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Omar   Sakr

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Omar Sakr

Goodreads Author


Born
Liverpool, Australia
Website

Twitter

Member Since
June 2012

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Omar Sakr is an Arab Australian Muslim poet born and raised in Western Sydney. His debut collection of poetry, THESE WILD HOUSES (Cordite Books, 2017), was shortlisted for the Judith Wright Calanthe award and the Kenneth Slessor Poetry Prize. His new book, THE LOST ARABS (UQP, 2019) was shortlisted for the NSW Premier's Literary Awards, the John Bray Poetry Award, the Queensland Literary Awards, and the Colin Roderick Award. In 2020 he won the Woollahra Digital Literary Award for Poetry.

He has been anthologised in Best Australian Poems 2016 (Black Inc), and in Contemporary Australian Poetry (Puncher & Wattmann). His short fiction includes, 'An Arab Werewolf in Liverpool' in 'KINDRED: 12 Queer YA Stories' (Walker Books, 2019), and 'White Fl
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Average rating: 4.0 · 3,911 ratings · 664 reviews · 20 distinct worksSimilar authors
This Arab Is Queer: An Anth...

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Son of Sin

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After Australia

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3.88 avg rating — 505 ratings — published 2020 — 4 editions
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The Lost Arabs

4.17 avg rating — 401 ratings — published 2019 — 4 editions
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Meet Me at the Intersection

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3.90 avg rating — 387 ratings — published 2018 — 2 editions
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Kindred: 12 Queer #LoveOzYA...

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3.70 avg rating — 374 ratings — published 2019 — 2 editions
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These Wild Houses

4.40 avg rating — 93 ratings — published 2017
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Fire Flood and Plague: Aust...

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3.77 avg rating — 105 ratings3 editions
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Non-Essential Work

4.33 avg rating — 75 ratings — published 2023
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The Nightmare Sequence

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4.69 avg rating — 26 ratings — published 2025
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Quotes by Omar Sakr  (?)
Quotes are added by the Goodreads community and are not verified by Goodreads. (Learn more)

“Language, I’m told, is built
to choose sides. What is meant:
the tool we believe connects us
maintains the divide. What I hear:
be careful of silence, what it holds,
how a word can take over your life.”
Omar Sakr, Non-Essential Work

Topics Mentioning This Author

“What I say is, a town isn’t a town without a bookstore. It may call itself a town, but unless it’s got a bookstore, it knows it’s not foolin’ a soul.”
Neil Gaiman, American Gods

“But anyway, I look around sometimes and I think - this will maybe sound weird - it's like the corporate world's full of ghosts. And actually, let me revise that, my parents are in academia so I've had front row seats for that horror show, I know academia's no different, so maybe a fairer way of putting this would be to say that adulthood's full of ghosts."

"I'm sorry, I'm not sure I quite --"

"I'm talking about these people who've ended up in one life instead of another and they are just so disappointed. Do you know what I mean? They've done what's expected of them. They want to do something different but it's impossible now, there's a mortgage, kids, whatever, they're trapped. Dan's like that."

"You don't think he likes his job, then."

"Correct," she said, "but I don't think he even realises it. You probably encounter people like him all the time. High-functioning sleepwalkers, essentially.”
Emily St. John Mandel, Station Eleven

“Do not fall in love with people like me.
I will take you to museums, and parks, and monuments, and kiss you in every beautiful place, so that you can never go back to them without tasting me like blood in your mouth.
I will destroy you in the most beautiful way possible. And when I leave you will finally understand, why storms are named after people.”
Caitlyn Siehl, Literary Sexts: A Collection of Short & Sexy Love Poems

“Having a Coke with You

is even more fun than going to San Sebastian, Irún, Hendaye, Biarritz, Bayonne
or being sick to my stomach on the Travesera de Gracia in Barcelona
partly because in your orange shirt you look like a better happier St. Sebastian
partly because of my love for you, partly because of your love for yoghurt
partly because of the fluorescent orange tulips around the birches
partly because of the secrecy our smiles take on before people and statuary
it is hard to believe when I’m with you that there can be anything as still
as solemn as unpleasantly definitive as statuary when right in front of it
in the warm New York 4 o’clock light we are drifting back and forth
between each other like a tree breathing through its spectacles

and the portrait show seems to have no faces in it at all, just paint
you suddenly wonder why in the world anyone ever did them

I look
at you and I would rather look at you than all the portraits in the world
except possibly for the Polish Rider occasionally and anyway it’s in the Frick
which thank heavens you haven’t gone to yet so we can go together the first time
and the fact that you move so beautifully more or less takes care of Futurism
just as at home I never think of the Nude Descending a Staircase or
at a rehearsal a single drawing of Leonardo or Michelangelo that used to wow me
and what good does all the research of the Impressionists do them
when they never got the right person to stand near the tree when the sun sank
or for that matter Marino Marini when he didn’t pick the rider as carefully
as the horse

it seems they were all cheated of some marvelous experience
which is not going to go wasted on me which is why I am telling you about it”
Frank O'Hara

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