Sabat (Loyalty)
Dead bodies stop looking like bodies
after a certain point.
The face, like a popped milar balloon
with all the air blown out the top,
the legs, oddly angled, their bottoms
looking for all the world
like tubes of children’s toothpaste
unevenly squeezed.
No, the dead here never arrive in an
orderly manner, like in the movies.
This is Afghanistan, so they show up
carried in blankets or what’s left
of clothes, bandages waving
like May flags.
But they all go out the same way.
The mullah works systematically,
washing and praying, singsong in his labors.
Next to him, a step back Mortaza watches
them prepare his brother for the next life.
Mohammad Gul was the pride
of Ismail Khel.
Young, handsome, brave. Funny.
Everyone said he was funny.
You don’t hear that much in Afghanistan,
someone being funny. As they lift what’s left
into the particle board box that looks like
an Ikea desk repurposed
hands seek to guide Mortaza out. But
he pulls away, he stays.
He watches as they wrap Gul’s head in
cotton and prop it up on
pillows of cheap foam. They spray him with Turkish
perfume from the bazaar, and then
drape the Afghan flag and the prayer rug over his
box, taping it down with rolls of
scotch tape. Mortaza sniffs back a tear, both for
his brother and the debt
he knows he’ll now have to pay. He’s not scared,
just tired, and knows
that somewhere, out in Lakan, is a man he’s never
met but will kill, as the way demands.
When we walk out, together, my boots slip,
squeaking and squishing on the sodden, dirty
tile.
A striking poem! I’m supposing the author personally witnessed the event, as the poem suggests and the logic of first-person narration in poetry implies. Not all the time, but often enough, I’m drawn back to memories of events on my own tour in Afghanistan that were so outside the realm of anything I have or might have experienced in the States that it can be hard (now) to imagine they actually happened.