Fiction: “Skin Calluses” by Khalil Younes
15 MARCH 2022 • By Khalil Younes
Khalil Younes.

 

Khalil Younes

 

 

Martyrs Square, the place of amateur erections, of young, primitive, and untrained penises. The entrances of its buildings, ones occupied by prominent figures in Syrian history, now with a sick damp smell blowing out from them towards the street, high noises of old water pumps, the taste of old tiles, stairs with worn edges, black thicknesses of repeated skin oil, and the deaths of unlucky children smeared on the stair rails.

Males in their twenties, females in their fifteenth year. Would you care to rest for a while? The young male pimp whispers in your ear, and follows it with a subtle head gesture pointing toward a girl, sitting in the darkness of the building’s entrance. With her fake whoring smile, half naked shoulders tanned by old green fluorescent lights, leaving a stenciled trace of a school bag strap, the triangular collar of a school uniform and two sets of five skin calluses, left by many double sets of four fingers and thumbs.

Would you care to rest for a while? A young man wearing a brass necklace, dripping green rust staining the skin on his chest, with a stench of salty and seasoned sweet, dried froth, a multicolored button-up shirt, and eyes with brown whites and red corners. They call him a pimp, but he puts food on the table.

Behind the windows, torn curtains, torn for years.The steam of hot sweaty bodies, a mixture of dust, car exhaust, old hand-mixed perfumes in textured glass bottles, the remains of long fingernails, and an old vagina filled with worn stairs.

Young soldiers, navy, air force, infantry, and engineering, with overly large uniforms, held in place by overly tight belts; they show up everyday, their penises directed downward, poorly trimmed hair, and black edged ears eaten by Hom’s frostbite. They bring myths about Camphor and penis sleepiness; you can’t erect in the army, they say. They speak of homosexuality; they come dreaming of a truthfully moaning girl in her 60s. They then nap for two days in Byblos Cinema carried away by the sounds of poorly made Egyptian soft porn.

In the middle of the square, strange people gather at noon time, around the penis shaped pole. No one knows who they are; they don’t know themselves. With outfits from the seventies, strangely ugly and beautiful faces, they breathe of heavy air, carried in their lungs for hundreds of years. They stare at the modern shops selling appliances and sweets. They buy 7 clicks butterfly knives for no reason, they buy contaminated ice cream for no reason, they buy Galina sandwiches for no reason, and they wait for no reason.

In the middle of Martyrs Square, in the uncovered part of the river, swim empty Heineken cans, brass rust, half eaten nails, plastic box straps, and blue wavy algae floating on the water. At the end of the day, a masked waste collector with his branched broom sweeps the children, ovaries, skin calluses, Egyptian movies, and the remaining bowels of the Galina sandwich off the floor. He then ties the end of a thick rope to the penis shaped pole at the center of Martyrs Square, stands on his metal barrel with one foot, kicks the barrel with the other, and joins the martyrs.

 

Khalil Younes

Khalil Younes Khalil Younes is a visual artist and a writer recognized for challenging social norms and the desensitization of society. Born in Damascus, Syria in 1983, he studied experimental film and video at the Massachusetts College of Art and Design of Boston in... Read more

Khalil Younes is a visual artist and a writer recognized for challenging social norms and the desensitization of society. Born in Damascus, Syria in 1983, he studied experimental film and video at the Massachusetts College of Art and Design of Boston in 2008 and received his BFA in cinematography from Columbia College of Chicago in 2010. Khalil’s art pieces are showcased in both private and public art collections in the US and Europe, and his illustrations have been featured in many renowned magazines and newspapers such as the Le Monde and Natural History Magazine. Two of his pieces were also acquired by the British National Museum in London. Employing the use of a variety of media—ranging from time-based media, to illustration and writing—he has in his crosshairs the essence of the human experience as a target. With a human society oversaturated with sensorial and emotional stimuli; the rate of socioemotional development is rapidly changing, with the inverse effect of dulling responses, and causing various levels of social desensitization. Through his art, Khalil toils on re-designing social and emotional stimuli to motivate personal awareness and self resensitization.
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1 NOVEMBER 2021 • By Iason Athanasiadis
Refugees Detained in Thessonaliki’s Diavata Camp Await Asylum
Interviews

Interview With Prisoner X, Accused by the Bashar Al-Assad Regime of Terrorism

15 OCTOBER 2021 • By Jordan Elgrably
Interview With Prisoner X, Accused by the Bashar Al-Assad Regime of Terrorism
Essays

Why Resistance Is Foundational to Kurdish Literature

15 SEPTEMBER 2021 • By Ava Homa
Why Resistance Is Foundational to Kurdish Literature
Latest Reviews

The Limits of Empathy in Rabih Alameddine’s Refugee Saga

15 SEPTEMBER 2021 • By Dima Alzayat
The Limits of Empathy in Rabih Alameddine’s Refugee Saga
Weekly

Summer of ‘21 Reading—Notes from the Editors

25 JULY 2021 • By TMR
Summer of ‘21 Reading—Notes from the Editors
Art

Malak Mattar — Gaza Artist and Survivor

14 JULY 2021 • By Jordan Elgrably
Malak Mattar — Gaza Artist and Survivor
Columns

The Semantics of Gaza, War and Truth

14 JULY 2021 • By Mischa Geracoulis
The Semantics of Gaza, War and Truth
Book Reviews

ISIS and the Absurdity of War in the Age of Twitter

4 JULY 2021 • By Jessica Proett
ISIS and the Absurdity of War in the Age of Twitter
Essays

Syria’s Ruling Elite— A Master Class in Wasta

14 JUNE 2021 • By Lawrence Joffe
Syria’s Ruling Elite— A Master Class in Wasta
Weekly

The Maps of Our Destruction: Two Novels on Syria

30 MAY 2021 • By Rana Asfour
The Maps of Our Destruction: Two Novels on Syria
Art

The Murals of Yemen’s Haifa Subay

14 MAY 2021 • By Farah Abdessamad
The Murals of Yemen’s Haifa Subay
Essays

From Damascus to Birmingham, a Selected Glossary

14 MAY 2021 • By Frances Zaid
From Damascus to Birmingham, a Selected Glossary
Essays

We Are All at the Border Now

14 MAY 2021 • By Todd Miller
We Are All at the Border Now
Weekly

Beirut Brings a Fragmented Family Together in “The Arsonists’ City”

9 MAY 2021 • By Rana Asfour
Latest Reviews

Lost in Marseille

17 APRIL 2021 • By Catherine Vincent
Lost in Marseille
Columns

The Truth About Syria: Mahmoud’s Story

14 MARCH 2021 • By Mischa Geracoulis
The Truth About Syria: Mahmoud’s Story
Columns

Memory and the Assassination of Lokman Slim

14 MARCH 2021 • By Claire Launchbury
Memory and the Assassination of Lokman Slim
Poetry

The Freedom You Want

14 MARCH 2021 • By Mohja Kahf
The Freedom You Want
TMR 6 • Revolutions

The Revolution Sees its Shadow 10 Years Later

14 FEBRUARY 2021 • By Mischa Geracoulis
The Revolution Sees its Shadow 10 Years Later
TMR 6 • Revolutions

Ten Years of Hope and Blood

14 FEBRUARY 2021 • By Robert Solé
Ten Years of Hope and Blood
TMR 5 • Water

Watch Water Films & Donate to Water Organizations

16 JANUARY 2021 • By TMR
Watch Water Films & Donate to Water Organizations
Film Reviews

Muhammad Malas, Syria’s Auteur, is the subject of a Film Biography

10 JANUARY 2021 • By Rana Asfour
Muhammad Malas, Syria’s Auteur, is the subject of a Film Biography
TMR 4 • Small & Indie Presses

Shahla Ujayli’s “Summer With the Enemy”

14 DECEMBER 2020 • By Shahla Ujayli
Shahla Ujayli’s “Summer With the Enemy”
TMR 4 • Small & Indie Presses

Shahla Ujayli’s “Summer With the Enemy”

14 DECEMBER 2020 • By Shahla Ujayli
Shahla Ujayli’s “Summer With the Enemy”
TMR 4 • Small & Indie Presses

Trembling Landscapes: Between Reality and Fiction: Eleven Artists from the Middle East*

14 DECEMBER 2020 • By Nat Muller
Trembling Landscapes: Between Reality and Fiction: Eleven Artists from the Middle East*
TMR 4 • Small & Indie Presses

Freedom is femininity: Faraj Bayrakdar

14 DECEMBER 2020 • By Faraj Bayrakdar
Freedom is femininity: Faraj Bayrakdar

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