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Every poetic word finally transforms into a ceremony of reverence, revelation, and theophany. Words that fail to ravish us into Nirvana are transformed into a car's loose wheel. All things are transmuted through poetry into a worship of the divine, and even sex becomes a religion, the bed becomes the altar and confessional. Strange indeed how I always view my sex poems through ecclesiastical eyes. Each time I travel in my lover's body, I am healed...am purified, I enter the Realm of Goodness, Truth and Light. What after all is mystical poetry if not an attempt to give God sexual relevance?

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I have no hope for any revolutionary movement that relegates sex to the margins of its call to action, no hope for any progressive government that leaves the Arab body expending its vigor in inhibition, copulating in secret with the covers of Playboy magazines.

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Revolution means altering the geography of the Arab in every way, reauthoring it. The Arab mind is in crisis, for it is inhibited from action and reaction. It has begun resembling a tablet engraved in hard Kufic letters, exhausting itself. It is encumbent upon Arab revolutionaries to write a new idiom on new paper, for the old idiom has torn itself asunder from its own symbols and significance

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It is nothing new, in the dialectics of knifeblade and axe, for a woman to be immolated on her birth bed, or her bridal bed. We make women's heads roll, the way we roll dice in our coffee shops, the way we hunt birds for sport in our hills. Before Shahrayar as after Shahrayar, we continue to assassinate those female birds, pluck them clean, eat them and wipe their blood off our mustaches that wag like monkeys' tailsnothing new in the history of our rule by terror. Rather, what is new is the rebellion of the immolated against the immolator, of the grave against the gravedigger. What is new is the dead refusing to die, the wound biting the knifeblade back.