KNOT Magazine
Fall Issue 2022
Hedy Habra 2
Expectations
Face to face, standing in an immobile boat, a boy and a girl are enveloped by a lapis
lazuli glow as though out of a painting by Miró revisited by Klein: the deep sea
evaporates around them, freeing a school of red fish gliding at ease as in an aquarium:
only their fins flicker like fireflies around the nascent crescent, a silent witness to that still
scene: the boy holds a loaf of moon in one hand while in the other shines a scarlet star,
color of the girl’s bonnet. Slightly bent over his offerings, she reflects, her crossed hands
weighing her breasts heavy with promises.
Defying the Blank Page
Sketched at dawn with sepia colors, a herd of deer followed by a trembling fawn appears
in the whitened landscape. Disoriented, they roam around, unable to distinguish what was
once inert or throbbing under the thick layers of immaculate snow. Head bent, they
fumble, in search of a blade of grass, a twig or a dried leaf to munch on. They know they
must keep digging deeper and deeper, farther and farther, until they stumble upon a
forgotten nut or an acorn, the remainder of a bush, softened fallen bark still covered with
moss, any meager sustenance to help resist the bitter cold. Are they even aware they
instill hope in my daily struggle?
Dispossessed
I return from a trip, eager to find solace in my estate, but can’t get past my garden gate:
two masked men are spraying insecticides, turning my premises into chemical warfare
while a big white dog runs towards me, menacing. Panting, I reach the back door, climb
winding stairs, take refuge in convoluted coils as in a huge nautilus shell, fumble to find
the lock that will lead me inside, only to stumble into the maid, an automaton vacuuming
with a deafening sound. How did she enter, I wonder? I have become a stranger in my
own home.
To my Friend from Peru
Nel mezzo del cammin di nostra vita
mi ritrovai per una selva oscura ....
Dante. Inferno
I.
At forty, you plunged into
your own
not in a dream or a vision,
your heart refused
to mark time.
A stranger's lips pressed yours,
instilling
warmth until your body awoke.
It has been four months
now, Margarita.
You have not said a word,
lost in a thick fog, in a world
unknown,
only your eyes move,
faster
when we talk.
December has come, its snow,
indifferent
like your hospital bed
set in a room where two
lovers' breaths
once steamed tall window panes.
In the darkness, he sleeps
with your absence,
in search for a sign, losing,
night after night, the memory
of light.
His mind wanders, following
a shadow, a footstep.
Arms, hands, never the same,
hold you, rub
your skin, try to strike
notes from a mute piano.
Voices,
fading in dense brume, beg
you come back.
Fingers open cabinets,
sort out papers, pictures,
disturb your dust,
caress
your children's hair.
The same moan greets them
mouth agape, eyes restless.
Yesterday, I read aloud Lorca's
poem to you.
The one you loved,
"Romance sonámbulo"
Two lovers,
unable to reunite, a green,
silvery night
shrouds their tragic end.
I could hear you say:
"Verde que te quiero verde.
Verde viento. Verdes ramas."
My voice weakened with the
last words:
"El barco sobre la mar
Y el caballo en la montaña."
Suddenly you were sobbing,
sobbing and crying,
Margarita.
"Did she understand?"
I asked. The nurse replied:
"It's hard to say.
She cried a lot today."
••¶
II.
Three years have gone by,
Margarita,
your sighs, unsettling,
mist of invisible signs,
inaudible fragments
of a broken mosaic.
And your skin so smooth,
your hair, growing
as wild vines in the rain,
its rising sap
resists the twist
of the brush.
The nurse straightens
your back, holds
the comb, passes
the scissors.
The biting crisscross
of sharp shears. I trim,
curling docile locks
around my fingers.
Uneasy, we talk,
hands, fingers,
stroking your arms,
your back,
long, soft bristles
flown all over,
down to your waist.
The round brush swells,
in hot lustrous waves.
I think of my mother,
how she hid her eyes
with both palms
when I’d style her hair,
how she complained "it burns,"
"stop pulling. . .
my roots are so tender."
•¶••¶
¶••
III.
A stranger in your
own home,
wrapped in diapers,
fed by a tube,
you don’t hear
the doorbell
when your daily portion
of sterilized food
arrives, packed
in cardboard boxes.
A mute presence,
you rest on a wheelchair
in a corner
of the family room.
Your eyes stare
at the ceiling while plans
are made to take you
back to Peru,
to the deep violet-blue sky
you once knew.
“When the kids grow up,
they might study in Lima,”
you’d often say.
Now your gray is showing.
We’re thinking of color
if all agree.
A nurse rubs your limbs,
kneads, folds,
unfolds,
hoping to revive
a nerve, a muscle,
arms, legs, hardening
into branches,
misshapen, unearthed roots.
Back home,
unable to read
for days,
the smell of you
clouding every page.
Time after time,
we’d stop pretending
you’d understand,
repeating motions
like automatons.
Now you’re back to Peru,
your birthplace,
where your elders once lived
with their dead,
honoring their remains.
There, your young heart
keeps beating.
••¶
•¶••¶ ¶••
Hedy Habra is the author of two poetry collections, Tea in Heliopolis (Press 53 2013), winner of the USA Best Book Award and finalist for the International Poetry Book Award and more recently, Under Brushstrokes (Press 53 2015); a story collection, Flying Carpets (Interlink 2013), winner of the Arab American National Book Award’s Honorable Mention and finalist for the USA Best Book Award and the Eric Hoffer Book Award. She received the Nazim Hikmet Poetry Award. Her work appears in journals such as The Bitter Oleander, Connotation Press, Cutthroat, Verse Daily, Blue Fifth Review, Nimrod, New York Quarterly, Drunken Boat, Diode, Cider Press Review, Poet Lore and Cimarron Review. She has a passion for painting and teaches Spanish at Western Michigan University. Her website is HedyHabra.com