Halima

“give your daughters difficult names. give your daughters names that command the full use of tongue. my name makes you want to tell me the truth. my name doesn’t allow me to trust anyone that cannot pronounce it right.”
― Warsan Shire

“Your daughter is ugly.
She knows loss intimately,
carries whole cities in her belly.

As a child, relatives wouldn’t hold her.
She was splintered wood and sea water.
They said she reminded them of the war.

On her fifteenth birthday you taught her
how to tie her hair like rope
and smoke it over burning frankincense.

You made her gargle rosewater
and while she coughed, said
macaanto girls like you shouldn’t smell
of lonely or empty.

You are her mother.
Why did you not warn her,
hold her like a rotting boat
and tell her that men will not love her
if she is covered in continents,
if her teeth are small colonies,
if her stomach is an island
if her thighs are borders?

What man wants to lay down
and watch the world burn
in his bedroom?

Your daughter’s face is a small riot,
her hands are a civil war,
a refugee camp behind each ear,
a body littered with ugly things

but God,
doesn’t she wear
the world well.”
― Warsan Shire

“how far have you walked for men who’ve never held your feet in their laps?
how often have you bartered with bone, only to sell yourself short?
why do you find the unavailable so alluring?
where did it begin? what went wrong? and who made you feel so worthless?
if they wanted you, wouldn’t they have chosen you?
all this time, you were begging for love silently, thinking they couldn’t hear you, but they smelt it on you, you must have known that they could taste the desperate on your skin?
and what about the others that would do anything for you, why did you make them love you until you could not stand it?
how are you both of these women, both flighty and needful?
where did you learn this, to want what does not want you?
where did you learn this, to leave those that want to stay?”
― Warsan Shire

“Emotions, in my experience, aren't covered by single words. I don't believe in "sadness," "joy," or "regret." Maybe the best proof that the language is patriarchal is that it oversimplifies feeling. I'd like to have at my disposal complicated hybrid emotions, Germanic train-car constructions like, say, "the happiness that attends disaster." Or: "the disappointment of sleeping with one's fantasy." I'd like to show how "intimations of mortality brought on by aging family members" connects with "the hatred of mirrors that begins in middle age." I'd like to have a word for "the sadness inspired by failing restaurants" as well as for "the excitement of getting a room with a minibar." I've never had the right words to describe my life, and now that I've entered my story, I need them more than ever. ”
― Jeffrey Eugenides, Middlesex