The Ferry by M.R. Azar

Karim sat in a dark corner at the edge of the port, his legs dangling rhythmically over the silent water. His time on the Island was coming to an end and soon the ferry would carry him back to the mainland.

“I’ve never seen the sea so calm,” he thought.

He tried again to remember why he had come to this place but became distracted by his muddy boots. They cast shadows that floated like ghosts over the rippling tide. He leaned forward and saw a strange face staring back at him through the mist that slept on the water’s surface. It beckoned to him and his heart burst as though he was falling for a moment. The sea now seemed to hold for him a different meaning than it once did. The clear azure world that had once inspired wonder and a thirst for life had given way to a world of shadows and death.

The Island has been a refuge for wealthy mainlanders for centuries. It is a place for them to sink their feet into the warm sand and feel the cool breeze sway against their skin. A place to gaze at the boundless blue sea and colossal mountains that jut out from the earth, shimmering with lights from the ancient villages. A place to stare in wonder at the moon, suspended against the blackest night sky as it projects a rippling silvery bridge that is swallowed back into the sea before dawn.

The mainlanders still came but others had begun to follow–always after dark. The mainlanders did not know, nor care to know, where the newcomers came from. Some said they materialized from nothingness. Others rumored that they crossed an unseen bridge over the horizon when the moon was at its brightest. Few observed that the exodus started when the storms became more devastating and more frequent, when the droughts and wildfires consumed vast swaths of land, when the seas became sewers, and when the armed men arrived. Either way, misery brought them here and misery consumed them.

The daily ferry was the Island’s lifeline to the outside world and the only means of transportation for passengers, vehicles, and supplies. It was also where the affluent mainlanders, destitute newcomers, and hordes of humanitarian volunteers, Karim among them, converged.

Near the ledge where Karim was sitting, colossal spotlights illuminated the night and guided the horde of exiles over the short bridge into the ship’s bow. The ground rumbled beneath him. This was a dismal place. Hundreds of distinct brown faces melted into one another, forming a single faceless mass that trudged forth somberly but deliberately like a funeral procession. A shared yearning bound them: that this journey, which had started and would end differently for each of them, would finally just come to an end.

The horn blared, signaling the ferry’s imminent departure. Karim grabbed his duffle bag and made for the ferry. The line was flowing with urgency as the passengers hurried to board before the ferry vanished into the dark horizon, taking the promise of a worthwhile life with it.

“Where do I get my room key from?” Karim asked the ticket collector.

The man replied with a heavy accent: “Follow the signs to the concierge and they will give you your room number and keys. It’s in the compartment after where they are kept.”

Karim noted the strange description and proceeded to follow the man’s instructions. He walked through the cargo hold, gawking at its unfinished facade, chipping walls, and steaming pipes. He marched up a long flight of stairs that led to the first passenger compartment. He entered the chamber and his eyes were struck by the orange-brown hues that erupted from the outdated wallpaper and carpeting. This chamber was completely barren and dilapidated. Through the flickering lights, he made out the crude camps that lined the corridor. Each colony staked its territory using piles of tattered bags, ripped suitcases, and other artifacts of a grim life.

This must be where they are kept, he thought.

As he weaved a twisted path around the pitiful travelers, a shudder came upon him like a sudden, cold rain. Guilt. It had become a frequent companion, and when it visited, Karim embraced it like an old friend. He revered it and found in the pain it brought a sort of retribution that might balance the universe and bring some justice to a wholly unjust world. Guilt, he thought, was penance for the comfort of his warm bed while his brothers and sisters rotted in dirty hallways and cold stairwells.

Why did he come to the Island? What good had come of it? These people were coming long before he arrived and would continue coming long after he departed. Their struggle was indifferent to his existence.

He would soon be back in suburban Virginia, back to his upper middle-class life, back to staring at a blank laptop screen between sterile white walls that closed in a little more each day, back to his tall red-brick row house on a quiet street lined with white cherry-blossoms and red maple trees, back to his elegant girlfriend, Amal, whose soft shapely legs he constantly fantasized about. Soon, the memory of his time here would fade and be forgotten like a childhood memory.

From this self-reflection sprang a terrible self-loathing. In himself, he began to see the privileged volunteers that he despised because, unlike him, they did not come from across the horizon and, to them, the newcomers were no more than stray dogs to be saved. They descended on the Island with extravagant clothing, raging parties, and penetrating vanity. By the end, it was their own souls that needed saving. Ah! This was a wickedness born unto him, an original sin, one that he could not wash off or repent for. Only a holy savior could offer salvation, but he was not a religious man and so no atonement was to be had for him.

Karim finally reached the end of the hall where two large double doors led into the passenger compartment that was off limits to them. He took a step inside and it was as though he had stumbled through one of those Magical Doors. A burst of light exploded before his eyes and the walls bellowed with a Hellenic blue-white. A large central staircase with a marble face and railing carved with floral festoons led up to the bedrooms. Cafes bustled with fat patrons dressed in summer linens and harsh clinking glass. He had reached the mainlander compartment.

A young woman in an elegant costume and deliberate pose greeted him. “Some Champagne, sir?” she said, drawing out the pronunciation of Champagne longer than it needed to be.

He did not want Champagne. He wanted escape from this awful spectacle. He scarcely could react before feeling a noose tighten around his throat and a boulder crush his chest. He whispered through his teeth, “No, thanks,” and hurried up the stairs to his room.

The keys fumbled in Karim’s trembling hands before he unlocked the door and entered. The room had a low ceiling and a king bed next to an antique oak desk with some writing material. The bathroom sat in the rear. He threw his bag on the floor and sank like lead into the bed to calm his nerves. He woke up to the siren sound of the ferry launching from the port.

“Why did I come here?” he thought again.

Karim always had trouble controlling his thoughts and feared into which murky alleys an unfettered mind might lead him. His mind was on a long chain that night, and it battered against the silence that consumed the room. He could endure no more. He leaped up and reached for the writing material to jot down his thoughts, hoping to banish the ghosts that had followed him from the Island with a pencil.

Keeping a journal made him feel better. He could project onto its pages those feelings which he could not share with Amal. She knew him to be a warm and affectionate person. She had explored his soul like a garden and often found herself lost in it.

But obscured behind the winding grape vines that sheltered her skin from the sun, behind the blossoming gardenias whose fragrance showered her body, behind the gentle chirping of the birdlings that made her heart radiate, raged a storm that Karim hardly could quell. His soul was wounded, and the wound was festering, gnawing at his insides, and rotting his soul. The walls that a lifetime of detachment had erected inside of him seemed to be crumbling. But the writing made him feel better.

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“Yes, that’s what I’ll do!” he said to himself and plunged like a deer through the arches back down into the dilapidated chamber where they were. He would find his atonement by joining his kin and suffering with them.

Karim made his way onto the deck where the moon hung high behind the clouds and the winds rattled. He thought the fresh air might reinvigorate him and indeed it felt to him as if jumping into the cool ocean on a hot day.

He encountered two young brothers, Ali and Moussa, who were kicking a deflated soccer ball back and forth in clothes that had seen better days and shoes that showed their toes. A stray kick sent the ball rolling towards Karim and he performed tricks by spinning the ball on his finger like his basketball coach had taught him. This pleased the brothers very much and they ran to him, trying to imitate his moves, and he taught them how to do it.

Moussa, the older of the two, mastered it on the second try, but Ali struggled with his tiny fingers. The older brother was very patient with Ali and gently guided his finger beneath the ball to teach him. Moussa always looked after Ali. His dad made him promise and Moussa took the responsibility very seriously. They laughed together, and, for a moment, the kids forgot where they were and where they had come from.

But they could not escape their past for long and started with the story of how they arrived on the ferry. They were unaccompanied minors who had made their way from their village under the care of a human smuggler. Their month-long journey saw them riding an overflowing Volkswagen bus, northbound towards freedom. They were ransomed, robbed, and threatened, but gravest of all, fought off the sex traffickers that prowled behind every corner. Moussa protected his younger brother along the way like the bravest knight.

Ali described the cramped bus with its frame rattling uncontrollably as it raced through the tranquil desert. The passenger compartment nearly came apart from the chassis over every hill that it was not designed to pass at these speeds. Only the occasional glow of cell phone screens and cigarette cherries illuminated the endless blackness. The driver did not need any lights–he made a living crossing this desert.

The passengers sat consumed in silence, scarcely holding on to their sanity as they agonized over what might be lurking in the darkness. Ali and Moussa, and everyone else on the bus, had seen the videos. They knew what atrocities awaited those who were caught. Then, blinding lights pierced the darkness through the rear window, interrupting the uneasy quiet. It was a patrol car according to the driver who recognized the headlights. Their luck was boundless tonight, the armed men only asked them to turn back.

The caravan attempted the crossing again the very next night. And there it was at long last, a welcome sign and the final stretch before freedom from the treacherous place they came from. They had finally made it.

Ali turned to Karim in whose familiar face he saw his father’s eyes. He asked him through tears that washed the dirt off his face: “Did you come from the bad place too?”

“No, uhm, I’m just a helper”, his voice crackled. These words brought with them a surge of self-contempt that made Karim’s stomach turn. The cold wind was no longer pleasant to his skin and the children’s voices turned to screeching chalk. He wished them luck on their journey, hurried back inside, and never saw them again.

Inside, he came upon a young man sitting on the floor carefully polishing a pair of Nike basketball shoes as though they were a new BMW. Karim kneeled next to him, complimented his “kicks”, and asked him if he played basketball.

“Yes, I am captain of my team back home”, the young man replied with a quiver in his voice. “I hope I play again soon.”

“I play basketball too. Maybe we can play together when we get to the mainland.”

The man with the Nikes explained that he could not play on the mainland because he had no clothes to wear. He told Karim about a cold night a few days prior when the angry winds struck relentlessly against the boat that carried him to the Island. The boat looked sturdy, but only looked so. It swayed from side to side as the terrible waves crashed against the frame, drenching the passengers and filling the hull with water. They seemed to stand still against the wind despite the full throttle of the engine. They were carrying too much weight but what ballast was there except for their bodies and the few valuables they carried?

After eight hours into what was meant to be a four-hour journey, they were still too far away from land. The engine had stalled several times, stranding them in the middle of this watery graveyard. They were cold and wet in an overloaded coffin and the sounds of children crying and women wailing were muted only by the howling wind.

They made it to within 100 meters of the shore before the boat ran out of gas and the engine shut down for the last time. The boat had been accumulating icy water for eight hours. Without the thrust of an engine, they could only pray for the waves and the wind to propel them towards the rocky shore. Though they were so close now, the dangers persisted. How many others had the cruel black sea swallowed under the same circumstances?

They had no choice but to toss all their bags and suitcases overboard. Everything. Most of them carried only their most precious belongings. Everything else had been lost or stolen somewhere along their long arduous journeys. Those who had packed their cash, passports, or jewelry in their bags were out of luck. Everything was to be tossed overboard immediately –their time was running out.

The barefooted man refused to toss the one small bag that he carried. He couldn’t. Fellow passengers lost patience and snatched his bag to lob it over. He managed to grab one thing before it sunk into the abyss– his Nikes, the same Nikes that he now clutched against his chest as he retold this chilling tale. This was the last remaining artifact of his old life and Karim started to understand the care he gave to it.

After finishing the story, the man turned to Karim and embraced him. To this person, an impossible journey had finally come to an end and he wanted to share his relief and his joy with a friend who had endured the same. The familiarity of Karim’s look, his voice, and his language would do at this moment. He found comfort in their shared struggle and in the raw human connection that it created. Then he pulled away and asked Karim: “Did most of your things survive your journey?”

The words wouldn’t escape Karim’s mouth. A terrible shame again bubbled up from his heart and he knew he would no longer find peace in this world.

He hurried onto a secluded corner of the deck away from the accusatory eyes that he imagined were pursuing him everywhere on this ferry. He saw in each of those eyes the reflection of the devil that haunted his every thought, mocking him for the injustices that he could not make right.

He found himself in a state of singular loneliness as though, to his eyes only, all the colors had dissolved from the world. Despite the howling winds and the roaring engines, he could only hear the metallic whisper of his conscience.

The final chain of his sanity crumbled and the ghosts led his mind into that darkest alley from where he knew there was no escape. He looked down into the water and saw that face once again beckoning to him. This time, Karim’s fingers gently released their grip of the railing and he plunged into the cold bitter darkness below. Here, Karim could suffer alongside his brothers and sisters forever and his guilt washed away into the sea.

Interview with Hedy Habra

By Rewa Zeinati

Publications, Paintings and the Multi-language of Art

Rewa Zeinati: Your collection of poetry Tea in Heliopolis was an Award-Winning Finalist for the 2014 International Book Award in Poetry. Your book Flying Carpets won the 2013 Arab American Book Award Honorable Mention in Fiction and was an Award-Winning Finalist for the 2014 Eric Hoffer Book Award in Short Fiction. You won an Excellence in Teaching Award 
at Western Michigan University in 2014. And your individual poems and short stories have been published widely and often. What drives you on?

Hedy Habra: I feel honored and grateful for these publications and awards. I have been studying, writing and also teaching Spanish language and literature for a very long time. I believe that these continued activities stem from an insatiable curiosity and a passion for learning combined with an urge to share and communicate my enthusiasm and love for languages and literature. With each project, I learn a bit more about the world, about others, but mostly about myself. Literature is the best way to transcend one’s reality with its unavoidable ups and downs. Immersing oneself in the virtual space created by fiction or poetry allows for a much richer and more intense life.

RZ: How has being multi-lingual and multi-cultural shaped your craft, if at all? And while growing up, who affected your writing the most, and how?

HH: I was born and raised in Heliopolis, a residential suburb of Cairo, Egypt, and was schooled in French, Arabic, and English. I was mainly influenced by French literature and read extensively. I have always loved Rimbaud, Baudelaire, Verlaine, Aragon and Paul Celan as well as most of the classics. I studied Pharmacy in Beirut’s French St. Joseph University, and lived there till the onset of the civil war.

After spending several years in Europe, I came to the United States where I pursued graduate studies in English and Spanish. Some of my favorite poets are T.S. Eliot, Theodore Roethke, Charles Simic, Tony Hoagland and Mark Doty, but my list would be endless. My favorite author is usually the one I am reading and enjoying at a specific moment. Each great author provides a unique experience. Some of my favorite Middle Eastern writers are Adonis for poetry, and Amin Malouf and Tahar Ben Jalloun for fiction.

When I first discovered Latin American literature, I knew that it was the sort of writing I would like to emulate. My favorite writers are Mario Vargas Llosa, Jorge Luis Borges, Julio Cortázar, Gabriel García Márquez and Juan Rulfo, for fiction, and Octavio Paz, César Vallejo and Pablo Neruda, for poetry, to name only a few. But I admire lots of Spanish and international authors, so it is hard to tell which writers have left an imprint on my work. I am also a great admirer of the fiction of Italo Calvino, Alessandro Barrico and Dino Buzzati, and I try to read them in the original Italian.

RZ: What makes a good poem?

HH: For me, it is a desire to reread the poem over and over again. I am very sensitive to a poem’s music and to the way the language flows. I love poems with striking images that create unusual and unexpected connections but that still won’t reveal it all, letting the reader make the leap and use his (or her) imagination.

RZ: What makes good fiction?

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HH: I guess that my preference goes to novels that are well crafted and require the reader’s participation like Mario Vargas Llosa’s fiction. I have read each of his novels several times, always with renewed delight and interest. I love stories that have a surreal or fantastic dimension, that’s why I regularly reread Buzzati, Calvino, Cortázar and Borges. Good fiction is a text that you want to keep returning to, always discovering something new in its pages.

RZ: Some writers dedicate a couple of hours in the morning to write. Some after a jog. Some wait for the evening hours to settle down. What is your process?

HH: I don’t have a specific routine or ritual. Sometimes working in the yard, gardening or walking helps me enter a meditative state that is propitious to writing. It does seem to me that I am constantly writing, with occasional interruptions. And because I also like to write criticism, paint and cook, it is necessary to juggle with time.

I have always kept a journal, and at times, I like to leaf through the pages and highlight some passages that strike me for different reasons and seem to lead me into writing. I always record thoughts, impressions, epiphanies, and have tons of drafts and material that serve as inspiration. Many of my poems are inspired by visual art.

I find myself writing in different languages in my journal. Oftentimes, I work on the same poem in three different languages because some lines would come automatically in a different language associated with new images that I then try to translate, and by doing so I find unexpected ways to express the same thought. This process enriches each version in a reciprocal movement like osmosis.

RZ: What are you working on right now?

HH: I have just finished revising my second book of poetry and sent it to my publisher. Most of the poems in this collection are inspired by paintings. I have a passion for visual art and I am also an artist. I have painted a watercolor to illustrate the cover of the forthcoming book, as I did for Tea in Heliopolis. I am also working on a collection of poetry that focuses on my personal connection with the Middle East. Some of the poems are responses to what is going on in the area in an attempt to convey the sense of helplessness that we feel when we see it all from afar.

RZ: How important are literary journals, if at all?

HH: Print and online literary journals are very important. I subscribe to several journals, such as Poet Lore, Cutthroat, The Bitter Oleander, Nimrod, Rattle, Crab Orchard Review, and read them with great interest. They are a bridge that allows readers to discover a multiplicity of voices and genres, and enables to keep up-to-date with the evolving tendencies of contemporary literature.

RZ: Do you have any advice for emerging writers, or other writers of many native tongues?

HH: I would say that persistence and discipline are indispensable. I think we learn writing by reading. So the more we read, analyze and try to emulate the authors we admire, the better our own writing will become and we will eventually find our own voice. This works for painting as well. Visual artists first learn to copy the classics before developing a distinctive style. Regarding multilingual writers, I would recommend that they maintain their languages alive by reading constantly in the original. Writers should consider this ability as an advantage instead of a hindrance. In addition, every language brings along a wealth of original metaphors, which cross-pollinate and enrich one another.

Goodbye, Thea Stavroula

By Lisa Suhair Majaj

She died at 94. There are worse ages at which to leave this earth, but that doesn’t dispel the sadness. How many changes did she see in her life? How many wars? When she was a girl, the quickest way from Limassol to Paphos was by boat. People stayed in their villages, grew their own food. Now there are highways, and cars, and smart phones, and all sorts of other things she probably never dreamed of—though some things, like wars and their after-effects, don’t seem to change much.

She lived in Episkopi, a mixed village, populated by both Greek Cypriots and Turkish Cypriots until the invasion that split the country. She raised three sons, losing a daughter at the age of four. My husband tells me she always wore the Hand of Fatima, at the time considered a distinctively Muslim symbol, next to the cross around her neck. That doesn’t surprise me. From the first time I met her, as I struggled to find enough Greek to thank her for her coffee, her smiling hospitality, it was clear that she had a large, embracing spirit. Whenever we visited there were always stray cats she was feeding, children in the garden, a bowl of sweets for passers by.

And everyone passed by. Her house was at the heart of the village, right across from the church, down the street from the archeological museum. Neighbors, relatives, outsiders—all were welcome. She taught the young archeologists staying at the museum how to embroider, unperturbed by the lack of a common language. There was no better place for coffee than perched on one of the chunks of ancient Roman columns scattered outside her gate, breathing in the stunning vista of the coastline spread out below, the sense of timelessness.

But time never stops.

The day Thea Stavroula died, a massive sandstorm struck, blanketing the island for days in a cloud of dust so thick it was impossible to take a deep breath. Temperatures soared as the sky pressed down, gritty and clotted. Even the sweat rivulets rolling down my skin felt muddy.

On the day of the funeral, we braved the brownish haze to drive from Nicosia to Episkopi. We parked outside of her small, familiar house, the usual coastal vista shrouded in dust, and crossed the street to the church. Family and neighbors were already gathering in the oppressively hot stone-paved yard, their black clothing a reminder of why we were there.

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Inside, the church was dim and slightly cooler. I slipped some coins into the donation box and lit three candles: one for Stavroula, one for my parents, who died decades ago, and one for those still engaged in this battle called life. Then the chanting of the Orthodox service began, the musicality of the priest’s voice carrying me out of my thoughts as the candles flickered.

Soon enough the service was over—how quickly we mark passage from this earth!—and mourners gathered again in the churchyard, waiting for the coffin to be carried out. At the gate of the yard I noticed two tiny, ancient women clutching each other’s hands for support. One, I saw with a thrum of sadness, wore mismatched slippers on her feet. Later my sister-in-law told me that after the 1974 Turkish invasion, when refugees took shelter in Episkopi, Thea Stravroula had been the first to help these two women, giving them olives, that staple of village sustenance. Decades later, they had come to say goodbye.

We proceeded to the cemetery, where the open coffin required confrontation. I hardly recognized Stavroula in the body that lay face up to the sky. Age and illness had replaced her calm, robust demeanor with a startlingly gaunt profile; her eyes were no longer smiling, but closed.

This was my son’s first funeral. He watched carefully as they lowered the open coffin into the grave with ropes, poured oil on the body, scattered earth, and rinsed the shovel off with water over the coffin, mixing earth’s elements with her human remains. Then the coffin was closed and buckets of soil were tipped on top, attendants shoveling in more to finish the job. Dust clouds rose to join the dust that hung in the heat-struck, lowering sky. Her body went into the earth, earth was shoveled on top of her, and the sky rained earth on all of us: a dusty kind of tears.

At bedtime that night, my son asked me, “What is it like when someone passes away? What do they feel? What do they see? Where do they go? What do they become?” I had no clear answers to offer. Instead I kissed him and stroked his hair till his breathing settled.

But Stravroula didn’t settle. She lingered in the air around me, rich and full, her life too real to close a coffin lid on. I thought of an afternoon decades earlier, as we sat in the cool of her garden after hours at the beach—her laughter filling the air, the coffee she had brewed with careful hands waiting to be drunk, the future full in the unturned cup.

In my kitchen grows a plant started from a cutting taken from a tree in her yard, nestled in a simple clay pot. Like her, it is rooted in earth, arching toward the sun.