Welcome to Amplified Voices, a Special Issue of Writers Resist

Since the Vietnam War, violent conflict has been made visible to even the least likely victims—on televisions, then phones, now raging across social media—and its representations are laden with passionate opinions, well-informed and not. From politicians and universities around the globe to PEN America to Oscar Awards speeches, emotionally bloody conflict about conflict reigns over solutions, while innocent civilians suffer.

Hence our enthusiasm, and a bit of trepidation, when former Writers Resist editor DW McKinney suggested this special issue. DW wrote, “I really want to help create an archive so to speak of writers who represent countries and regions that are actively being destroyed right now.” Would we be open to this, DW asked?

“Of course” was the obvious response, and so it is that we celebrate the launch of “Amplified Voices.”

We are grateful to all those who bared their trauma to the submission process; to guest editor DW McKinney; to Writers Resist editors Debbie Hall, Sara Marchant and René Marzuk; and to the brave and generous writers whose work is published herein.

Our profound thanks,
K-B Gressitt, publisher

Amplified Voices Contents

From the Editor of Amplified Voices” by DW McKinney

They Are All Terrorists” by Lori Yeghiayan Friedman

Two Poems by Saheed Sunday

Caught in the Crossfire of a Madding Crowd” by J.D. Harlock

Gauze” by Lisa Suhair Majaj

Ofrenda for Resistance” by Jordan Alejandro Rivera

In Pillars, the Prized City” by Maira Faisal

Zoo” by N. de Vera

Two Poems by Lonav Ojha

18 Jennas” by Jenna Mayzouni

Jannah is a single strand. My father is the complementary prognosticator strand.” by Abdulrazaq Salihu

 


Map credit: International Crisis Group, Crisis Watch Map.

Two Poems by Saheed Sunday

a daggerpoint

& what is salvation 
if not how we give our body to beauty
to the memory of what does not rust
—Othuke Umukoro

 

the Sunday before this one, the catechist
warned about hellfire and its odor of smoky taste.
he said it would come unto us like the clouds,
breaking off whatever remains of our clear sky.
the next Sunday, i hear the flowers in my head wilt.
i smell the aftershave of smokes and i bury my
head into my brown palms, begging to be virused out
of all my sins. apparently, what the catechist didn’t
warn us about is that it isn’t only hell that breaks
the bond between a father and his son. the heavy
artillery fire of war can do the same.

in my mother tongue, a poem is a battlefield.
here: every stanza of this poem is an equivalent
of the demarcation line between who survived the last
war and who didn’t. here: every line in this poem
is an equivalent of the rows of my brothers and sisters’
bodies buried by their own homes. here: every word
in this poem is a noose around we survivors’ necks:
a prayer translated into a gun or a death toll.

this stanza is intentionally left blank for all the bodies
we lost to the soil and gun wounds.

something in my head is whispering. it says
in Darfur, every civilian is a moving bait slowed
by thorns in front of a cocked gun. it says in Merowe,
tears are the new ways to know you haven’t been
claimed yet by the fighter jets roaring in the sky above.
for now, ignore the dead butterflies falling off your
chest and supplicate to god. hell is not a thing
you want to witness twice.

 

In which a country becomes a song that dies on your skin

in this war of a country,
flames die and are reborn as hell,
songs die and are reborn as bullets.

this is a way to say
that everything cool, here,
becomes balls of fire raining

our heads into confusion.
once as a boy, i sat and watched
how a home can turn into the mouth

of a tiger that eats men alive;
how a home can become the mouth
of a grave that swallows its own sons,

& dead bodies, & dead roses.
growth didn’t come with seasonings.
i do know now why my father heaves

a large breath every night before
he shuts his eyes.
that must have been the weight

of his grief leaving his body
till the next day. today i brought out
a palette, and painted quranic verses

on every part of my body that hasn’t burned
to the heated flame of this hell i call a country.

i know what it means to be born
in the middle of a war. i know what it
means to become mouths slashed into songs

of peace & harmony. fa inna maha-l-usri yusrah.
this darkness that illumes the sky will soon
be chased by light. & the breath i hold

will be ridden of every scent of the war
i’ve fought. lord, let victory songs find
a space between my jaws tomorrow.

lord, right this story till there is no space left.

 


Saheed Sunday, NGP V, a Nigerian writer, is a Pushcart Prize nominee, a Best of the Net nominee, a Star Prize awardee, and a Hilltop Creative Arts Foundation member. He has his work published in Lolwe, Strange Horizons, Trampset, The Deadlands, North Dakota Quarterly, Shrapnel Magazine, and others.

Photo credit: Bruno Alcantara via a Creative Commons license.


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Ofrenda for Resistance

By Jordan Alejandro Rivera

 

Tier I: Inframundo

Poppy and cempasúchil petals
Intermingled as our destinies
Blood, bones, and stems
Obsidian spearheads
And shattered sugar skulls

Tier II: Tierra

Tomatoes, white sapotes, and olives
Laid out on a lattice-patterned scarf
Ten thousand and forty-three
Candles flicker in harmony
Guiding us here together
Wax binds our food

Tier III: Cielo

A black-and-white photo of us
Before our disappearances
And now, finally,
We found our way back home.

 


Jordan Alejandro Rivera is a 23-year-old queer Chicano writer living in Boston. Jordan is passionate about mutual aid and is involved with the Prison Book Program. Having studied Biology at NYU, he now works as a medical researcher. He has poetry forthcoming in Metachrosis, partially shy, and Acedia Journal. Find him on X/Twitter @jordinowrites.

Photo credit: Miguel Angel Ruiz via a Creative Commons license.


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Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.

 

Two Poems by Lonav Ojha

To Refaat Alareer,
who became a kite

 

Brother, you looked so loving,

holding very gently

that box of

strawberries, and behind

your home, not yet,

not again,

but incessantly

in ruins.

 

You were not a number,

you were,

an educator,

a cheerful poet,

settler’s boogeyman,

 

and now that you’re dead, English is also

a language for mourning.

 

A strike occurs in a medium

it does not

simply

………

….

fall.

 

And your words

hang in air

heavier than any

gravity bombs.¹

 

1. American

•          •          •          •          •          •          •          •          •          •       

 

A letter to a friend explaining the student movement

 

I have been listening

to more Bollywood these

days. I have been writing Press Statements

for the Press that does not state what

must be stated. I live in despair. And I

sometimes wish I didn’t have to, but hearing

love songs, Bollywood love songs, without

having anybody to love in a Bollywood sort of way,

means I’m hoping to learn a few things

about romancing myself.

 

A newly made friend

told me

during the protests that he’s serious about

killing himself, & he was writing

a letter, and another

said she’s cutting herself after many years.

The first person, we don’t talk anymore, because I have

nothing to say.

 

They’re still alive. I am also still alive.

I am listening to Bollywood songs. I am writing

Press Statements.

I am talking to L, and he says,

the Vice-Chancellor is planning something

HUGE!!

He’s been flying back and forth to Delhi. He,

is a bastard, and I’m listening

to Bollywood songs, and I’m doing alright.

And I’m trying to love my friends, the ones I can,

the ones who can love me.

 

Long live that look

on your face, and mine. I am

listening to Bollywood

songs, and I’m imagining someone

who would have me fully.

I suffer egregiously from the main character

syndrome. I suffer from having faith

in people. Long live the crane

behind the Magis block that spent a year

building what it will never occupy.

Long live the cats in the New Academic Block

that don’t give a shit. So I am

writing Press Statements. I’ve always

danced in my room,

when nobody’s watching,

when the world is burning,

and I haven’t stopped.

 


Lonav Ojha is a 22-year-old writer from India. His work has previously appeared on ASAP Art, Agents of Ishq, LiveWire, and The Open Dosa. He was also longlisted for the 2024 TOTO Awards for Creative Writing in English. He writes regularly on his personal blog, Stories Under My Bed, where he attempts to reimagine resistance from the praxis of joy and education. Since the 2014 national elections, his country has plunged into the depths of Hindutva fascism, crushing dissent in all its varied expressions and stifling whatever remained of academic freedom in public universities.

Photo credit: Magne Hagesæter via a Creative Commons license.


A note from Writers Resist

Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.

 

Jannah is a single strand. My father is the complementary prognosticator strand.

By Abdulrazaq Salihu

3’                                                                                                                                                5’
Jannah has seven gates.                                             My father is dead. A dirty cutlass
My people would enter through all.                           Stabbed into his flesh. My father
Jannah is thirsty.                                                         Is dead. Gun to the head, bullet
My people are water. Jannah is shahada.                    To his skull. My father is dead
My people died in sujood. Jannah is a                        I cannot unsee the terror. A flood
Myth. My people are the fate. Jannah                         Cleanses itself with my father’s blood
Is the road, my people are the destinations.               My father is dead. Who did this to me
Jannah is a miracle by the mouth of a                        Father is gone. Gun too soon. Gone.
Wound. My people are casualties.                              The Lokoja sands open and swallow
Jannah is a gun, my people are bullets.                      My father, but he’s only gone when I
Shoot your shot or give the gun,                                Believe. My brother sees Pa in dreams
Jannah is silence. My people                                      I tell him dreams are only dreams until
Are dead. My people are gone.                                   We believe. My father is gone. Jannah
My people are pebbles                                               Is jannah because my father is gone,
The size of light. Jannah                                            Because light left us black,
Is a gift. My people unwrap. Jannah                           Because my father is a blue light
Is touch. My people: shy flowers, fold.                        Full of tenderness. My father is dead
Jannah is poison. My people are milk.                        Jannah is jannah. My father is jannah.
Jannah is black stripe against the skin                       My father is the only door: enter
Of white music. My people are songs.                        Through shahada. Through my father’s
My people are sins. Jannah is forgiveness.                 Delicate skin. Jannah is an RNA strand,
Jannah is jannah because my father died.                  My father is the complement.
Jannah needs my father………………………………………My father needs his people.

Jannah is the gap between my thumb and index.       My people are songs the size of quiet.
5’                                                                                                                                                        3’

 


Abdulrazaq Salihu, TPC I, is a Nigerian poet and member of the Hilltop Creative Arts Foundation. He won the Splendours of Dawn Poetry Foundation’s poetry contest, BPKW Poetry Contest, Poetry Archive Poetry Contest, Masks Literary Magazine Poetry Award, Nigerian prize for teen authors (poetry), Hilltop Creative Writing Award, and others. He has received fellowships and residencies from IWE Writers Residency, SPRING, and elsewhere. He has work published or forthcoming in Strange Horizons, Unstamatic, Bracken, Poetry Quarterly, Rogue, B’K, Jupiter Review, Black Moon Magazine, Angime, Grub Street, and elsewhere. He tweets @Arazaqsalihu; Instagram, @Abdulrazaq._salihu. He’s the author of Constellations (poetry) and Hiccups (prose).

Photo credit: BBC, under “Fair Use” for commentary.


A note from Writers Resist

Thank you for reading! If you appreciate creative resistance and would like to support it, you can make a small, medium or large donation to Writers Resist from our Give a Sawbuck page.