Question

Briefly describe Shahids love for food.

Answer 1

The first time that Agha Shahid Ali, the great Kashmiri poet, spoke to me about his approaching death was in April of last year. The conversation began routinely. I had telephoned to remind him that we had been invited to a friend’s house for lunch and that I was going to come by his apartment to pick him up. Although he had been under treatment for brain cancer for some fourteen months, Shahid was still on his feet and perfectly lucid, except for occasional lapses of memory. I heard him thumbing through his engagement book and then suddenly he said: “Oh dear. I can’t see a thing.” There was a brief pause and then he added: “I hope this doesn’t mean that I’m dying…”

Although Shahid and I had talked a great deal over the past many weeks, I had never before heard him touch on the subject of death. His voice was completely at odds with the content of what he had just said, light to the point of jocularity. I mumbled something innocuous: “No, Shahid–of course not. You’ll be fine.” He cut me short. In a tone of voice that was at once quizzical and direct, he said: “When it happens I hope you’ll write something about me.”

I was shocked into silence, and a long moment passed before I could bring myself to say the things that people say on such occasions: “Shahid, you’ll be fine; you have to be strong…” From the window of my study I could see a corner of the building in which he lived, some eight blocks away, where he’d moved to be near his sister, Sameetah, after learning of his tumor. Shahid ignored my reassurances. He began to laugh, and it was then that I realized that he was dead serious.

“You must write about me,” he said.

By the end of the conversation I knew exactly what I had to do. I picked up my pen, noted the date and wrote down everything I remembered of that conversation. This I continued to do for the next few months: It is the record that has made it possible for me to fulfill the pledge I made that day.

I knew Shahid’s work long before I met him. His 1997 collection, The Country Without a Post Office, made a powerful impression on me. His voice was like none I had heard before, at once lyrical and fiercely disciplined, engaged and yet deeply inward. Not for him the mock-casual almost-prose of so much contemporary poetry: His was a voice that was not ashamed to speak in a bardic register. I could think of no one else who would even conceive of publishing a line like: “Mad heart, be brave.”