Issue 62 | Poetry | December 2025

‘Self-Portrait As Eve Contemplating Creation’ & Other Poems

Javeria Hasnain

Editor’s Note

“Exchanging signals with the planet Mars is a task worthy of a lyric poet,” wrote Osip Mandelstam in his essay, ‘On the Addressee.’ I favor the contradiction of “exchanging signals” underwriting Javeria’s poems. One of her apostrophe’s read: “A carnivore of want. I.” As signals are to Mandelstam, directed towards a “secret addressee” across the future—solipsism is to Javeria’s speaker the camel treading the needle’s eye.

When I read Javeria’s poems I enjoy that they address nobody in particular—like the Muslim prayer: “Lord, please increase my bewilderment,” her lines intentionally move away from the conventional expectation that lyric poems offer a coherent persona or a clear resolution.

A “signal” Fanny Quincy Howe once wrote, in her essay ‘Bewilderment,’ can also revolt against being “located—”it can also “mean that you want to be known as unlocatable or hidden.” Javeria’s poems represent, to me, a similar plea against narrative and creative closure, bending against lyric’s tendency to lead us, it forces instead, to rest, in equanimity.

Against finality, Javeria’s “Eve” in her ‘Self Portrait Contemplating Creation’ writes: “I wanted to erase where I fell next.” Was the first woman created by God also the last woman created by God if they are, both, equally uncertain and indeterminate?

—Amal Mathew
The Bombay Literary Magazine

Self-portrait as Eve Contemplating Creation

I mistook honey as texture

of Allah’s mercy all those years,

thinking I didn’t need it.

Or somebody else needed it more.

I’d anticipated the discomfort

of its stickiness, convinced if I

tasted it once, it would never leave

my tongue. I was like that with love

for so long. Whatever it was I thought

I’d done wrong could never move me.

I mistook shadow for the absence

of light when it was the evidence for it.

I gripped fruits from their pulpy

centers, let you melt between my

mouth like evening. I was a girl—

Angel & a girl-child & a girl animal.

A carnivore of want.

I licked & licked the earth clean.

I wanted to efface where I fell next.

Walking in Al-Hassan Chowk, Nazimabad

I am missing the zinger burger of my childhood and begin walking at 2AM knowing that the Karachi Fast Food and Biryani shop must be closed at this hour. I am an unaccompanied woman walking in my childhood neighborhood, hungry for a zinger burger—around me are only those who knew me as a child. That is, if I were to lose my way to vertigo, to night-blindness, to sleepwalking— there are those who would direct me home, or give me a ride, or call my father to pick me up while letting me sit in their still opened ice-cream parlor and let me choose up to two flavors of ice-cream for free to eat while I waited. The strays are here too and they come to me wagging their tails. These strays are also the strays of my childhood—but they haven’t aged a bit. And though I have—they still recognize me. And when I ask them how?—and because I am a woman in her childhood neighborhood we understand each other—they tell me that the heart remains the same. I give them the rest of my ice-cream because by now my father has arrived and I haven’t seen him in ages.

Mutter Museum, Philadelphia

Bodies never fail to fascinate me. We have to practice three days of celibacy. At our age, that’s two years.

Head, heart, hands—the professor repeats the Ignatius principles to a group of newbies in the hall.

Though I only stop at that first one. Believe it to be all, even as my hands type otherwise, heart believes

in other things. I am fascinated by our openness to each other. The heart’s muscle as expanding

& expanding—the prophet in the cave, listening for threat, visited by Jibril instead.

Of course that is what it means to open one’s heart, to yank it out of one’s chest in broad daylight.

At the museum, there’s a ferret heart, a baboon heart, a fish heart. As if one can choose

the enormity of one’s love. As if there is a bazaar for hearts, where price is always negotiable.

Acknowledgements

Cover Image

Image credits: Fahrelnissa Zeid. Fight Against Abstraction (Dispute contre l’Abstraction) 1947. Istanbul Museum of Modern Art Collection, Eczacıbaşı Group Donation (Istanbul, Turkey) © The Raad Zeid Al-Hussein Collection.

Author | Javeria Hasnain

Author Photo

Javeria Hasnain is a poet, translator, and scholar from Karachi, and the author of SIN (Chestnut Review, 2024). [Text source: Javeria Hasnain]