گلۆكۆما

photo credit:theraspecs.com

كۆتایی ئایاره

ئه‌م ئێواره‌یه‌ سسته‌ پاڵم ده‌نێ

كه‌ بچم بۆ شت كڕین

وا دیاره‌ كه‌ پێویستیم به‌ لۆشنه‌

یانیش بیانویه‌ك بۆ ده‌مامك دانی ته‌نیاییم

به‌ ڕێگاوه‌م

زۆر سه‌خته‌ كه‌ بیر له‌ دایك نه‌كه‌مه‌وه‌

دوای بیستنی هه‌واڵی نه‌خۆشیی

چه‌ند په‌رۆشم

به‌ چاوه‌كانی خۆی ببینێ

ده‌بم به‌ چی

بۆنی نانی كۆن و ئاره‌قی هاوین

په‌نگی خواردۆته‌وه‌

له‌نێو پاسه‌كه‌

هاوشێوه‌ی چیرۆكی ئه‌و تونێلانه‌ی

كه‌ پڕ بوون

له‌ ناڵه‌ی مرۆڤه‌كان

له‌كاتی خۆ شاردنه‌وه‌یان

له‌ هێرشی ئاسمانی

دوای ڕاگوێزران

دایكم

كێڵگه‌ بێ خێره‌كان و

ئاسمانه‌ وشكه‌كانی ده‌گوشی و

ژیانی لێیان ده‌چۆڕانده‌وه‌

من نازانم ئه‌و هێزه‌ چی ناو بنێم

خۆڕاگری

یانیش به‌خت

كه‌ دایكمی له‌ناو خۆڵه‌مێش

هه‌لسانده‌وه‌و

هه‌لسانده‌وه‌

تاكو ماڵێكی ئاراممان بۆ دروست بكا

This site includes words and experiences I want to share with those who dedicated themselves to fostering peace and human security.

Lost Treasures

My latest piece has just been published by The DateKeepers – An International Media Platform  “Lost Treasures”. The piece explores the connection between jewelry and clothing, bodily autonomy, and women’s political freedom in Iraqi Kurdistan (Başur)

In the essay, I discuss the historical independence and courage of Kurdish women and explore how various political, cultural, and religious constraints have impacted their freedom and way of life. These are some excerpts:

“When I was in the first grade, my aunt Zakeya, my mother’s sister, gifted me a necklace crafted from pearly white, round plastic beads. It wasn’t made of precious stones, but I would not have traded it for anything. We lived in a post-war era. Our parents couldn’t afford real jewelry, dresses, toys, or other luxuries. They had more pressing concerns.

I proudly slipped the necklace around my neck and ventured outside to show it off. Its beauty soon attracted several girls from our neighborhood, who gathered around me, asking admiringly about the necklace’s origins. Of course, like me, these girls had grown up in post-war circumstances. They didn’t have sparkling dresses, cute shoes, or even simple jewelry. We resembled characters from Charles Dickens’ novels.

My stint as the center of attention was short-lived, interrupted by the lunchtime call from our parents to return to our respective houses. The other girls headed indoors for their meals, but I stayed outdoors, hoping to attract a little more attention. Noticing a girl who was ambling down the street in my direction, I promised myself, “I won’t go home until she passes me and spots my necklace.”

The girl wasn’t from our neighborhood. I didn’t even know her name, only that her grandparents lived nearby, and that she visited them every weekend.

As she approached, her gaze settled on the region of my collarbone. “What a beautiful necklace!” she exclaimed.

In that moment, I felt like I owned the world. “My aunt gave it to me,” I proudly replied.

“May I try it on?”

I guessed that this girl was two years older than me. Clearly, she was wiser. Naively, I told her, “Of course! Here you go.”

When she put on the necklace, it looked even more beautiful on her.

“Isn’t it lovely?” I remarked, anticipating affirmation.

“Yes, it is,” she replied. “Can I walk around with it for a little while?”

When I said of course she could, she took a few slow steps, as if she only meant to amble to the end of the street and back. Breathless, I watched the necklace floating along with her. Only when she reached the corner and kept going did I realize that something was wrong.

That was the last time I ever laid eyes on that necklace. When I realized it was gone forever, the weight of the world came down on my small shoulders. I began to cry.

My aunt promised to buy me another one, but never did. She never was able to afford a necklace again.”

“The women in those photos wore long, loose-fitting gowns and dresses made of colorful fabrics that were dyed or embroidered with intricate designs. They also adorned themselves with necklaces, earrings, bracelets, and rings, often fashioned from finely etched metals and precious stones. But where had all the vibrant colors gone? I wondered. Where did their freedoms disappear to in the towns and cities? What caused this transformation?”

“Nowadays, many Kurdish women in Iraqi Kurdistan opt for long, dark dresses that conceal their legs and arms. The only obvious change in the environment is the proliferation of political and religious groups, which seem to grow more numerous with every passing year. Each group enforces its own set of radical regulations, urging people to comply for the sake of safety, nationalism, worship, honor, and whichever other guises happen to be de jure.”

“In high school, I befriended a girl named Dunya. She was an incredibly passionate, hardworking, and creative student. We shared the same desk for three years, which allowed us to build a strong bond. One day, she didn’t come to class. At first, I assumed she was sick, but days passed, and her absence continued. Eventually, I learned that her family had arranged for her to marry one of her relatives. This news shattered my heart, not only because it brought our friendship to an end, but also because it derailed her ambitions and dreams. I still mourn for everything she never had a chance to achieve.

Dunya’s parents probably intended to protect her from the dangers that they feared she would encounter. Instead, they conjured up the greatest danger she had ever faced. It broke her.

A few years later, just before beginning my BA, I met Dunya at a wedding party. At just 19 years old, she appeared almost 30. She told me she’d already suffered two heartbreaking miscarriages and now had to care for the two young children that had lived. She also showed me scars etched on her neck and arms, evidence of the abuse that she suffered at the hands of her husband.

That night, tears soaked my pillow. I lay awake thinking of her beauty and how it had been undone by the scars. In the years since, I’ve realized the invisible damage that her marriage has done to her psyche must be far more excruciating and profound than any physical wound…

Dunya didn’t need a certain outfit to protect her. She needed autonomy, support from her family, and opportunities to realize her dreams.

Jowan didn’t need to suffer butchery to experience a dynamic and rewarding life—a life that’s been denied to her. She, like Dunya, would’ve thrived if she’d been able to access to education, financial independence, and meaningful participation in decision-making processes.

Self-determination, not a piece of fabric nor a razor blade, is the only thing that can protect us and enable us to lead fulfilling lives.”

New Poems

In the midst of the tumultuous uproar in this unbalanced world, two of my poems “Mending” and “Uprooting Rhubarb” have found a home in the pages of the magazine by The other side of hope . These verses explore the harsh realities of war, calamities, and the poignant absurdity of displacement and uprootedness.

Uprooting Rhubarb
 ★ ★ ★

In mid April of 1992,
dad’s old jeep
takes us to the Zagros slopes
that look heavy, pregnant
with mines, corpses, hopes.

He points to some spots
where we can safely wander
while little brother’s busy
licking smoke
and other remnants
off his tiny fingers.

We roam like foragers
treading lightly
over garments
draped
on skeletal hangers.
Our ravenous eyes
looking for rhubarb.

First we uproot the stems
then pile them
like fallen soldiers.

Life’s Nonlinear Journey: Triumphs and Trauma in a World Scarred by War

I am honored that DateKeepers (The)published my new article “Navigating Life’s Nonlinear Journey: Triumphs and Trauma in a World Scarred by War”.

In the article, I explore what it’s like to grow up in an environment where the prevailing belief is that life follows a linear trajectory.

“Before I ever started school, my parents had already experienced several displacements within their own region. Eventually, they settled in a small town, Diana, near the city of Erbil, the capital of Iraqi Kurdistan. I spent my first three years of school in that small town. However, for my fourth-grade year, we relocated to a larger town nearby. The new school was bigger, and the children I encountered there spoke a more standardized dialect of Kurdish. The linguistic differences weren’t all that drastic, but my rural dialect brought laughter and ridicule, as did the modest dress my mother made for me. More often than not, I found myself sitting alone in the backrow of a classroom filled with over 40 students.

One day, I was filled with joy because some of my classmates invited me to go with them to watch a school sporting event taking place at the soccer stadium in our town. As we watched the athletes compete and enthusiastically cheered them on, I tried to strike up conversations with my classmates. My excitement was abruptly interrupted when one of the girls, who’d been absent for most of the day, suddenly joined our group. She was clearly unhappy to see me there.

“You told Sarwa yesterday that you weren’t coming,” one of the other girls told her. I vividly recalled her words the day before, how she’d said she had other important commitments.

“You’re lying,” she retorted, and then added, as if to bolster her own credibility, “you disgusting village girl.”

I don’t know what I looked like to them, but I felt my cheeks burning, my heart racing in tandem with the rhythmic beats of the athletes’ drums.

The variations in our dialects were relatively insignificant. I had no trouble distinguishing between the phrases “I will go” and “I won’t go.” Yet the contrast in our life experiences was monumental. The war had impacted my family and village far more than our neighbors and my peers at that school. Now we looked and felt more worn-out, impoverished, and vulnerable, easy targets for harassment and exclusion.”

Then, I delve into the significance of imagination and creative writing in shedding light on injustices, with a particular focus on the tragic death of Jina Amini:

“Jina’s murder inspired thousands of poems, paintings, songs, and movies from artists all over the world. These events not only put pressure on publishers to make space for stories like hers, but also underscored why every story must be told. When only one group of people with a narrow set of interests gets to tell the same stories over and over, whether it’s American MFA graduates or the men who commit honor killings, everybody’s understanding is curtailed. Those of us who do not get to tell our stories often find ourselves believing others’ narratives, just as my friend Ava once believed the narrates that blamed her mother. As writers and artists, we’re each responsible for exposing ourselves to diverse sources of inspiration and finding the most vivid modes of expression for the stories that experience, interest, and passion have moved us to tell. Publishers, meanwhile, have responsibilities, too: to read widely and familiarize themselves with many subjects, to maintain open minds when encountering new work, and to amplify a plurality of voices, not just those that echo their own.

I still feel the distance that yawns between me and my peers, especially here in exile. I feel it whenever I attempt to engage them in conversations, whether at academic conferences of casual social gatherings. Yet, at the same time, I feel that I’m fortunate to possess a deep passion for reading and writing. The world of literature has not only expanded my imagination, but also equipped me with the tools to engage in meaningful conversations. I often turn to poetry as a means of communication, particularly with individuals who, like myself, have experienced harsh circumstances like war, displacement, and suppression. Though I’ve missed many of the stages of life through which my peers have passed, I’ve nonetheless found purpose in my difficult and winding journey, for it’s motivated me to make the most of my creative skills and strive every day to uplift those who’ve journeyed alongside me.”

ANALYZING CHRO ZAND’S ‘MEMOIR OF A KURDISH HERO’S DAUGHTER’

“Facts need testimony to be remembered and trustworthy witnesses to be established in order to find a secure dwelling place in the domain of human affairs. From this, it follows that no factual statement can ever be beyond doubt.” Hannah Arendt

nlka.net


In my latest article which was published by the Kurdish Center for Studies, I write about the significance of first-hand testimony in a post-truth era, especially in relation to displacement and war. I also analyse the role of women’s voices in documenting history.

A Home Beyond Walls: Nurturing Belonging through Artistic Refuge

“My grandmother often recited an ancient Kurdish proverb: ‘Mala mroy kuna gure, le hemi jeya xoshtre,’ which translates to, ‘Home is the wolf’s hole (den), the coziest place to dwell.’

“The profound passion I hold for my home and heritage is owed to the indomitable spirit of my grandmother, whose narratives of displacement, migration, and oppression continue to ignite inspiration within me each day. Themes of home, displacement, and intergenerational trauma intertwine within my writings, forming an inseparable core. While my grandmother’s experience of displacement took place over a century ago, the current political climate has brought her accounts closer to home. I heard her recount the same stories and memories so many times that her voice continues to resonate vividly in my ears, as if she’d returned to life and assumed the role of an immigrant once more.”

But what if the den has cracks? What if life shatters? Would you be willing to abandon your home if it’s beyond repair? “

In the article “Home Beyond Walls,” I recount the compelling saga of my ancestors, who, as war refugees, embarked on a journey of resilience and survival. Subsequently, I delve into the remarkable lives of six valiant sisters – my aunts and my mother – who displayed unwavering determination to pursue education during tumultuous times of war, despite being constrained by familial and cultural censorship.

To see full article please check the link below:

https://www.thedatekeepers.com/post/a-home-beyond-walls-nurturing-belonging-through-artistic-refuge

War Wounds

It broke my heart when I saw my poem “To Hawa” published in Genocide Studies and Prevention by University of South Florida. But, amidst the heartbreak, I am glad that I found a meaningful way to share this tragedy with the world. In 1991, during Gulf War, Hawa was only 5 years old when her spinal cord was damaged in one of Saddam’s bombing attacks by shrapnel leaving her lower limbs paralyzed. In May 2023, Hawa died from body sores associated withher never healed shrapnel wounds.

Narrating Kurdish Women’s TraumaThrough Poetry

I am honored to have my genocide poems published in Genocide Studies and Prevention Journal that is supported by the University of South Florida. I have titled my poems “Voices of Kurdish Women Survivors: Healing Through Wounds of Genocide” as a dedication to the courageous and resilient Kurdish heroines of war and genocide, whose stories have remained untold and whose strength and resilience continue to inspire.

credit: pixels.com


As I have mentioned in the abstract “The Kurdish genocide tragically stole a generation, yet little attention has been given to the profound anguish endured by women left without husbands, fathers or sons. The poems “Alive,” “Waiting,” “To Hawa,” and “But Then Their Eyes Retained Everything” venture to unveil novel perspectives on the vast expanse of war, violence, trauma, and healing. They explore the impact of Saddam Hussein’s genocide on women during and after the war, its impact on subsequent generations, and the reflections of women on the implications of the Al-Anfal campaign, which spanned from 1986 to 1989. Similarly, the poem “Her Tongue Refuses to Recall,” tells the tale of a resilient Yezidi woman who, like thousands of others, was tragically enslaved by the Islamic State, also known as Daesh, during their invasion of Iraqi Kurdistan from 2014 till 2017. By placing women at the forefront instead of the periphery, these poems attempt to enhance our comprehension of how these atrocities have affected families, intimate relationships, and the unique vulnerabilities faced by women.”

Words, words and words

Another interview by 4word

apolo

Can you tell us a little about your life in Iraq?

I was born immediately after my parents got displaced from their village due to Iraq-Iran war and settled in a small town called Soran. Two of my aunts are poets. They read and write in Kurdish. They used to read their poems to their friends and relatives out loud. I was around 8, I did not exactly know what these poems were about, but I knew they included themes of freedom, war and gender discrimination. I remember how excited I became each time I went to their homes and picked poetry books from their library shelves. They had two half-walls of bookshelves.

I taught Creative Writing in Soran University after I finished MA in English Studies in Leicester University. In 2016 after joining NGOs, I worked with Refugees and IDPs, supporting their women and children in our region.

When did you begin writing?

I began writing in high school. I started with non-fiction writing for my assignments. My first work of writing was an article about aesthetics of Kurdish Traditional Indoor Games

Are you mainly drawn to writing poetry or do you also write prose?

I tend to write poems more often. Sometimes I write prose, especially for my blog. I really enjoy it, but to me it takes me longer to finish prose than poetry.

When and where were you first published?

My first poem was published in a Kurdish local journal for children in 2002 which was about hazards of landmines and ways to avoid them.
My first chapbook Remote is published by 4word in June 2019.

Can you describe your journey to publication?

Growing up in Kurdistan, it was really difficult for me to find a publisher in the UK or other western countries. That was one of the reasons I wanted to do Creative Writing in the US. But I was fortunate enough to know some great writers from the UK before I move to the US. I showed my poems to them and got positive reviews for them. Among these writers were Drs Muli Amaye, Graham Mort and Peter Kalu. Graham Mort showed my poems to Stella Wulf, 4word’s publishing manager. She accepted to bublish my first chapbook Remote.

When and where do you write?

I don’t have a specific time or place for writing. Different things inspire me or push me to write. For example, I read an article, watch a documentary, if it is about contemporary issues such as migration, war or violence, I want to cry, when I know no one cares or listens, I grab my notebook sometimes my laptop and write a poem about it.

Can you tell us a little about your writing process?

I start with writing prose, then comes my favourite part which is trimming and adding words. Sometimes a long poem will turn into few lines, other times the complete opposite will happen.

Do you think your style has changed over time?

When I first began writing poems I worried too much about the style, I tried to care extra attention to stanza, rhyme, syllables and so on. But then I tried to focus on tone and subject matter, I realised that your own unique style will always be created afterwords. When I compare my early poems to the recent ones, I see that style has changed significantly.

What writers influenced you and which poets do you continually go back to if any?

Raymond Carver, Alice Walker, Margaret Atwood, Warsan Shire, Elif Shafaq, Ursula K Le Guin, Tarfia Faizulla and many more. I believe that throughout all their stories and poems one finds a remarkable spirit of universality. When I travel I realise that I cannot stop myself from re-reading those especially Carver and Le Guin’s books on the plane or bus.

What are you reading now?

Solmaz Sharif’s LOOK. It is an amazing poetry book.

What advice, if any, would you give to an aspiring poet?

Observe things, see life then paint it with your own words. Believe in the magic brush in your head, it always knows how to stroke and bring life and hope onto the page.

REMOTE

poems

   Observe things, see life then paint it with your own words. Believe in the magic brush in your head, it always knows how to stroke and bring life and hope onto the page. Like any type of art writing poetry has a therapeutic power. You feel this power better when you live in a society where freedom of expression is restricted due to cultural, religious and political reasons.

After Gulf War we did not have electricity for many years. Because of sanctions we have endured severe financial difficulties. Books gave me strength, hope and light. I hope my REMOTE has similar impact on my readers.

 

Sarwa Azeez