Bushra Rehman
Winter 2022 Edition / Poetry
Three Poems
Bushra Rehman
Portrait at Forty-Seven
For Kamilah Aisha Moon
“It is said that grief is actually love—but with nowhere to go.” ~Ocean Vuong
My body grows softer
and softer
as soft as the earth
Midline, I’m at the partition of my life
junior elder, the halfway mark
between being and not
Forty-seven, and I have my mother’s ageless skin
I confuse everyone, including myself
People say: I thought you were 37, 27
I want to say: I looked nothing
like this when I was 37, 27
and I feel hundreds of years old
Forty-seven, and I know these legs
are not promised to me
I know these eyes
will not always see clear
I know those I love will walk
down the road and disappear
Forty-seven, and I thought
we would be old women together
stiff but sturdy, like broken trees
flashes of heat like lightning
inside of you, inside of me
Instead, our bodies grow softer
and softer, as soft as the earth
midline, we are at the partition
the halfway mark
between being and not
Joseph
Joseph’s mattress is in the center of our living room
bare and naked and taking up a lot of space
X wanted to get rid of it
Y said, I’m not even sad he’s dead
and I crossed myself
when I walked by his house the other day
There, Joseph, if I write a poem for you
will you stop standing over my shoulder
your hands in your pockets
ready to say, whatever comes into your head?
You’d say, “You’re smiling now
because you’re uncomfortable.”
or “Your sneakers make you look
like you’re homeless.”
And as wrong and rude as those things were
at the upstate parties we were always at
they always brought me closer to you
because I knew what you were
and you knew what I was
Yeah, we were hanging out in the country
with all these upstate folks
but we said mean city kid things to each other
and they would make each of us smirk
We called each other out
because we knew
that in the corner of our hearts
there were basements and alleys
and childhood horrors
none of those upstate folks
could even imagine
When we’d hang out in Brooklyn,
you’d point out every street corner
where a friend had gotten shot
you always said, “I’m the only one
still alive from all my friends
who lived here, who lived on my block.”
And now Joseph, you’re not alive either
I can say that to you. I can be the only one
at this whole party who will be openly rude
who will look you in the face and tell you the truth:
Joseph, you’re not alive anymore
you don’t have to keep hanging around
Uncle S
Uncle S was shot by 12 officers, a rain of bullets, a blizzard of bullets, a hail of them, knocked him down, killing him in front of his home, the apartment above the masjid. The adults talked about it in helpless, horrified tones, shaking their heads. It didn’t appear in the news, just over the phones, in conversations among Uncles and Aunties, in collections taken up for his young pregnant wife, in discussions of his innocence, in sermons of how only Allah knows everything.
I’d been 15, and Uncle S had been in the middle of building a bathroom in our hallway. Our house had been cut and cut and cut until our family only had the one bathroom for the eight of us: three teenagers, two children, one baby, two exhausted parents, not to mention all the overnight guests. Everyone was sorely strained, the bathroom especially. Most of the time, we’d be banging on the door, legs twisted in pretzels, crying out of shame we’d wet ourselves again.
For years after Uncle S was murdered, I showered in the unfinished bathroom. The hot water rained down on me, the half-finished tiles, the unfinished wood of the walls had been just left, open like a coffin, the smell of mold, the smell of death.
Thirty years later, my father is downstairs. There are so many bathrooms in my baby sister’s house, I get lost when looking for them. My father and I don’t speak. So many unsaid words between us. I want to ask: Do you remember Uncle S? Do you remember the day the police shot him down in front of his home, his young pregnant wife upstairs? I don’t have to ask, I know he remembers, he was there, he was there, he was there.
Bushra Rehman’s novel, Corona, a dark comedy about being Muslim American was chosen by the New York Public Library as one of its favorite novels about NYC and her collection of poems, Marianna’s Beauty Salon was described by Joseph O. Legaspi as a “love poem for Muslim girls, Queens, and immigrants making sense of their foreign home--and surviving.” She co-edited the anthology Colonize This! Young Women of Color on Today’s Feminism, chosen as one of Ms. Magazine's "100 Best Non-fiction Books of All Time.” Her newest novel, Rose, Mouth, Lion about friendship and desire among young Pakistani women is forthcoming from Flatiron Books.