
HALF PLATH, HALF PRAYER
I sit at the altar,
my hands clasped
for a prayer,
but they bleed.
There is a chapel
in my throat,
but all the hymns
I want to sing
bristle my
throat.
By thirteen,
I wrote
odes to fawns.
By sixteen,
I kissed
a razor and
called it my
Saviour.
By twenty-five,
I no longer
dog ear
my books
for they
bleed.
So, I kiss them
goodnight
before I sleep.
Out of guilt,
I no longer pray.
Redemption lies
beyond.
Sometimes,
I dream of
Plath and she
tells me:
Write till it kills
you wholly.
So, I lay awake,
my soul yearns
to be heard.
The pen or knife,
sinner or saint—
contradictions
lie in me and
I cannot breathe.
Half Plath, half prayer;
one hand holds a light,
the other holds a rosary.
Paralysed by the ghosts
of the past,
I do not know
what I'll hold next.
THE GRAMMAR OF WOUNDS
My mother corrects my Urdu,
as if it were a wound I should have known how to clean.
Little does she know that it remains like a broken record.
It is on repeat…
To her, it is silk on tongue, gliding effortlessly.
To me, it is a thorn, every word bleeds.
It is a torn hem I keep stitching wrong.
Her tongue folds while mine cracks,
like the ruins of Mohenjo Daro.
Specks of my identity forever lost in time,
I speak in syllables that ghosts cannot recognise.
Each correction is a reminder that I no longer
reside in my own body.
The symphonies morph into a no man’s language,
this remains my swan song.
Yet I write relentlessly till my fingers blister.
One day, I’ll know how to write,
knowing what I bled was not in vain.
I will soon speak Urdu correctly as resilience.
Momina Raza is a writer from Lahore, Pakistan. She writes about ghosts that speak in broken tongues and love that doesn’t stay buried. When not obsessing over the texture of silence, she’s underlining sentences in Madonna in a Fur Coat and wondering if ghosts speak Urdu. You can find her on Instagram @momina17_.
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