‘A Glass of Tea, a View of the Atlas’ by Shadab Zeest Hashmi

Trade An assortment of crooked and straight arrows for the crest of a bulbul or a handful of sesame Uncut turquoise for juices of scorpions and glow worms A dozen poisons for an embroidered collar/ a pinch of saffron/ abalone knob Spotted eggs for knotted shoes Peacock feathers for beet sugar How much fur will buy cloves for my toothache? How many sprigs of mint/ radishes to restring your rabab? The market is spinning between us How much of us has been stolen by the ghosts of aromas? When night comes there is spinach again for the promise of quail Your dream of cake feeds on wild berries You kiss my cold shoulder I comb out the market from your hair

A Glass of Tea, a View of the Atlas You give me Fez honey on Fennel cakes in a ceramic saucer because you say, to eat from this bitter clay (glazed and caressed with geometric precision), will draw me into the shapeless sob of the future. You read invasion’s epistle even in the smoothness of ebony— ashes of ancestor acacia on your lashes— I raise my tea glass to level with your eyes, the snowy Atlas scintillates behind you— cream on your dish of weeping clay.   Untying the knot of ker-chiefed bread in a cedar grove she would shudder, your mother, child of exiled Andalus, memory embossed with two kinds of histories— one flitting like a citron butterfly, the other wrapped in linen, knotted, turned to cinder over a cedar flame— tongue of the grand inquisitor leaping from Spain to Morocco, night-sweats, door-chains, the informants and their fistfuls of gold, the choke-hold of banned prayers. Tender, the bread sponges the lava of fear.   Only the footed teapot’s shadow on the wall dismantles its truth, its rigid stance and military-medal-silver muted in the bounty of the skylight flecked with pheasant foot-stains from nightly rain. Its handle forms the shape of a perfect heart, if there is such a thing, and between breath of Konya and bloodbath of empire, furs of sable, mink and squirrel, and the soft grasp of a baby around the planet’s future, there are names for the divine in every tongue.   Serendipity “Straight from the tea gardens to the teapot” Slogan from the island of Sita, thieved goddess who takes her tea cold in America-of-the- ice-blue-eyes, new trail of old jewels. Not my grandmother’s time yet, the rupee coin in India bears an empress looking away, facing West. On the reverse, under a wreath, the coin says: East India Company As in, coffers/coffins, divide/conquer. Neck to navel, garlands of tea bags exhale the sweet manure of Ceylon around Sir. Thomas Lipton, delicate-dark fingers ghost across lifelong tea terraces, burial grounds of language   “You can buy estates here for a song,” Lipton’s agent says Fungus consumes the coffee crop in Ceylon before sellers and drinkers do, and like a kiss snuffing a flame or a diamond in the ashes of a dead lover, it seals Lipton’s fortune: Georgetown Semi-Weekly Times says the Scottish grocer and tea Mogul Sir Lipton (“the largest landowner in Ceylon and one of the wealthiest tea merchants in the world”) is looking to invest a sum of half a million in South Carolina— A day for the rain raga, Serendip showers silver dollars, pounding the earth with the reign of tea   Under the Tea Table, Watching CNN Euphoric, gold-maned lion with tea (or assault weapon?) in its raised paw, “Ceylon,” the box is called, and sits next to a tin of condensed milk, scalloped petunia teacups. The sweets from Alif Laila are not real but are in phantasmagoric excess: Syrup of Qandhaar lacing quince of Nishapur, apples of Syria, Tus apricots, dates of Kirmaan, Nawahand pears— I’m rocked by the dream of a fruit-scented boat, eyes shut to the television screen, quaking with grenades   Poisons of the Golden and Silver Screen Splash of arsenic in the eye, the great art of hooding and unhooding on screen: naming me ‘enemy’ in the cartoon, the four o’clock news, feature film, the late- night talk show with the spotlight-artist of my absurdity, star-novelist who maps my crooked mind, catches me mid-dream in my plum-palace of crime, catwalks, the seven discarded veils of Salome— douses the lectern in the slow, deep, tweed-colored toxins.   Fairy of Pearls and Poisons I scratch out the horned demon on the cover of my Urdu Dastaan and draw a fairy out of his fangs. Not much to look at, and smaller than the hero’s shield (the size of a peppercorn), she saves his life with her piercing rain raga that ricochets against the ruby-filled mountains of the dev, winning the hero his freedom plus a trove of foreign gems: turquoise of Nishapur, carnelian of Yemen, garnets of Balkh. And local pearls. She will fight the famous poisons for him: scorpion, centipede, glow worm — all, but vanity.   The Wise Sons of Serendip refuse premature power refuse kneeling attendants and silk bolsters, each handing back the crown to their father, the King, whose painstaking work of raising princes is complete. I’m turning pages from golden palanquins to the parched mountain passes: parable narrated by Khusrao’s Princess of the Black Pavilion, daughter of India, who teaches the hero the uselessness of might against true power— Not cleverness but forbearance saves the sons of Serendip— Opaque watercolor ink and gold on paper, the princes hand back my faith in a land of stolen languages, of rulers looking away.   Serendip Notes Serendip is the Persian name of Ceylon or Sri Lanka. The British East India Company’s exploitative trade policies enabled it to seize control of a large part of the Indian subcontinent. Ceylon became part of the British empire in 1815. 1754; Horace Walpole coined “serendipity” for the faculty distinguishing the heroes of The Three Princes of Serendip, a tale that appears in a famous Persian poem by Amir Khusrao. 1890: Thomas Lipton visited Ceylon and purchased tea gardens with Tamil workers from India. Lipton sold packaged tea throughout Europe and the USA beginning in 1890.

 

The River  [PDF] by  Shadab Zeest Hashmi A Glass of Tea, a View of the Atlas’ and other poems are © Shadab Zeest Hashmi

Shadab Zeest Hashmi is the author of poetry collections Kohl, Chalk and Baker of Tarifa. Her latest work, Ghazal Cosmopolitan has been praised by poet Marilyn Hacker as “a marvelous interweaving of poetry, scholarship, literary criticism and memoir.” Winner of the San Diego Book Award for poetry, the Nazim Hikmet Prize and multiple Pushcart nominations. Zeest Hashmi’s poetry has been translated into Spanish and Urdu, and has appeared in anthologies and journals worldwide, most recently in Prairie Schooner, World Literature Today, Mudlark, Vallum, POEM, The Adirondack Review, Spillway, Wasafiri, Asymptote and McSweeney’s latest anthology In the Shape of a Human Body I am Visiting the Earth. She has taught in the MFA program at San Diego State University as a writer-in-residence and her work has been included in the Language Arts curriculum for grades 7-12 (Asian American and Pacific Islander women poets) as well as college courses in Creative Writing and the Humanities.

Advertisements