peoples that know no restraints and no barriers, and she came back trying to carry that free flight over to the place she came from — and she collided; hence this obscure atmosphere in her poetry. Suppression, and a revolution trying to explode. I have seen the suppression and the fear of everything in all the poems of her heart. And the vanguard of the revolution appeared in "Washing Away the Shame":
O neighbor women of the quarter, O girls of the village, we shall knead the bread with the tears of our eyes, we shall cut off our braids and flay our hands so that their clothes may stay white and pure. No smile, no joy, no curse — for the knife watches for us in the grip of our father and our brother, and tomorrow, who knows what waste will hide us away, "to wash away the shame"!
It is an open call to revolution — to the revolution that burst out and set forth, thundering and pealing, in "An Invitation to Life":
Be angry — I love you angry, in rebellion, in a blazing revolt, in laceration. I have loathed the sleep of the fire within you, so be a blaze, be a vein of longing, crying out and burning.
And the patience that lasted so long has become a curse upon her lips:
Patience? That is the virtue of the dead in the cold of the graves, under the rule of the worms...
I am certain that Nazik al-Malaika wrote this poem for no one but herself; and again I wonder why she did not set down the date of this piece's birth — hoping that it may be the last thing the poetess composed... and that it may be the starting point for a victory over pain and sadness and night...
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I dreamed...
that I was flying in a balloon
when I wore
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