Fatimah Asghar

When Rivka reached out to me to do a profile on Fatimah Asghar, I could not have been more excited to interview someone whose work has affected me so much personally. Fatimah is the writer of the Emmy-nominated web-series Brown Girls, which has been picked up for development by HBO, and has a collection of poetry, If They Come For Us, published by One World, coming out August of this year. I will confess that I know Fatimah a bit personally, and so much of what I wanted to discuss were things I had always thought about asking her, but felt almost afraid to, until now.

Interviewed by Minhal Baig

Photos by Rae

Initially, I was very curious about how she felt about poetry being perceived as an elitist medium.

“When I first learned about poetry, we’re often thinking about Shakespeare, or Homer, or the Odyssey, and it’s interesting because, during their time, they were speaking in colloquialism,” she says. “Poetry exists in so many communities of color, and has such a rich historical tradition. It’s fascinating to me that that can be overlooked. A lot of authors of color are constantly overlooked. To do away with some of that, why can’t we have poems that are lyrically vulgar, or sound like me and my friends speak? My work rides that line, how [poetry] can be lyrical and everyday.”

There is a poem of hers, titled “Super Orphan” that contains the line: “What to do then /, when the only history you have is collage.” I wanted to understand, what is it like being Pakistani and Kashmiri and Muslim and living in a diaspora?

“To me, being an orphan, you’re born into questions,” she says. “Who am I? Who are my people? What are the stories that I don’t have access to? A lot of my art comes from wanting to grapple with those silences. What does it mean, to be able to invent a kind of family history?”

I read another poem of Fatimah’s, entitled, “Oil,” and in it, she speaks about what it was like for her as a child after 9/11. “I felt a palpable difference. Where I grew up, it was super diverse. I was watching the news with my aunts and uncles and that feeling, and I remember feeling like once I realized that the people on the planes were Muslim, it was ‘oh, shit.’ The whole room shifted and it was this feeling … things are going to get bad. I remember going to school the next day. People were asking me, ‘where you from?’ in a threatening way. Being at recess, I was with my best friend Marilyn, and this boy came up to us and basically kind of like, so where is she from, and is she Muslim? My friend Marilyn said, she is but she’s cool. She’s one of the good ones. I feel eternally grateful for her saying that, but what does it mean, to be a good one?”

Fatimah has a book coming out this August, but before this collection, she also had a chapbook titled After that was published a few years ago by YesYes. A mentor had told her, “your first book is your first book”, and after a while of struggling with a collection of poems that delved into her sexual assault experience, she decided she would curate the poems and put them into a chapbook instead. The book was only limited to 400 copies.

“It got easier to get a lot deeper to get into that story of sexual assault when it’s 400 people. And these 400 people are going to get that super intimate story, told on my terms. I actually don’t want my first book to be about my sexual assault, I wanted my first book to be about a lot of other things,” she explains. “I crafted a really intimate story and this is ‘After’ and you have it when you have it and then it’s gone. That was a really fascinating experience. The book sold out in pre-order, and that was it. It was gone. What does it mean to make an art for an audience that’s huge and for an audience that’s really small?”

We get to the part of the interview where we talk about Brown Girls. Since there are so many interviews about where the work comes from, and what it means, I wanted to instead focus on the experience of transitioning as a poet to a screenwriter. As she describes, “I think of poems and web series, especially as I’m developing a show from a web series. A web series is also about moments, distilled moments which you get down, which is very similar to a poem. I’d been writing a lot of poems and I was always interested in screenwriting, and this is the first time I’ve written something like this, and not even taken a class but I’m going to try.”

“I want to build active solidarity amongst persons of color. How do I show up for other groups of color? How do I constantly want to learn and be in solidarity with other people. I am pro people of color telling their own stories.”

Fatimah says Brown Girls was her first experience in screenwriting. “It was just really fun. Literally fun, just to try this. And now these are the characters, and where they live and how they talk to each other. Sometimes, too, because I was working intensely on my project in poetry, it was a great release to work on, just for fun, that I’m trying.”

Her book, If They Come For Us, comes out this August. The book recently received a starred review in Publisher’s Weekly. “[This collection] is a deep interrogation of statehood of everything: race, religion, gender, sexuality and nationality. What does it mean to draw a border and say that this is now this thing. So that’s really what the book is about?”

Fatimah spoke about how she decided on the collection’s themes after her first chapbook: “After After, I started to write a lot. I didn’t touch my childhood in my writing. When I really think about it, was it as bad as all I remember? I leaned into the moments I loved as a child, and the moments I felt nostalgic for. I started writing these poems, high narrative, high nostalgia, of being an immigrant and being from an immigrant family.”

Through some digging, I found out that Fatimah had written fan-fiction (and yes, for Harry Potter). A lot of writers are often shy or embarrassed about having written fan-fiction, so I was genuinely so surprised when Fatimah embraced this part of her own narrative. “Fan-fiction taught me so much. It taught me a lot about, how this is an existing world, and what are you able to play in. I wrote mostly male characters and mostly male storylines and I don’t think that’s weird. I definitely was writing slash, and I wrote a lot of darker characters. I was fascinated by the friendship of the four boys, by James and Sirius. There was a lot of richness, in the older generation, that I didn’t always find in the younger generation [in Harry Potter].”

I wanted to know Fatimah’s secrets. First, how does she write so much? And from where does she draw her inspiration? She has a good answer for that: “I’m very disciplined. Art and craft, you have to be disciplined to be good at [it]. I don’t have the time or luxury to wait for inspiration. It can be a bad draft, and that’s the thing. I write in the mornings and I write at night, that’s when I write the most.”

And finally, we talk about what she’s working on next — a question I personally hate asking but it needs to be done. “For myself, I’m working on a feature, and I have a draft, and I’m getting it to a place that I’m getting it to a place I feel really good. I have a dramedy pilot and there’s a more traditional drama pilot. Those are the things that are purely mine.”

We delve into some of her inspirations, literary and otherwise: “I’m really inspired by so many people. I feel lucky to be alive. I feel grateful to have seen two visual albums by Beyonce,” she says. You know right away that Fatimah is a voracious reader and lover of her own medium, as she lists off the poetry that she’s loved recently: “Dictee, by Theresa Hutchins, it’s a really tragic story, and it’s so good. Split by Cathy Linh Che. I love Ross Gay’s writing, and I think he’s such a visionary as a poet. Patricia Smith is very similar, and she’s an amazing writer and poet, and has taught me so much about form and craft. My friend just published a book called Not Here by Hieu Minh Nuyen, and Danez Smith’s book, Don’t Call Us Dead. I love Toni Morrison. The God of Small Things (by Arundhati Roy) is a masterpiece. And Junot Diaz. Drown and This is How You Lose Her. Junot speaks to men the way that a lot of women can’t. What I’ve seen is that his work makes cis men better. Junot is such a master. He’s one of the most important writers of our time.”

What is all the more impressive about Fatimah is that she is not just an artist, but also an activist. “I want to build active solidarity amongst persons of color. How do I show up for other groups of color? How do I constantly want to learn and be in solidarity with other people. I am pro people of color telling their own stories. I am more excited more people of color having platforms to be poets and make a living as a poet, as a screenwriter, things like that. Those are all things I’m passionate about.