight takes a frantic hold of you — nothing but rapid saccade. Your skin spoke of merging with glass, and that, well, hits you hard; a bizarre figure-thought that splits into two, fixes itself behind your eyes, and jump starts a suction spiral into your inner ears, the grand jury of all proprioceptive errors, a withdrawal from horror into free-fall. Your glass neck annoyingly tugs on your awareness: it feels like a thousand little air bubbles are trapped beneath the surface, some terrible nausea.

You look again at your reflection and yes, there’s that grin of yours suppressing all of your confusion like a sponge. It’s so bright and colorful. You listen to the mixing and pouring of orange, yellow, red, green… blue. This ocular hubbub pulls you into following the dusty trail of the spectral crowd. It takes a while, but you find their gathering place in a particularly large mirror that reflects the odd theater you are, for lack of a better word, trapped in — moments only to be blinded by the bright flare of colors swirling around the geometric, mathematical bore. It looks like the source of light is behind you. A metallic taste, feels like thyme against your teeth… you turn your head around multiple ways, chasing a pale blue trail. You found him! Behind your back, under you — it’s a holographic, bipedal hue stuffing you with color! You notice that he’s shaking with suppressed laughter. It feels like he adores you.

“All that’s behind us is energy” he said, “and all that is in front of us is time” he whizzed, “but this moment expands itself into forever haha, until I know how I can give you a massage”, and it tried its best to give you a back rub. What he said felt like a fundamental and concrete belief towards figuring out how it could release your day from your glass muscles.

You focus on what he’s doing: his hand drowns and wriggles in your back, but resurfaces easily breathing the bright air. Each dive broke into a laser show of feelings; wave after wave of proper conversation, as if maple syrup was the cure for headaches. It was amazing, after the fact and chimes you no longer felt nauseous, honestly; the twitches you felt anticipating each and every touch, dish-washing all the focal errors that map and scan your memories, as if as a child your brass parents with their brass feelings were opening the door to your room once in a lifetime, recurring. Huh. The conjured up image of your parents is quickly ravaged by a mongoloid abyss.

You’re starting to recognize the situation. All the tiny bubbles in your neck took the appearance of tiny humans, gathering around the bonfire dimly burning in the back of your head, carrying little drums, strings, strangely shaped tubes and sticky drinks, preparing for the promise of a moon tan by the holographic man: Mohammad Abdu’s virtual jailer.

The holographic man was there for all the ends you seek, always unwilling what you will— a process of stasis transformed into constant motion that leads you to nowhere, some unraveling that extrapolates your ego into a fantastic dream.

Under the sway of release, all that music made a particularly external, mechanized sound more obvious. Twisting open your ears like a plastic coke bottle, the fuzz sieved through your surroundings and took with it the moon kin and their bulk. That strange sound was coming from ways above you — a giant printing press was absorbing the ground with its tedious hum, spewing mirrors onto the floor that strangely enough never crash but simply fall through. Something etched on the machine in large font caught your attention:

“My world begins at the limit of your eyesight.” You started thinking could that be the bizarre internal dogma of the medium reflecting the infinity above? The mongoloid wouldn’t allow it, but maybe you could imagine it was a huge glass pyramid perching on a green meadow, where only hard-working cows and sheep kept track of your prison time with their daily meals. Besides, anyway, you just woke up.

Nothing makes sense to you.

How would such a prison function if it weren’t for the very nature of who you are?

Just half a kilometer away there was a slouching figure facing westward.

The 6-feet tall lizard — standing on his feet over a calm azure pond — let out an audible, slow sigh. The Sun’s light was conscious of your prison, so it carefully glazed over and bled into the water, the pond waiting with transparent surgical gauze of green and other green, beginning a medicated meeting between the two. The lizard had removed its clothes some long while ago and, he was just staring and brooding. He buried his face in his hands. The bones of his thighs sank in the ground, but the muscles lazily stuck around.

“Better to be a skeptic than a hypocrite,” he said.

The sky was almost orange; a hazy dusk tinge overlapping with itself then fully spreading like a sail, welcoming the breeze to set sail the waking world towards a yellow saucerful of dreams.

But for the restless, hopeless, those who couldn’t follow:

The lizard thought he’d wash himself from head to toes if God would devour him.

He missed you so much, and he had decided that he would break you out tonight, even though it would break his knightly oath towards Mohammad Abdu. No longer could he wait for you to finish your prison sentence.

All you did was object over the fact that Abdu can’t possibly melt your brass parents into jewelry for him to wear.

And so furious a song was his sentence; verses over notes that propel into impregnating your mind with the abyss. You — rendered withdrawn and docile — turned his attention towards building your prison while the lizards danced under the trance of his music.

That was years ago.

The lizard opened his eyes. The moon was slightly buoyant inside a shelf in the sky. Traces of dark grey clouds, starless black salivating over the earth. The wind died days ago: Abdu was carrying the corpse in full stride over to your lizard friend.

God of the Labyrinth, the Star Seed born in the burial mounds of past universes.

All-Father Abdu: consumer of alien flesh, admirer of mirrors; a black gelatinous hum that sings to entropy, a harbinger of energy and possible worlds; curator of realities.

There’s so much one could forget about this world; lifetimes, a collectiveness of memories, shared works and conversations, pain, misery, and utter joy. Forgetfulness preserves dignity.

Your prison disappears alongside you.

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ART & TEXT: AZIZ

 

MEMORIES

If the grains of sand in the hourglass stopped falling, will you be able to tell the time?
Will you be able to count the seconds passing by without recording them?
Will you be sure if every moment you spent was real?
Or will you try to follow the tic tocs of the clock relying on something to tell you that your presence is actually happening in front of you?
Do you need a pen?
A notepad?
A phone perhaps?
Something to help you write down all of the memories, all of the details of your day

But you know what they say
Memories don't live like people do
they always remember you
whether things are good or bad, it's just the memories
memories don't live like people do

But they sure die like them

A Stab by a knife to a heart linked to a mind
a burnt notepad
a broken phone's screen
and everything you went through becomes an illusion
leaving no trace of your memory behind as you get taken away

History is nothing more than the collected memories of the people before us
containing as many lies as truth hidden between its chapters

Memories don't live like people do

But they sure die like them

As you walk down your memory lane realizing what you used to believe in doesn't exist anymore
As your mind and heart walk holding hands listening to the reverse sound of the clock
Your mind recalling and rebuilding events
Your heart cringing and bleeding emotions you once resented
As you recall the memories you once killed
Your heart cringing and bleeding emotions you once resented
As you recall the memories you once killed

Memories don't live like people do

But they sure die like them

As we are nothing but fragile creatures
As fragile as glass
We are made of sand after all

So
If the grains of sand in the hourglass stopped falling
Will you be a human with no memories?
Will you break?

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TEXT: AHMED HAMAD
ART: ZENA ADHAMI 

MEMORY

 

When i speak of memory, i speak of;
i aim and shoot
an arrow
into the oblivion (vast
dimensions of space of
the time)
                I draw
it towards that still ocean; tea pot
of age old, rotting cold, forgotten/forgetting flow.

It is the reminiscence
of the struggle
of man against power, is the struggle
of memory against
forgetting.
                   And you see this ritual
is actually a perpetual
struggle of defiance.

As of defiance
as you may listen
now:
        slowly grows in pestilence.

Thus rotten
as it were some fungus grown on breads of silence
or maybe memories unspoken in
resistance
 of fallacies, fiction
and lost relevance:
unbaked dough in oven
resisting heat.
                      Statutory Warning: Contagious Defiance!

 

LINGUA FRANCA #4: BITCH YOU AIN'T BRESSON - AN OPEN LETTER TO MY PAST SELF

I took my first film photo in 2013. It was summer I think. I bought my Canon AE-1 off of eBay thinking that somehow, film photography is, in many ways, better or more respectable than digital photography. The picture wasn’t special; the bougainvillea (مجنونة / جهنمية) tree in our yard. The edges of the photograph were burnt and the green was saturated (something I came to appreciate in some colour films). For some reason, that picture never left my mind. I still think about it. What drove me to have this specific tree as my first ever film photograph? I don’t really know. Throughout the years I would continue going back to that same tree, as a constant representative to how I started photography.

The idea of film elitism didn’t come up from thin air for me. The internet is littered with websites, blog posts, and forum discussions touting the inherent superiority of film. That somehow, digital censors would never recreate the same feel or warmth of film images. In a way, that is true. Film, as a medium, has this amazing power of nostalgia over people. A reminder to when they were children shooting a family vacation with a disposable camera. The results, too, were different from digital photographs. I don’t know if it’s nostalgia or the chemical structure of film emulsions, but for some reason, these pictures did look better. The analogue feel of film gave them a sense of life; a physicality that elevated its quality. This piece is neither a condemnation or condoning of film; I still shoot film exclusively on my cameras (except for when I shoot with my iPhone). But the idea of why I shoot film has certainly changed throughout the years.

Going back to the idea of film elitism, I bought the idea of film being the inherently pure photographic medium. That, because I shoot film, my photography is automatically better than those who shot digital. That us vs them nature continued for a long while in me. Even tagging the photos I posted with#film, #filmisnotdead, or #(whatever camera I used to shoot that photo). This, being an open letter to my younger self, is why I can say that I was full of shit. Utterly. I was so convinced by my superiority as a photographer that I forgone any effort of improving my skills or developing as a photographer. I relied on my self made unicorn status, demanding appreciation from online followers because I shoot film. For a while, that concept of superiority defined my identity as a photographer. That identity was further perpetuated by constant pretentiousness. One of the most poisonous mantras in photography is Henri Cartier Bresson’s (the father of street photography and co-founder of Magnum) the decisive moment. The decisive moment is a concept that first appeared in his book by the same name. In the book, Bresson talks about that perfect split second where you press the shutter button at the perfect time and take the perfect photo. That split second would mean the difference between a good photo and a bad one.

Bresson surely showed that concept in his photos. For example, of the man jumping over a puddle or the picture of the man on a bicycle in Paris. As gorgeous as these photos are, they are not the decisive moment. There is no such thing as a decisive moment. Looking at Bresson’s contact sheets, he worked the scene (taking multiple photos of the same subject from different angles and times). Bresson was a genius not because he knew when that decisive moment was, but because he employed his training as an artist to help him work the scene and study the geometry of photography. But, Meshari from years ago didn’t know that. He was so full of himself that, more than once, proclaimed to only take one or two photos of a subject maximum as if it’s a matter of pride; vehemently believing in the decisive moment. Meshari misunderstood the decisive moment. It was not a stroke of luck or the right timing. More than anything, Bresson’s decisive moment was simply a truism explaining the spontaneous and unexpected beauty of street photography. You don’t wait for the decisive moment, you create it. If only Meshari, years ago, got his head out his ass and realised that.

The pretentiousness didn’t stop there. I remember reading Roland Barthes’ gorgeous book Camera Lucida. That book, without a shadow of a doubt, is one of my favourites when it comes to photography. I often find myself going back to it every few months. Thing is, that’s not what I took out the book years ago. I was convinced in rooting my very amateur photography with my embarrassingly lacking philosophical knowledge. Why? It made me seem smart on Twitter and Instagram. I started talking about photographing in black and white because it brought out the inherent feeling of loneliness and alienation within people, or, it showed the true nature of the world: a dichotomous purgatory of bodies floating past each other. Basically a whole bunch of rubbish I’m pulling out of my ass. A chronic ass pulling condition. I looked down upon colour photography because it was to mainstream, too “populist”. Again, refer to the medical case above. It wasn’t black and white photography alone. This pretentiousness also extended to me looking down upon my photographer friends and acquaintances who didn’t not follow my foot steps and *air quotes* photograph the human condition *air quotes*. Can you feel the rage at such pretentiousness build up in your heart? I know. Drink some water.

All these things I did back then were annoying, but that’s not why I’m writing this. I’m writing this to talk about the effect all this had on me. The belief in film superiority, the pretentiousness, the pseudo-intellectualism, whatever you might want to call it, made me dislike photography. I was toxic towards my own passion. I put these invisible limitations on myself — limitations perpetuated by my own desire for ego and affirmation — to the point where I started disliking going out and taking photographs because I expected my work to embody a certain philosophical or artistic criteria. Showing off and pretending to be someone I’m not just for a couple of likes on Instagram or Twitter retweets jaded me from the one thing that mattered to me the most in photography: having fun.

I had a conversation with this person sometime back (that person is me. I talk to myself a lot. Making up an anecdote just makes for better writing. And makes me seem less alone. Okay, okay continue reading), and that person asked me: why do you prefer shooting in black and white? Two years back I would’ve went on this speech regarding the artistic merits of monochromatic photography. But I just thought to myself for a second and said, because I know how it works, and more often than not I just feel like it. I’ve shot so much black and white film that I now, more or less, gotten used to how it works and how to shoot it well. That doesn’t mean I don’t love colour films. Sometimes I feel like shooting colour, or sometimes I’m going to a beautiful colourful place that shooting black and white would just be unfair. That was my answer (again, to myself. Just wanna make the point of me having long conversations with myself clear). This is what I realised mattered to me the most in photography: having fun. Of course I won’t act holier than thou and pretend that I don’t care about my ego. I do. Big time. It feels amazing for your work to be loved by people and being appreciated and having exposure. But that ego balances out with simply enjoying the act of photography. To not be limited by self imposed limitations and setting bars so high that they’re impossible to reach, disheartening you from working at all.

Looking back, I don’t even understand why I felt so elitist towards film. For God’s sake, I sometimes take better photos with my iPhone than my Leica camera. Funny story, I saved up for a Leica for about a year and a half. At first I was so convinced that having a Leica camera would make me a better photographer. That I would use the same camera as my photographic idol used: Josef Koudelka, Bruce Gilden, Abbas, Winograd, etc. Half way through the saving up process I realised how utterly childish of me thinking that was. I was halfway through being able to afford the Leica so I thought why not just continue saving up for it. I’d buy it as a way to treat myself (since, before that, I haven’t really bought something that expensive to treat myself before) and just enjoy using it.

I made the decision to switch to mainly digital once I move back to Kuwait since it won’t be feasible to shoot exclusively on film if I’m living there. It’s never about the gear, it’s about the result. Cameras are just tools like a screwdriver or a phone. They are a means to an end, not the end itself. A Leica is a gorgeous piece of engineering, but it’s no better than my Nikon F3 or the camera on my phone.

I might be pontificating (I’m just looking for an excuse to write that word) in this post, but I am an amateur photographer. Nothing more than that; a reminder I keep telling myself. I realised that if I’m not enjoying photography, there is no point in doing it at all. Not for fame or groundbreaking artistic endeavour, but enjoyment; self fulfilment. Photography is a catharsis to me. Suffering from depression and anxiety, it is a hobby I can lose myself into and focus on the simple joys it brings me, focus on the many friendships it nurtured for me. I no longer take a certain photo or focus on a certain subject because of a deep intellectual reason, but because I like the way it looks, the colours, faces, framing, etc. It all boils down to this one simple fact. I burned many photos and ruined many rolls in my time doing photography and will do so for years to come. The beauty of it is that it is a continuous learning process; an ongoing exploration of the craft. Last winter, I went back to that tree in our yard and photographed it. Somehow automatically like a religious rite. It was the same. Never changing. Only I did, and I’ll continue doing so.

So here’s what I want to say to my fellow photographers or people who want to get into photography: there are no rules, there are no manifestos. Just go out there and enjoy it. That’s all that matters.

Oh, and for pretentious past Meshari: bitch you ain’t Bresson.

***
Note: Most of the photographers mentioned in this post can be found in Magnum Photographers' archive.

AFRICA // SHAHD FADLALMOULA

It must be heartbreaking,
To see your mother
Give up her youth
To make enough
Just to feed everyone
But her children.

***

My mother is
The only woman I know
Who has been raped
Beaten
Lynched
Robbed
Malnourished
And
Terrorized
And is still standing.

So forgive her,
if she is
Hunchbacked now,
Sore on the Eyes
With a Raspy voice
She is trying, her best.

TAWSEET AL SHARQ #5: FAIG AHMED

If my mother saw me with shoes on the rugs that fill every room of our house that day would have been the end of me. I never questioned why she’d make me take of my shoes before entering the house and I just did what I was told because I would run around the house too busy deciding which rug will give me my next adventure. See the azure rug in the corridor leading to my brother’s room was where my toys and I crashed with waves, fought with pirates, and swam with sharks to reach the shore of an island at its tethered ends. The beige one in the living under the coffee table, that I had to move every time to play on the fabrics underneath, was where I trekked the desert dunes with my action figures to reach the crystal blue oasis in the middle. Then there was my favorite rug, a solid burgundy leading up to my parent’s bedroom that sprawled the whole walkway to their door filled with perfect symmetry of all kinds and colors of flowers. This was the rug where my action figures went on the best adventure, where we created Disney influenced storylines for each flower from its colors and texture giving it heroic magical powers or poisonous evil ones that attracted my toys. This adventure never ended and I would find myself dipping and waking up from naps on this rug for years to come.

These carpets continue to hold a special place in my heart where I managed to tell my first stories through their fabrics and when I asked my mother why she tends to these carpets, even to this day, she replied with ‘they tell the stories of those that made them and, if you look closely, our story too since we have walked over them for the past twenty years.’ This is what Faig Ahmed an Azerbaijani artist is doing with carpets. He takes traditional Azerbaijani carpets un-weaves them and reconstructs them using digital patterns filled with optical illusions, glitches, and morphings to create bold sculptural art forms. In an interview he said that he is interested “in the past because it’s the most stable conception of our lives” and “Another thing that interests me is pattern,” says Ahmed. “Patterns and ornaments can be found in all cultures, sometimes similar, sometimes very different. I consider them words and phrases that can be read and translated to a language we understand.” His carpets are interplay between traditions, the stories that come with cultures and the stories we create in the present. By using fabrics, objects that have been present throughout most of mankind’s history until this very day, he draws patterns between the old and the new and more importantly connects them just as he weaves in new patterns into the traditional carpets he uses as his medium. This literal and figurative connectivity stems to a creation of great art that explores Chimamanda Ngozi Adichie’s quote ‘Culture does not make people. People make culture’ and the ways we think about culture, its upkeeping, and its relationship to the past.