At Fakhani, The Shoe: Lebanon, After the Bombing

Sam Hamod


It is a
Shoe     a
Single baby’s
I pull it from the
Wreckage in Fakhani, a refugee
Separated from its
Foot,   it is April
And it is darkening in the covering
Black Lebanese earth, the soft earth
Has cracked its white surface, marked with
Streaks of blood

And who wore this shoe, what
Little girl, or was it a
Boy, what did the
Father say when he
Smiled, did he laugh
Back, or was she a shy girl who had
Already learned to be a
Coquette – or was she
Chubby and withdrawn among
People, if he was a boy
Was he already strong, his
Dark hair flying as he
Wrestled his father’s
Arm – and what
Did her mother say to her
Father when they heard the jets
Screech across the sky, did they
Hear the whistle, or was it an
Offshore song, Israeli sirens at
Sea who sent in wave after wave of
Glistening silver sheets of
And why was
This little shoe
Left by itself to wonder
In the dark, to find its way
To the surface by itself, and how
Did it feel

Leaving its foot behind­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­­―
And what did the foot say
As the shoe slipped away
In the darkness
Toward the surface, did the
Child turn over as if in
A dream
did he dream
Mother and father were blowing

And what am I
To say, a stranger now
To my parent’s land, in the
Bright Washington afternoon,
Here in Fakhani, holding onto this
Little shoe, feeling grief in
Arabic saying it in English, so
That it is flat against
The round care of this shoe, something
Is missing, how did this shoe come
To surface today to meet me, the
Child who can explain it
Is sleeping
Under the new coming
Grass, under the splintered boards and
Shining glass, and how
Long can we stand in the
Shadows hiding what our hearts know – like
A telegraph beacon repeating
Someone is missing
Someone is missing
Someone is missing.

Sucking in the air
We drink Palestine, we taste
Lebanon, we hear Syria, we remember
Jordan, all the same
Land, the home of the same shoes,
Split now,   like this foot
From its shoe,     the blood smell
Coming from the piles of
In the hot Lebanese sun, and
So we are at home, tearing away
The language and names
Of countries, of village,
Tearing away the memory of these
Past two weeks, believing this shoe
Never had a foot, something lost
From a shoe store by mistake, something made
Alone and single in the tannery of
Rafik Dibbs in Machgara in southern
Lebanon, some sort of dream of what it was like
In Alay and Zah׳ le, when people
Would stay up until early morning
Doing the dab׳kee, eating olives and
Kib׳bee by the flowing creek

A place where there were
No airplanes, a place where
There were no rockets, no
Ships lobbing in shells from
The blue and glistening Mediterranean, but
This shoe, we know
Is missing its foot –
Shall we search in Tel Aviv, in Washington, in
Moscow – shall we search, or
Shall we make another
Speech, shall we make another
Poem, shall we empty the canister
Of language and simply

The shoe
I give you this
It is
Not mine,
It is



Dr. Sam Hamod




At the Israeli Checkpoint, Palestine (for Mahmoud Darwish, In Memory of the Greatest of Arab Poets)

Sam Hamod

    (for Mahmoud Darwish, in memory of the greatest of Arab poets)

At the checkpoint, the

Israeli private asked me my name, I told

her, my name is

Zaitoun, she asked, what does that mean,

I told her 4,000 year old trees, she laughed,

asked for my real name, I told her, “Dumm,” what?

i said, it means blood, she said, that’s no name, I told her

blood of my grandfather, my father, my uncle

and even mine if necessary, she bridled, called the corporal,

he came running up, said, what kind of threat is that,

I said, it’s no threat, it’s just a fact,

he called the sergeant, he came up and hit me before he spoke,

my mouth bled, I told him, this is the blood I mean, that same

blood, you are afraid of, it’s over 4000 years old, see how dark it is

he called the lieutenant, who asked why my mouth was bleeding,

the sergeant said I had threatened him, the lieutenant asked me

if that was the truth, I told him, I had only stated facts, that

they would be true, after they conferred, he called the

colonel, the colonel came over and asked why I’d been provocative,

I said, all I was doing was stating facts; he asked what I did,

I told him, I was a farmer, he asked what kind, I told him

a farmer with words, what some call a poet—

“yes, now I know your name, Mahmoud Darwish,

you’re well known in Israel,”

he asked me if I knew the work of Amichai, I told him yes,

that I’d met him, that he knew what I meant, that Amichai was

sorry for what he’d felt he “had to do”—the colonel shrugged

dismissed the others and told me, “pass on,

I understand, but they don’t, they are not Jews, I am a Jew,

not a Zionist”

I pulled the qhubz arabi from my pocket, pulled some zaitoun

from another, some jibbin from my bag and gave it to him–

we laughed, he split the bread in half—

we ate together, we laughed at how sad and foolish all this was

* qhubz arabi: bread of the arabs

jibin: arab cheese

zaitoun: olives


please see author’s complete biography on the “Home Page,” and in “Author’s Page.”

The Muslim Scholar Searching for the Thousand and One Nights (Alf Laila, Wa Laila)

Sam Hamod

(for my old friend and teacher, Professor Muh’sin Mahdi of the Univ. of Chicago and Harvard, all the way from Iraq and the Alf Laila, Wa Laila)


Muh’sin found a thousand versions
of a thousand and one nights,
alf laila, wa laila,
in so many dialects that after a while
he decided
no one
not one
could have
even thought of
writing those thousands
of pages, of those thousands of
versions of the
thousand and one nights, so that
it had to be the hand
of a wizard, someone from outside
this life, someone who knew the
genii, someone who knew
the secrets of Ali Baba, of
Sinbad, and all the seas, pirates
and thieves of Arabia and
the Mediterranean, that was
a bearded genius, who smoked
the nargela by night, wandering
in and out of
dreams, who knew of carpets
flying, of horses that magically lifted into
air, with lights and jewels
all around, with beautiful virgins
who could not be
violated, who understood the wiles
of women, who understood they always
play the upper
trinket, that jangles in the
minds of men, who let slip the
sounds that
tempt men, circes
whose various
cries are music
to panting men’s ears,
he had to have found
the scars of generations of
men who have yearned to
capture this single
woman, the one
who has all the
secrets, but who
only lets them
secretly, almost
silently slip out of a
dream, like each day
is a dream, in the mind
of the wizard, the maker
of the sport and
pastime, whose hand guided
even her bangles as she
danced her nine hundred and
ninety-ninth night, fully knowing
the caliph had already been
by the moon
whose eyes
almond white against
her tanned skin
were a symphony
he could no longer
control, but even as he
breathed to ask
she moved slightly
away, out of his
reach, and even at his
command, did not
in that moment
he was aware
of her hips of water, her
skin light olive
her eyes
that burned
brighter into him
setting him afire

see author’s complete bio on the “Home Page” and “Author’s Page”


إذا كان كوكبنا مغطى بالأزهار ال (If the Planet Were Covered With Wildflowers)

Lahab Assef Al-Jundi  (لهب عاصف الجندي)


إذا كان كوكبنا مغطى بالأزهار البريه،وماتَ أحدُّ بقسوة في الصين،تختفي كل الزهور.وَيملأ فضاءٌ من الظلمة مكانهم.وقتٌ للحزن.

هل سبق لك أن شربت من كأس الخلود؟طعم الخلود أطيب من أي وقت مضى.لماذا أستيقظ والأزهار البرية

تغطي العالم، وموتٌ في الصين، والخلود؟

فقط…  ذاتي الحالمه تعرف.

كلُ الشعر مكونٌ من أحرف أبجدية.كلُ الوجوه المتنوعة…عينان وشفتان وأنف.كلُ شيء عرفناه أو سنعرفهيمكن أن يُروى بالآحاد والأصفار.مازلتَ تعتقد أن الخلق عملية معقده؟

قلبي مغطى بالأزهار البرية.أظن أني سأعود للنوم وأزرع أكثر.سيجعلني هذا العالم قاحلاً مع هبوب الريحإذا لم أشرب وأشرب،

وأُسكب عواصف رعدية من الحزن الأزرق… 


If the Planet Were Covered with Wildflowers

If the planet were covered with wildflowers,
and someone dies a cruel death in China,
all the blooms would disappear.
A space of darkness would fill their place.
A time of sorrow.

Have you ever drank from eternity’s cup?
Eternity has never tasted so good.

Why would I wake up with a  wildflower-
covered world, death in China, and eternity?
Only my dreaming-self knows!

All poetry is assembled from letters of an alphabet.
All these diverse faces are two eyes, two lips and a nose.
Everything we ever knew or will know
can be told with ones and zeros.
You still think creation is that complicated?

My heart is covered with wildflowers.
I think I will go back to sleep and grow some more.
This world could render me arid with blowing winds
if I did not drink and drink,

Pour thunderstorms of blue grief…



photo by Melanie Rush Davis

Assef (Lahab) Al-Jundi  (لهب عاصف الجندي) was born, and grew up, in Damascus, Syria.  He published his first collection A Long Way in 1985. Assef’s poetry has appeared in numerous literary publications, and many Anthologies including: In These Latitudes, Ten Contemporary Poets, edited by Robert Bonazzi, Inclined to Speak, An Anthology of Contemporary Arab American Poetry, edited by Hayan Charara, and Between Heaven and Texas, edited by Naomi Shihab Nye. He currently resides in San Antonio, Texas, with wife Sara and two cockatiels Yoda and Princes.



A Date With the Moon

Lahab Assef Al-Jundi (لهب عاصف الجندي)


Last night I had a date with the moon.
I arrived early.
A small knoll by a high perimeter fence
topped with barbed wire.
“Prohibited.  Do Not Enter” sign
in red letters, hung on chain links.
In front of me, Texas Highway 281.
Beyond, airport runways graying
in faded evening light.

I sat waiting on hard thirsty earth.
Patches of spring grasses.
A few drooping wildflowers.
I squinted in the strong breeze
to keep dust out of my eyes.
Images of rebels on the road to Tripoli
seeped into my head.
They were battling a sandstorm
and killer mercenaries.
Fumes from passing traffic
drifted warm into my nostrils.
Tires hissing and growling along.
Oddly sweet.
Cries of the wounded in Dara’a and Hama
Teargas-choked gasps.
People screaming:

Little by little sky darkened.
Lights shimmered brighter in the haze
of landing jet engines.
My anxious gaze scanned eastward
over runways and fields.
Neighborhoods settling down
for evening’s meal.

Out there
where horizon fades
between heaven and land,
moon warily emerged
bathed in crimson shades.

Boldly climbed.

Set night on fire.



Lahab Assef Al-Jundi please see author’s biographical information in his additional works, and on the Author’s Page.


Lisa Suhair Majaj


Always knew it would come back
to haunt me. It was war, time was short,
the truck was leaving, and with it my hope
of safe passage from that besieged city.
She was in another place, phone lines
down, no time to search her out.
I had to flee. And so I did. I knew
the spool of time would never
rewind, that there would be no
going back; that with that leaving,
I would lose my chance to find her
before the bombs exploded–
her home destroyed, her brother burned,
her eyes torn to darkness.
Where is she now? Would she
remember me if I found her?
And if I kissed her cheeks three times,
Lebanese style, and called her habibti,
hayati, would she speak to me,
smile? Or would she turn away,
her life so changed, her griefs so far from mine
that there would be  no point in saying, even, goodbye?



Lisa Suhair Majaj is the author of Geographies of Light, winner of the Del Sol Press Poetry Prize. Her poems and essays have appeared in over fifty journals and anthologies worldwide. She is also co-editor of three collections of critical essays: Going Global: The Transnational Reception of Third World Women Writers; Intersections: Gender, Nation and Community in Arab Women’s Novels, and Etel Adnan: Critical Essays on the Arab-American Writer and Artist. She lives in Nicosia, Cyprus.