Back Sand Opera
Chapters (73)
  1. Cover
  2. Note to the Reader
  3. Illumination of the Martyrdom of St. Bartholomew
  4. I. abu ghraib arias
  5. The Blues of Lane McCotter
  6. (echo /ex/): “In the name of God…”
  7. Searching the Koran (Standard Operating Procedure)
  8. (echo /ex/): “In the beginning…”
  9. The Blues of Javal Davis
  10. (echo /ex/): “next day…”
  11. Public Address/Ghost Soldiers
  12. (echo /ex/): “his name is G…”
  13. The Blues of Charles Graner
  14. (echo /ex/): “On the third day…”
  15. Handling the Koran (Standard Operating Procedure)
  16. (echo /ex/): “First the man…”
  17. Document Exploitation (Standard Operating Procedure)
  18. (echo /ex/): “Now these are the generations…”
  19. The Blues of Lynddie England
  20. (echo /ex/): “me…”
  21. The Blues of Ken Davis
  22. (echo /ex/): “Now I am what I saw…”
  23. MUSLIM BURIAL (Standard Operating Procedure)
  24. (echo /ex/): “And it came to pass…”
  25. The Blues of Joe Darby
  26. (echo /ex/)
  27. II. first recitative
  28. Woman Mourning Son
  29. Recipe from the Abbasid
  30. Home Sweet Home
  31. The Iraqi Curator’s PowerPoint
  32. Black Site (Exhibit Q)
  33. Asymmetries
  34. Salaam Epigrams
  35. War Stories
  36. III. hung lyres
  37. “The new theory: not to praise too much…”
  38. “When the bombs fell, she could barely raise…”
  39. “you mute you without openings…”
  40. “Is the ear…”
  41. “in the cell of else…”
  42. “this is the air we script to lips…”
  43. “I had no names to blazon their tender…”
  44. “She asks, is that man crying…”
  45. “What does it mean, I say.”
  46. IV. second recitative
  47. Breathing Together
  48. Testimony (after Daniel Heyman)
  49. When I Was a Child, I Lived as a Child, I Said to My Dad
  50. Black Site (Exhibit I)
  51. Love Potion #42
  52. Saddam’s Fingerprints
  53. Etruscan Cista Handle
  54. Black Site (Exhibit M)
  55. A Toast (for Nawal Nasrallah)
  56. Cell/(ph)one (A simultaneity in four voices)
  57. V. homefront/removes
  58. “I hear it, at times, even in the wind.”
  59. “was taken was rapidly…”
  60. “What consequence is a body.”
  61. “tried hanging myself…”
  62. “I was planning my lesson on imagery…”
  63. “taken to outside court…”
  64. “In the wake of.”
  65. “I suspended upside…”
  66. “You look at me / looking at you.”
  67. “so I could pass the time… ”
  68. “As if, somehow, I were responsible.”
  69. <hover to see video>
  70. “On the flight overseas…”
  71. “I did not know my…”
  72. Compline
  73. Notes

“Hung Lyres” is for my daughters, Adele and Leila. The section “in the cell of else” refers to the interrogation of Mohammad al-Sliha at Guantanamo, who was exposed to “variable light patterns and music”—including Drowning Pool’s “Let the Bodies Hit the Floor,” “Barney Is a Dinosaur,” Rage Against the Machine, and the Sesame Street theme.

“Breathing Together” relies on a letter from a friend.

“Testimony” is for Daniel Heyman, in gratitude for his documentary art on the testimonies of Iraqis.

“When I was a Child, I Lived as a Child, I Said to My Dad” is for Dad and Mom. It references a post-Gulf War video game, The Mother of All Tank Battles.

“Etruscan Cista Handle” describes a piece at the Cleveland Museum of Art, a 4th century cista handle.

“A Toast (for Nawal Nasrallah)” is for the exiles, especially Nawal Nasrallah, Shakir Mustafa, Kadhim Shaaban, and Salih Altoma.

On page 69, the image of Saddam Hussein’s fingerprints can be found here: http://www2.gwu.edu/~nsarchiv/NSAEBB/NSAEBB279/ (National Security Archive, posted July 1, 2009, last accessed September 22, 2014).

“Cell/(ph)one (A simultaneity in four voices)” employs found language, including text from a story in the New York Times about a Guantanamo prisoner.

“Homefront/Removes” is dedicated to the victims of the terror war, especially to Mohamed Farag Ahmad Bashmilah, held and tortured in secret U.S. prisons. Bashmilah’s legal case against Jeppesen Dataplan, a Boeing subsidiary, was for its knowing participation in the “extraordinary renditions” of detainees in the War on Terror. Throughout the book, one can find renderings of drawings by Bashmilah. His testimony is in italics.

“Compline” takes its name from the final prayer in the Book of Hours, which takes place late in the night. The poem borrows language from Isaiah.

BOOK BENEFACTORS

Alice James Books wishes to thank the following individuals who generously contributed toward the publication of Sand Opera:

Kazim Ali

Nina Nyhart

For more information about AJB’s book benefactor program, contact us via phone of email, or visit alicejamesbooks.org to see a list of forthcoming titles.

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