November 2025
|
Poetry
|
Jamila Osman

Original Sin

Childhood

for Sarah

The streets of childhood 
are a labyrinth of dead ends.

No map leads back to the house
where the dead grandmother, still living,

stands over the stove, and the smell
of stew wafts through the house.

The toddler coos
against his mother’s breast,

and the daughter of the household
weeps in her bedroom.

What cannot be saved
from the floods is lost in the drought.

Brecht strapped a door
to Antigone’s back but misplaced the key.

The door can be interpreted
as her grave. In the days of ignorance,
the Arabs buried their daughters alive.

Girlhood is a besieged
country. None can come and none can go.

I stumble through the years
of my life searching for the key
that will unlock the burden of my
inheritance.

The past is as opaque
as the shroud of faith. The future is a country
of warring factions.

Fearing the breach, I retreat. Or, perhaps,
fearing the retreat, I breach. I have arrived

from some distant place to tell the weeping girl
that even Antigone knelt.

Girlhood is not the end of dreaming—
the kingdom falls.

The floods have become infrequent,
and I have touched every stone as it dried.

Motherhood

I tend the plants in my garden and answer their crude need. A mewl cuts through the night 
and I rise out of habit. Someone is hungry and the responsibility is mine. The guilt, too.
I separate nuts from their husk, fruit from its skin, and leave a bowl on the table
for the closed mouths of this house. I lower my gaze in front of all who my power might erode.
Once I was a girl and I was spared. A God showed me mercy, and I hold the debt.
In this country every subject must heed the call of her master. All emperors think they are less cruel than their predecessors. I am a mother, and yet, I have no dependents in a court of law.
I unclench my fists and restore what I have razed. Loss rips through me, not unlike a child.
My grief strikes the horizon like a rising sun. It covers the Earth with its bulbous hands.
A mother carries the stench of her lack. I am ashamed of my desire, its dumb simplicity.
This week it has rained without respite. I flood and flood.

Original Sin

Birth is my mother’s original sin. The first country I left in a flurry of blood. 
The womb is not Eden. Or maybe it is. A garden of dark and buried things.
At night I dream I am pregnant. In the morning, there is milk between my thighs.
My mother sleeps in the next room, henna-dyed hair, crown of berries in the morning
light. Bachelard wrote that the purpose of the house is to protect the dreamer.
Who will protect the dreamer from the violence at the center of her dream? In Islamic
theology, each sin is a spot of black on the heart of the believer. I want to inoculate
the ones I love against the accumulation of night. My sister was born in a river of blood.
Red of the autumn leaf’s descent. No holy man could clear a path for her. A girl turned
lamb at the feet of Abraham’s piety. My mother’s prayers were answered, but she paid
the price nineteen years later. Debt clots the family bloodline. The dream of the homeland dissipates in the early hours. To some Eve is to blame for the dream that has been lost.
Adam is blameless as all boys will be. Eve, a woman rising spectacularly from the mud,
listening to the fervor of the body from which she’d sprung. A woman descending
from heaven in a haze of terror. She is no one’s daughter. During labor the cervix is effaced
by pain. Even the birthing process must bend to bureaucracy. Pain is the portal between worlds, between my mother’s country and mine. Was I not enough? I imagine Adam asked on their first cruel days on Earth. Even stone yields when at the mercy of water.

About the Author

Jamila Osman is a writer, educator, and community organizer. Her writing explores the tension between place, history, and identity. Her essays and poetry have previously appeared in Pacific StandardCatapultThe EstablishmentBoaatDiagramTeen Vogue, on Al Jazeera, and other places. She received the 2019 Brunel International African Poetry Prize and is the author of the chapbook A Girl is a Sovereign State (Akashic 2020). She holds an MFA from the University of Iowa’s Nonfiction Writing Program.

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Featured art: Neil Rick

Neil Rick is a gardener and photographer in Tennessee. He grows flowers and then photographs them, overlaying the photos but doing no post-production altering. His images have won multiple prizes at American Rose Society Meetings in Tennessee and Kentucky, including Best Novice at a national ARS meeting in 2019 and “King of Photography” at a 2022 show in Bowling Green, KY.

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