
KNOT Magazine
Fall Issue 2022
Shadab Zeest Hashmi
Urdu: Silk Road Qasida
Qasida of Cat Dreaming the Forbidden Mountain
Daybreak, a mist-filled coin purse
from the Caucasus
Or koh e qaaf— mountain named after the letter
tied to the throat’s sharp rock of death,
rouged floor, golden fleece
hung on the arm of the Greek god of War, gray breath
lifting from a choke-hold between a horned dev
and a Persian wrestler, princess dressed as a horseman
held in the dreaming cranium of a cat on a rich
cushion beside the half-read Alif laila
Qasida of Ordu by the Black Sea
How the Black Sea is an iridescent dish
the soldiers know from clutching
each brother by the echo of his gleaming song
Nothing is lost on the edge of myth
Camp to camp, ear to ear, tongue unknotting
on sailor-songs in the direction of saffron and science:
O how she makes a fire, how he washes her scarf
In the world’s oldest cherry orchards, they hum
to the oldest military march, raising a drum
against untimely burial, they feed the anthem to woodworms
Qasida of Mulberry Sisters
Silk semantic from a mile of thread
each cocoon makes: you are prized company
under an unknown grove, sisters, plaiting language
from three continents— On patches of Camel thorn,
hard meadow grass, a sofa, Turkish for chair,
from suffa or wool in Arabic, mirror-work
of court Urdu, camp Urdu, pass on the purple-stained saucer
where a word once met a word, pass on the newborn,
spring anemones, asphodels, the book
we write of thread known for strength and shine
Qasida of the Listening Loom
Sixteen hundred knots per square inch
Silk on silk carpet weavers keep their windows
to the street open for the footfall of pilgrims,
tamasha tambourines, salty pastry- coal- and-tea-
hawkers, schoolchildren, snow partridge and chakor—
the loom must soak in every waking and sleeping syllable
for each restless knot to settle as the stew cooks all night
the scent of cloves sewn into the newly-weds’ pillow
travels to a far continent where their carpets hang
where no one has heard of a place called Kashmir
Qasida of Urdu Bazaar
Between the mosque and the Moonlight
Square or Chandni Chowk is the market where my language
landed a name. I drank the map as milk,
meandering
more than one hundred years after the market charred
on the watch of golden poets
Black lace trailing on volcanic ash—ancestral thunder
where the Black sea meets the Jamuna
I turn my back to the mulch of master
sing language is its own empire
Note:
The qasida is a poetic form that comes from the ancient Arabic oral tradition and became part of many literary traditions including that of Urdu. It was originally a journey poem, typically 50 or more lines, and included various prescribed themes which were framed in distinct segments or "movements."
My qasida cycle is a journey poem (an adaptation of the original form) that celebrates the various roots of my native language Urdu, which is a hybrid of Turkic dialects, Arabic, Sanskrit, and Persian— cultures along the Silk Route. The poem begins in Koh e Qaf or the Caucasus mountains (a place that is mythologized in Alif Laila or the “Arabian Nights”), and ends in Delhi's Urdu Bazaar, the multilingual district of Imperial Delhi where Urdu evolved into a language.

Shadab Zeest Hashmi, winner of the the San Diego Book Award and the Nazim Hikmet Poetry Prize, has been nominated for the Pushcart Prize multiple times, and her work has been translated into Spanish and Urdu. Her poetry has appeared in Prairie Schooner, Poetry International, The Cortland Review, Vallum, Nimrod, Atlanta Review, The Bitter Oleander, RHINO, Journal of Postcolonial Writings, Spillway, The Adirondack Review, and Drunken Boat among other journals and anthologies. She represents Pakistan on the website UniVerse: A United Nations of Poetry, and has taught in the MFA program at San Diego State University as a writer-in-residence. She is a guest columnist for 3 Quarks Daily. Kohl and Chalk is her latest book.