Chang, Tina; Nathalie Handal; Ravi Shankar; Carolyn Forché (intro);
Language for a new century: contemporary poetry from the Middle East, Asia, and beyond
W.W. Norton, 2008, 734 pages
ISBN 0393332381, 9780393332384
topics: | poetry | anthology | world
poetry - indeed, all art - thrives on novelty. you buy a poetry anthology because you want to discover fresh, unseen voices.
in many cultures across the world, poetry has high prestige. poetry is read by the common people, snatches from poems lubricate conversation. this is true for the middle east, south asia, and much of the far east and latin america. one would imagine that these cultures may have a thriving poetry tradition. this is why a surprisingly large percentage of poetry is published and consumed in languages other than english.
so it stands to reason that there are many fresh voices lurking in these unknown literatures, and that is the premise behind this book. and this anthology fulfills the promise of novelty to the hilt - not more than one in ten poets will be familiar, even to erudite readers. and the voices are often fresh, so that you yearn for more - which is of course part of the objective of the book.
at the same time, you also want to enjoy flipping through the book, find more poems that are stimulating than those that are not. by this measure, there are few anthologies strong enough that i really like if i were to rank the various anthologies on my shelf (there are about 50), by my where-the-page-falls-open-test (most random pages have an excellent poem), i would rate this anthology quite highly.
to provide some perspective - here are some of my ratings in the very highest category:
the three poetry anthologies that i go back to again and again
1. Carolyn Forché's Against Forgetting : These poems of suffering and protest and courage invariably rouse a spark. 2. Arvind Mehrotra's Twelve Modern Indian Poets: An amazing ability to hold the reader. The intro's are superbly acerbic. (OK, parochialism at work also!!) 3. Michael Roberts / Donald Hall's Faber book of modern verse : This is a bit dated now, but you sense a world in ferment, what with cubism, modernism, and the shadow of war.and these i sort of like
4. Jeffrey Paine's Poetry of our World : Manages to be surprisingly good, given the breadth, benefiting from an exceptional set of sub-editors. 5. J Paul Hunter's Norton Introduction to Poetry : Amazingly slick collection, especially given it's textbook nature! 6. Pritish Nandy's strangertime : works through the sheer visceral cultural passionate Indian poetry in English, born in the Calcutta of the 1970s. 7. Ramazani and Ellman and O'Clair's Norton Anthology v.2 Contemporary Poetry a comprehensive coverage of modern poetry. Though US-centered, it tries to reach out, especially to the Caribbean and other poets with US connections. 8. Czeslaw Milosz's Book of luminous things: Just a selection of favourite poems, not much coherence, but most of the poems work.good; but some of the selections don't work for me
In contrast to the books I like - my shelf of poetry is nearly four meters most anthologies simply fail to inspire. Most anthologies fail simply because in their eagerness to cover a broad spectrum of poets, they give up on an attempt to hold interest. This list is large, but for me, it includes: - Jeet Thayil's 60 Indian poets (too sketchy, many of the selections rather patchy) - Dharwadker and Ramanujan's Anthology of Modern Indian Poetry (some languages like Hindi, Marathi, Tamil, are good, scrapes the bottom in others). - JD Mcclatchy's Vintage Book of Contemporary World Poetry (too shrill in its ambition) [the above list was from may 2009. within one year i had forgotten i had this, and while making a list of my poetry anthology shelf, i made another top-ten list and everything changed (it could have happened sooner as well, so fluid are these subjective judgments)... forche remains at the head of the list, but mehrotra has fallen from no. 2 to 6, faber modern has gone from no. 3 to 5. a new book i bought, meena alexander's indian love poems is at no. 4, and pritish nandy's infectious strangertime climbs to no. 2. Ramazani is too staid and boring and has fallen off the top ten. Another Norton anthology, J Paul Hunter's Introduction to Poetry comes in at number 3. as of 2011, LfaNC is growing on me. i find myself picking it up more often, and turning pages. there are poems that fail to work, but many others do... it still isn't there in the top ten. [jul 2015: but the more i flip through it, the more it goes up in my regard. ]book review: LfaNC
the attempt, as stated in the preface is "to include as many crucial voices as possible". this put me in a negative frame of mind, and in my initial flip-through, i classified LfaNC, owing to this eagerness to cover everything, in the less impressive group (as detailed above). on the whole, this anthology does not do very well on my where-the-page-falls-open test. going through the poems, roller-coasting between iran and sichuan and maharashtra and lebanon, the themes running from broad universals of lyrical experience - rafiq raaz's seven sparks, with a hint of a riot, to the naivete of al-faituri's scream, to satchidanandan's stammer - which wonders if the hiatus - the pregnant pause - may be more significant than the sounds of language. and then into specifics - ilhan berk's istanbul, where a body on the gallows swings to and fro in the rain, or where the pecan leaves of maya bejerano form a backdrop to korsakov and bach. en route, i started feeling that many of the translations, were more vivid, more gripping, than much of the writing that was original english. there is much that is excellent about this book - in fact, the very effort is a worthy one - but the execution is faulty in parts. let me give you this bad news first...difficulties of the pan-everything urge
in setting out to compile such an anthology, there is inevitably a fierce urge, a desperation almost, to try to create a global, pan-asian, pan-everything coverage, so much so that perhaps one starts to play a game of numbers - there is only so much of "good poetry" you can select if you set out to choose 400 poets from 55 countries from 40 literatures, none of which you can know much of (the editors, though connected to different continents, are all english writers, hardly steeped in the literatures that they seek to represent). flipping throught the book, running into a few good poems, some mediore ones, and quite a few that were in-between, i felt that there was too much compromise in the interest of geographical variation. without informed correspondents on the regional literatures being represented, it is hard to do justice in the primary selection of poets. second, the urge for numbers makes for further compromises, e.g. some of the translations are completely mediocre (e.g. infelicities like the line "trifle is my demand" in rAfiq AzAd's "bhAt de, hArAmjAdA" - see comments by khademul islam below on this very poem). further, the need to show up a large number of "countries" puts large swathes of the world counted as one country (china, india) at a disadvantage. the first group of poets i looked at were the bengali - and fortunately this was well represented since bangladesh is a separate nation. what irritated me, and led to a lot of negative feeling, were the inept translations for the bengali poems, e.g. nirmalendu goon's _firearm_ ("surveillant eyes"), or shAmsul haq's poem 240, or nazrul islAm's equality (wooden translation, reads almost like a treatise). jibananda dAs' banalata sen has her visiting the king vimsivar, instead of vimbisar (ok, a typo, perhaps, but annoying in an otherwise well-edited, well-produced book like this). sankha ghosh is one of the few poets who is translated well (by nandini ghosh). i also did not like the attempt to thematize the anthology. in the preface, the editors make the point that a regional classification tends to "separate person from person", and that they chose to let the universality of human experience be exposed by engaging one voice with another. but i am afraid this attempt does not succeed too much - going through the pages, i wonder about the merits of interposing bimal nibha's poem on a bicycle theft (excellent, otherwise) between meena alexander's bland ruminations on fifth avenue pigeons and lilac bushes, and gieve patel on the friendly squirrels of US cities, and all this right after nazik al-malaika's moving lyrical elegy on the death of an insignificant woman. it does not seem that these voices are engaging one another; unless there are serious similarities of theme (e.g. milosz tries much harder in his luminous things, it leaves the reader wondering what keeps these poems together on the same page. poetry breathes in arrogance. it demands space. margins at right, empty pages leave room for thought. jumbling up diverse themes like this leaves the reader tossing and turning - i know this is unfair, for the book is much more reasonabily priced than let's say NAMCP, but still, it can be bothersome. perhaps smaller sections - or even short intros for each poem - would have helped, instead of the ultra-personal narratives that serve to introduce each section. though some of these hold considerable interest on their own, e.g. when ravishankar as a child comes to india from the us, and has his head shaven in the temple: i was relieved to discover that, under the sandalwood paste my scalp was smeared with, i had no scars or odd prtuberances. - 381 but these are not as relevant to the poetry. also, the absence of any markers of origin / time for the poets in their thematic dispensation makes it harder to relate to the poems... on the whole, it might have been simpler to simply follow geographical layout.what's good about LfaNC
harumph!! now that my grumps are out, let's come to the good parts. some of the poets are really very good, and i am glad i met them through this collection. i hadn't heard of the iraqi poets nazik al-mala'ika, and hatif janabi, the azeri poet firuza mammadli. The nepali poet bimal nibha, whose poem cycle, focuses on the dilapilidated bicycle -- a very south asian experience, but when he equates its theft with the sense of violation one feels, relating it ultimately to his identity, one can feel in it an universal emotion. the poem carries on its meaning (_artha rIti , the translation is simple, direct, and effective. page after page, the parade of completely unfamiliar names continues. i must say, that just collecting these names is a task of enormous magnitude. the poetry is uneven, true, but even finding a few gems, and a few more worth further exploration, is never a trivial enterprise. and while i have been critical of the bAngla translations, many others, particularly arabic translations by khaled mattawa (noted poet on his own right), and also many of the chinese translations, work rather well (e.g. wang zioni, hung hung). some others work (including banalata sen) because of the powerful content. translation that's simple and direct often works best, as in kunwar narain's "the rest of the poem". the superbly crafted elegance of rachida madani's poem - an elegy of departure and loss, where her man "is leaving for a piece of white bread" - stands on its own as a superb english work; you never realize it's a translation - again marilyn hacker is a superb english poet on her own. on re-visiting this book after a hiatus of almost a year, most of all i am grateful for its wide canvas, the urge that also causes its pitfalls. some translations still irk - e.g. i am sure tada chimako's haiku or takahashi mutsuo ("a boy not knowing love") would be a lot more interesting in japanese than they come out in translation, and most of the diasporic authors somehow fail to ignite (jenny boully's blank pages with footnotes is completely incomprehensible; ketaki kushari dyson). every time i revisit the book i discover more new voices and learn more about where they come from, the more i realize how much a volume like lafnc is actually a celebration of the unity of human experience.why poetry is more important to the rest of the world
growing up in bengal, i came to realize that society feels the heartbeat of poetry. i get the same sense when i visit croatia, or in mexico or japan, or when i meet people from the arab world. but i rarely get this sense in the west. yes, there are people who read poetry, but it seems that this happens in organized conclaves, that people who read poetry are mostly those who also write poetry. the man on the street reads poetry if at all, to their children. only to put his child to sleep... on the other hand, poetry is the language of discourse in many of the lands covered in this book. in palestine, they declared a three-day state mourning for mahmoud darwish; i can't see this happening across most of the west. in bengal, poetry remains a vibrant, every day enterprise, but is under attack. even a decade or so back, poetry recitation contests - where the children congregate to show off their elocution (from memory, of course) - were a regular event. today, forces of depersonalization have reduced these events. meanwhile, they are a growing niche in the west, under the rubric of "poetry performance". something about prosperity turns you away from poetry. perhaps one's emotions are dulled in the daily struggle to get ahead. perhaps one doesn't need poetry to affirm one's identity. whatever it may be, the love of poetry runs deep among the distant reaches of the world. and by gathering these strands into one book, this volume does sterling service, not available in comparable volumes of world literature. in the end, i must say, i enjoyed many many hours with the book (and expect to spend many more) - turning pages at random and meeting completely unknown voices. then i would often look them up on the web, and some of these are excerpted below from online sources, others were typed in... here are some of the less common voices, many of them stalwarts in their own cultures, that can be found here.excerpts
mostly some of the unfamiliar voices in the book...String theory : Alvin Pang p.16
Scientists are still trying to find out what makes the cosmos tick. I don’t even know what makes my dad work, bright thwarted man that he is, would have outdone us all had he the funds at eighteen, not been sucked instead into the singularity of the rest of his life, all that space and nothing to fill it with, no choice but to walk from here to there the long way round. One theory suggests there are several secret dimensions curled up in every particle of nature, these incredible long vibrating strings at the heart of everything. Everything: an endless, restless riff, a violent concerto in a minor key beyond the range of hearing, a song that pulls at the world, is gravity. Staying still was never an option for beings made of such manic stuff. I read this in a paper, but dad doesn’t, he falls into orbit between the TV and the fridge, a satellite relaying any kind of noise but hope. Give or take a few decades, he’ll fall back into the quantum soup lab-coats go on about, the kind without any memory of what it once might have been. I think of what's wound in him, in us, tighter than DNA, less understood than that which impels us one slow day forward at a time. The old yarn about sons worshipping fathers, the way folks thought the sun revolved around the earth, not vice versa? Well it ended the day he wrote Do what I couldn’t on my birthday card. I was in college. Outside my bay window the world was a wide unstudied sky, not these small coiled realities we now think is all we have. I’d not even grasped the dynamics of colliding lives, fissive trails I wander blindly down. Dark matter clouds the universe and uncertainty rules it? Could’ve said that years ago. I have a theory we become our fathers, however hard we try, as if this would explain everything. It’ll be a while yet before I arrive at the way he's letting himself loose now, though not quite the same way time unspools from the reel of physics, more like a shedding of paths, all possible futures fusing into a grand unified inevitability. I couldn’t either, I’d tell him, when I catch up finally, out of breath, as we stand laughing, wonder why we ever bothered, on some long and distant shore on the other side of nowhere else to go.Shukrulla (Uzbekistan, 1922-): The Age of My Father 45
[from Uzbek; tr. William Dirks] I haven’t yet reached the age of my father Still I feel surprisingly sick. My father at my age Knew not what a staff was. I hate inclement weather My veins are constrained by the piercing autumn wind, Only the crows enjoy such weather, Chasing each other, unable to share a nut. My childhood reminiscences are still alive, The crows threw nuts on the roof with a terrible noise. Maybe those are the same crows. Crows live longer than men. I watch them bustle and play and chase each other. Still, a crow will never peck out the eye of a crow. Perhaps that is why they live so long, Perhaps that is why their days are so long. (source: World Literature Today, Vol. 70, 1996)Nirmalendu Goon (Bangladesh, 1945-) : Firearm 74
[tr. from Bengali, Sajed Kamal] The police station is crowded with people surrendering their firearms under the surveillant eyes of the soldiers. The shot guns, rifles, pistols and cartridges from the people -- fearful of the military order -- are piling up like the promised offering of flowers at a holy shrine Only I, disobeying the military order, am openly returning home a rebel, carrying with me the most lethal firearm of all - my heart. I didn't surrender it. (online source: http://foundationsaarcwriters.com/banwriter7.htm) links bio: http://www.bengaliwiki.com/page/Nirmalendu+GoonHatif Janabi (Iraq, 1952-): Stags and Soldiers 108
(tr. from Arabic Khaled Mattawa) I am content with bitter words, with a fluttering spike of wheat. I am content with broken branches; I say someday this wooden space will disappear, Sometimes I am content with, and with the water of grapes. I am content with the hope that the echo of a storm will swing between me and peace. I am content with the chirpings of the dark. I say soon, soon they will come To wash my face with dregs of dew. I am content with faucets and afterthoughts, with the stones that cover autumn´s bare back, with a snake flicking its tongue behind my ribs. I say maybe the loved one will come To me in a dream and she arrives, I am content with the gushing of seasons, the stutters of memory, with the dazzle of stars, the flutter of a feeble heart, with whispering and caressing and dance, with him who does not achieve his mischief, I am content and I brag about the wings of a crow, something to bless my steps and to heap on my grief a mountain of dirt. I am content with the talk of rebel boys, sayings of lunatics, soothsayers, and the prophet-like poor, I am content with the one who does not reach his desolation. (They stretch out to the flow of his shock.) I am content with paradises in their cradles, with stags lisping flames, Cunning soldiers shrinking without leniency and a creaking past. I am content with dew as a bird stings the pistil where it lay. I am content when a dream pricks my night with its beak or reveals that the beginning will be a further strain and that winter is the whistling of stones. I am content with my grandmother´s cane, the courtyard, a pot of tea, a jug of water, my mother´s cloak, my neighbor´s prayer beads, and the palm fronds hidden in the victim´s rib cage. I am content with the little that is much, but in the end I will accept nothing less than to clutch the impossible's throat. (online source: http://www.polishmarket.com.pl/pdf/:7953?p=%2FEconomic+Monitor%2F) links: see many more poems at http://alltimeisunredeemable.blogspot.com/search/label/hatif_janabi bio at http://openlibrary.org/a/OL531049A/Hatif-JanabiArundhathi Subramaniam: Strategist
The trick to deal with a body under siege is to keep things moving, to be juggler at the moment when all the balls are up in the air, a whirling polka of asteroids and moons, to be metrician of the innards, calibrating the jostle and squelch of commerce in those places where blood meets feeling. Fear. Chill in the joints, primal rheumatism. Envy. The marrow igloos into windowlessness. Regret. Time stops in the throat. A piercing fishbone recollection of the sea. Rage. Old friend. Ambassador to the world that I am. The trick is not to noun yourself into corners. Water the plants. Go for a walk. Inhabit the verb.Baha Zain (Malaysia, b.1939):
Baha Zain (shortened from Baharuddin Zainal) is a prominent Malay poet from Perak state, whose poem "Topeng-Topeng" (about a man thrown into crisis after his wife meets his mistress), won the national Literary Award for Poetry (1971). He is also the Vice President of the National Writers Association (PENA). (adapted from http://www.kakiseni.com/events/misc/MTA2NDc.html) Baha Zain is a slight man, bespectacled, whose hands flutter, clasp, clench in the air - he is a man who measures and weighs his words carefully. He is truly a thinking writer, unlike some who are so caught up with verbal symbols and ideologies that they rat-a-tat their opinions, leaving the listener dazed" --Dina Zaman, New Straits Times, November,28, 2001. "...in his early days as a new bard (60s), was regarded as 'the angry young man', w the temperament of a student leader on campus - reporting indulgently about poetry, injustices, social harmony, the gap and the ethnic prejudices, etc. His voice full of vengeance, socialistic and dialectical. Baha was not only direct in his 'words' and his poetic expressions about the establishment but also to the ugly bureaucracies, snobbish aristocrats, decadent artists etc." -- Dr. Ahmad Kamal Abdullah in English and Islam: Creative Encounters 96. (from bahazain.blogspot - mostly in Malay) After all this, I felt that the poem chosen here simply does not convey his potential.Language 171
[from Malay, tr. Muhammad Haji Salleh] How hard to accommodate the word to the meaning such trouble to wrap decorum with language the emotions of old bards; a fish flashing in water you already know its gender. (online source: independence day project )Nadia Anjuman (Afghanistan woman poet, b. 1980, killed 2005)
young Afghan poet from Herat, whose book of poetry, Gul-e-dudi 2005, ("dark flower"), written in he literary Dari (a language related to Persian), became popular in Afghanistan and parts of Iran (these languages are mutually intelligible, like Danish and Swedish). The book describes the anguish of womanhood under the repressive Afghan culture, both under the Taliban and in recent years. She was married and had a six-month child, but her literary activity allegedly shamed the family - presumably her husband's family - and a few months after the book, she was brutally beaten up by her husband, and died of head injuries in Nov 05. However, her husband, himself a literature graduate, said in a statement from prison: "I have not killed Nadia. How could I kill someone I loved? We had a small argument and I only slapped her on the face once. "She went to another room and when she returned she told me she had swallowed poison. She said she had forgiven me for slapping her and pleaded, ‘Don’t tell anyone I have swallowed poison. Tell them I died from a heart attack’." - Christina Lamb, in The Times Today her death is classified by the courts as "suicide." The incident gathered a lot of attention in blogspace. "I loved poetry, but the chains with which six years of captivity under Taliban rule bound my feet led me to haltingly enter the arena of poetry with the foot of my pen. The encouragement of like-minded friends gave me the confidence to pursue this path, but even now when I take the first step, the tip of my pen trembles, as do I, because I do not feel safe from stumbling on this path, when the way ahead is difficult, and my steps unsteady." (quoted at universeofpoetryl) Her story became known in the West through journalists like Christina Lamb, author of Sewing Circles of Herat (2004), who quotes her friends as saying "her family was furious, believing that the publication of poetry by a woman about love and beauty had brought shame" on the family. After discovering her in LfaNC, I dug up a lot about her, but most blogs were full of the tragedy, but I did find a few translations at several sites (see links below). I am not sure if it is the translation or the poems, but most of her work, including the selection here, appear lackluster (the poem A Voiceless Cry i thought was more deserving of an anthology, but it may be a later translation). On the whole, though, much of her work seems not nearly as poignant as her own life story.The Silenced 230
[from Dari, tr. Abdul Salam Shayek] I have no desire for talking, my tongue is tied up. Now that I am abhorred by my time, do I sing or not? What could I say about honey, when my mouth is as bitter as poison. Alas! The group of tyrants has muffled my mouth. This corner of imprisonment, grief, failure and regrets— I was born for nothing that my mouth should stay sealed. I know O! my heart, It is springtime and the time for joy. What could I, a bound bird, do without flight. Although, I have been silent for long, I have not forgotten to sing, Because my songs whispered in the solitude of my heart. Oh, I will love the day when I break out of this cage, Escape this solitary exile and sing wildly. I am not that weak willow twisted by every breeze. I am an Afghan girl and known to the whole world. (online source: independence day project )links
* poems: bio and poems universeofpoetry rawa * news: new york times Times: killed for her poetry? CBC - honour killing? AFP: official category of death: suicide blog "Thousands attended her funeral" * bio: wikipediaNazik al-Malaika (1922-2007): Iraqi woman poet
Iraqi woman poet, who played a leading role in the Iraqi free-verse movement along with Badr Shakir al-Sayyab. al-Malaika is a powerful voice, speaking courageously in a period of social and political turmoil, comparable perhaps to her contemporary in Egypt, Latifa Al-Zayyat (see The open door). the translation here is a bit problematic in some places, (e.g. "settled in secluded den") - but it still manages to convey the power.Insignificant woman 96
[from Arabic; tr. Kamal Boullata] When she closed her eyes No face faded, no lips quivered. Doors heard no retelling of her death. No curtain was lifted to air the room of grief. No eyes followed her coffin To the end of the road. Only a memory of a lifeless form passing in some lane. The word echoed in alleyways, Hushed sounds, finding no shelter, Settled in secluded den. A moon mourned In silence. Night, unconcerned, gave way to morning. Daylight crept in with the milk cart and a call to fasting. A meager cat mewing Amidst the shrill of vendor's cries. Boys squabbling throwing stones. Muddy waters spilling along the gutters As the wind carried foul smells To rooftops. Oblivion (no online source; see jehat.com for a competent, alternate translation, "Lament for a worthless woman".)links
* poems: tr. Rebecca Carol Johnson jehat.com tr. unknown tr. unknown * prose: short stories * obituary: new york times al-ahram, cairo jehat.com AFP and others * criticism Nazik al-Mala'ika's poetry and its critical reception in the WestBimal Nibha : Cycle 98
(tr. Manjushree Thapa) It's been a few days since my bicycle has vanished Do you know where I might find it? It's true that my cycle is small its tires are bald they have too little air the colour is faded the stand is broken the kinetic light is faulty the bell trills softly the pedals move slowly the chain is old the handlebars are askew the wheel is bent and it has no carrier or lock Yet no matter what even if it's flawed and defective even if it's shabby no matter what, that cycle is mine THe weight of my body lies on its seat The measure of my feet fills its pedals The print of my hands marks its handlebars My breath rests in each part of that cycle I am there That cycle is my life (What kind of place is this not unknown to me, my own village where in the bright light of midday a whole life can vanish? Do you know where I might find it? ) It's been a few days since my bicycle has vanished Do you know where I might find it? (no online source)Kunwar Narain: The rest of the poem 285
[Hindi poet, tr. Lucy Rosenstein] Water falling on leaves means one thing. Leaves falling on water another. Between gaining life fully and giving it away fully stands a full death-mark. The rest of the poem is written not with words -- Drawing the whole of existence, like a full stop, it is complete at any point.Sankha Ghosh (1932-) : Four Poems from Panjore DanRer Shabda ('Oars in My Ribs')
[Bengali poet, b. Bangladesh, tr. from Bengali, Nandini Ghosh] (1) Oars in my ribs, waters splash in my blood, The waxing moon emerges from the boat's hull, Mosses and reeds weigh my body down, I have no past--- no future either. (2) Storm-uprooted, the lamp-post lies lonely in the fields, Fireflies at its head, and above, Orion's sword, The battle is done, the hour still, all around The night looms like an immense, opaque sea. (50) He who had been bent small with insults and injuries, Whose days had dropped away with each hour, each tide, To him when you came, your touch feather to his ribs, In your fingers, last night, I witnessed god. (63) The ground lies very still. But within fires rage, A sudden explosion has shattered the rocks. Fling to the insensible dust words that will not Throb with fever, with lava, or with curse.Rachida Madani (Morocco, 1953-): Tales of a Severed Head, I 286
[tr. from French Marilyn Hacker] What city and what night since it's night in the city when a woman and a train-station argue over the same half of a man who is leaving. He is young, handsome he is leaving for a piece of white bread. She is young, beautiful as a springtime cluster trying to flower for the last time for her man who is leaving. But the train arrives but the branch breaks but suddenly it's raining in the station in the midst of spring. And the train emerges from all directions It whistles and goes right through the woman the whole length of her. Where the woman bleeds, there will never be spring Again. in the night, in her head, under the pillow trains pass filled with men filled with mud and they all go through her the whole length of them. How many winters will pass, how many snowfalls before the first bleeding letter before the first mouthful of white bread? (online source: http://www.wordswithoutborders.org/?lab=TalesOfTheSeveredHea; also includes several of the followup sections of this superb sequence.) Rachida Madani (b. Tangiers, Morocco 1951?3), writes on the male-dominated society of today; this poem, from her Contes d’une tête tranchée (Tales of a severed head) revisits the insane misogyny of king Shahryar in the 1001 nights. see bio at poetrymagazines.orgA K Ramanujan : The black hen 307
It must come as leaves to a tree or not at all yet it comes sometimes as the black hen with the red round eye on the embroidery stitch by stitch dropped and found again and when it's all there the black hen stares with its round red eye and you're afraid.Mammad Araz (azerbaijan, 1933-2004): If There Were No War p.367
tr. from Azeri by Aytan Aliyeva If There Were No War If there were no war, We could construct a bridge between Earth and Mars, melting weapons in an open-hearth furnace. If there were no war, The harvest of a thousand years could grow in one day. Scientists could bring the moon and stars to Earth. The eyes of the general also say: " I would be chairman in a small village If there were no war!" If there were no war, We could avoid untimely deaths, Our hair would gray very late. If there were no war, We would face Neither grief, nor parting. If there were no war, The bullet of mankind would be his word, And the word of mankind would be love.Samih Al-Qasim : Excerpt from "An Inquest" p.395
—And what do you call this country? —My country. —So you admit it? —Yes, sir. I admit it. I'm not a professional tourist. —Do you say "my country"? —I say "my country." —And where is my country? —Your country. —And where is your country? —My country. —And the claps of thunder? —My horses neighing. —And the gusts of wind? —My extension. —And the plains' fertility? —My exertion. —And the mountains' size? —My pride. —And what do you call the country? —My country. —And what should I call my country? —My country (tr. from Arabic, Nazih Kassis)Nazim Hikmet (Turkey, 1902-1963): Angina Pectoris 330
If half my heart is here, doctor, the other half is in China with the army flowing toward the Yellow River. And, every morning, doctor, every morning at sunrise my heart is shot in Greece. And every night,c doctor, when the prisoners are asleep and the infirmary is deserted, my heart stops at a run-down old house in Istanbul. And then after ten years all i have to offer my poor people is this apple in my hand, doctor, one read apple: my heart. And that, doctor, that is the reason for this angina pectoris-- not nicotine, prison, or arteriosclerosis. I look at the night through the bars, and despite the weight on my chest my heart still beats with the most distant stars. A formative voice in modern Turkish poetry. As a communist, was repeatedly arrested and spent much of his adult life in prison or in exile.U Sam Oeur (cambodia, 1936-): The Fall of Culture p.366
tr. from Khmer by Ken McCullough I hid the precious wealth, packed the suitcases with milled rice, packed old clothes, a small scrap-metal oven, pots, pans, plates, spoons, an ax, a hoe, some preserved fish in small plastic containers— loaded it all in a cart and towed it eastward under the full moon, May ’75, "O home! Home! The sacred ground where we lived happily, the heritage built, bit by bit, by my father. O, the Naga fountain with its seven heads, preserving our tradition from days gone by. O, Monument of Independence! O, library! O, books of poetry! I can never chant the divine poems again! O, quintessential words of poets! O, artifacts I can never touch or see again! O, Phnom Penh! O, pagoda where we worship! O, Angkor Wat, sublime monument to the aspirations of our ancient Khmer forefathers. Ah, I can’t see across those three wildernesses:" I’ll be nowhere, I’ll have no night, I’ll have no day anymore: I shall be a man without identity. "Sorrow for the Cambodian women who were faithful to their lovers; now they wander without sleep, any piece of ground their home. O, rang trees, the spawning grounds, turned to charred stilts by the Pot-Sary conflagration. Annihilate the rang trees, the sugar palms the Khmer Republic!" There are no more intellectuals, no more professors— all have departed Phnom Penh, leading children, bereft, deceived to the last person, from coolie to king. rang trees: riverside mangrove trees; three wildernesses : killing, starvation, disease --bio Born a farmer's son in 1936, he began his education as a naked schoolboy in a country village, and finished with a Master of Fine Arts in creative writing from the University of Iowa. After living in the US for seven years, he returned to Cambodia in 1968, married his fiancée who had waited for him to come home, and put his poetry aside to become a successful businessman and politician. He served as a delegate to the UN months before the Khmer Rouge overran the country. When he eventually returned to his home in Phnom Penh, all that remained of his was a torn page of Emily Dickinson. (from bio at waterbridgereview.org)In Water : Amin Kamil
You’re fraught with words, better go sit in water; For they swell with meaning and glow more in water. Look for the heart in the chest and roast it on embers Look for the blood in the liver and drink it in water. Tomorrow Kashmir will stretch in the sun like a desert, The day after Ladakh and Leh will float in water. Under the hollow banks frightened waves take refuge; Lord Jaldev is born with fire in water. At mid day, even the sun gets soaked in sweat; At the end, even the moon catches fire in water. Even in excitement, sometimes, people set towns on fire; Even for fun, sometimes, people pour poison in water. The lost cow is looking for the elevensome, would someone tell her? Five drowned in dry land, six are aflame in water. The peddler of ghazals, this Kamil, makes fiery calls But the fatefrost people are coldly sleeping in water. tr. from Kashmiri by Muneebur Rahman http://kamil.neabinternational.org/In_Water.htmGevorg Emin (Armenia 1918-1998) : Small 415
[tr. from Armenian Diana Der-Hovanessian] Yes, we are small the smallest pebble in a field of stones. But have you felt the hurtle of pebbles pitched from a mountaintop? Small, as the smallest mountain stream storing rapids, currents, unknown to wide and lazy valley rivers. Small, like the bullet in the bore of the rifle; small as the corn waiting to sprout. Small as the pinch of salt that seasons the table. Small, yes, you have compressed us, world, into a diamond. Small, you have dispersed us, scattered us like stars. We are everywhere in your vision. Small, but our borders stretch from Piuragan telescopes to the moon, from Lousavan back to Urartu. Small as the grain of marvelous Uranium which cannot be broken down, put out or consumed. (online source: http://independencedayproject.blogspot.com/2008/09/armenia.html)Bei Dao (China): Black Map 418
in the end, cold crows piece together the night: a black map I've come home — the way back longer than the wrong road long as a life bring the heart of winter when spring water and horse pills become the words of night when memory barks a rainbow haunts the black market my father's life-spark small as a pea I am his echo turning the corner of encounters a former lover hides in a wind swirling with letters Beijing, let me toast your lamplights let my white hair lead the way through the black map as though a storm were taking you to fly I wait in line until the small window shuts: O the bright moon I've come home — reunions are less than goodbyes only one less (online at http://www.thedrunkenboat.com/beidao.html)Elmaz Abinader : This House, My Bones 451
Enter the house, Sit at the table covered in gold A cloth, Sitt embroidered For the third child=s birth. Take the tea, strong and minty, Hold the glass warm Against your palms, fragrances Of centuries fill you, sweetness Rises up to meet you. The youngest boy Fuad, shows you a drawing He has made of a horse You touch his shoulder, stroke His hair, he loves to talk to strangers Show them his room filled with posters Of extinct and mythical animals: dinosaurs, Unicorns; dragons. You want to linger In the music of his voice, afraid his disappearance Is inscribed on shell cases stockpiling in the Gulf. Enter the mosque, Admire the arches Inlaid with sea-colored pebbles, Follow the carpets, long runners Of miracles in thread, your feet still damp Slip against the marble floor. Spines of men curl into seashells In the room ahead. Echoes Of the muezzin shoot around you Fireworks of speeches and prayers. Don=t be afraid because they worship Unlike you. Be afraid that worship Becomes the fight, faith the enemy; And yours the only one left standing. Some one asks, what should we do While we wait for the bombs, promised And prepared? How can we ready ourselves? Do we gather our jewelry and books, And bury them in the ground? Do we dig Escape tunnels in case our village is invaded? Do we send our children across the border To live in refugee camps remembering us Only in dreams, ghostly voices calling their names? What do we pack? The coffee urn father Brought from Turkey? The pair of earrings Specially chosen for the wedding day? How can we ever pack anything if not everything? If not the tick on the wall marking The children=s growth, if not the groan Of the washing machine in the kitchen, If not the bare spot on the rug Where Jidd put his feet when he read The Friday paper? Help them gather things: brass doorknobs, Enamel trays, blue glasses made in Egypt, Journals of poetry, scraps of newspapers, recipes They meant to try. And what about the things They cannot hold. The beginning of life and all The memories that follow. The end of life And all that is left to do. Enter the heart Read the walls and all the inscriptions The love of lovers, of children and spouses, The love of stars, and cardamom and long eye lashes. Tour the compartments telling The story: that life was begun with faith, That life may end with folly. See it heave In fear that threats, predictions and actions Are a history already written, spiraling, Loose and out of control. No amount of hope Can save it. No amount of words can stop it. Hold the heart. Imagine it is yours. (online at http://www.arteeast.org/pages/artenews/article/27) This poem, reminded me of Sipho Sepamla's "The odyssey", which also sets off the visitors experience against a dark present, in that case the South African apartheid experience.Tsering Wangmo Dhompa (Tibet) One more say 464
Think on this when prayers fall like thick paint on dry asphalt. Think on this when the face is fading. Think on this and be decisive in your motions. The breathing. The utterance. No Eastern star leading conch shells and a rainbow at dusk. Those who must believe, so. Who dares to question the accuracy of a direction when the journey was not theirs. The moment of birth. Before the father extended his arm toward the mother. Here is a location. Here it is scattering like mustard seeds. (online at http://independencedayproject.blogspot.com/2008/09/tibet.html)Agyeya (Hindi, 1911-1987)
Pen name of influential poet-editor Sacchidananda Hirananda Vatsyayan One of the modernist pioneers of 20th c. Hindi literature. Sahitya Akademi award 1964, Jnanpith 1978.Quietly : Agyeya : p.469
[tr. Lucy Rosenstein] Quietly may the murmur of water falling fill us, quietly may the autumn moon float on the ripples of the lake, quietly may life's unspoken mystery deepen in our still eyes, quietly may we, ecstatic, be immersed in the expanse yet find it in ourselves-- (online source: http://the-grynne.livejournal.com/589329.html) bio: sachidananda hirananda vatsyayan 'agyeya', 1911-1986. born kasia, deoria in UP. jailed 1930-4 for revolutionary activity, and served in the WW2 in 1942-6. worked as journalist, editor and taught at Jodhpur U and visited UC Berkeley. Edited magazines pratik (1946-52); dinmAn (1964-9); nayA pratik (1973-7); and navbhArat times (1977-9). more than two dozen works include novels, plays, travelogues, collections of short stories and travelogues. Sahitya Akademi award 1964; jnanpiTh 1978. (from bio in Dharwadker and Ramanujan's The Oxford Anthology of Modern Indian Poetry link: wikipediaLiu Kexiang (1957-): Natural Science Teacher 474
[劉克襄, Taiwan poet and naturalist, known as a nature poet tr. from Chinese Nicholas A. Kaldis] Finally I spy that bundle of light, slowly flowing into the woods. Like a silent stream, leaving a waterfall, myriad specks of dust, like spores, float among the beams, exploring, or aimlessly wander off. They enter the woods. There's a child fascinated by insects, going on and on about plants with me. There's a youngster who loves climbing mountains and fording streams, who will someday trace every range I've crossed. As for that girl who writes like a poem, she's never grown up, still that same likeness of an eleven-year old I dote on. They’ll come across my death, in different places.It might be like the shards of a beetle shell, or possibly a rotting, withered tree. And, by chance, they’ll encounter my birth, a kind of essence even more concrete than tender shoots and new leaves, sitting by their side in lonesome moments. They continue going into the woods.Inside my aged sea-turtle's body they squirm about, vexing me, tiring me, harassing me.It's always been my living question mark, my uncertainty. (no online source) links : 4 other poems at http://www.cipherjournal.com/html/kaldis.htmlViswanatha Satyanarayana (1895-1976): Song of Krishna (5) 478
[Telugu poet, known as kavi samrAT (emperor of poetry), Jnanpith 1970, Padma Bhushan 1970 ] [ tr. from Telugu by Velcheru Narayana Rao] You come when I'm taking my bath. You come when my sari gets wet, and I change into a dry one. When, unnoticed, my sari falls from my shoulder — you are there. Almost as if you had planned it. As if you knew all such slippery moments. You sit right in front of me. Some kids are like this from the start, in the womb. You're a true jewel among them, the eye on a peacock's feather. Really, you're spoiled. No one disciplines you. Everyone loves you and no one speaks to you harshly. Any time they begin to get mad, you do something or other and they laugh, and everything is lost in that laughter. For years and years, your mother longed to have a tiny boy in her womb, and you came, so now she lets you do just as you please. What's a game for the cat is death for the mouse. We can't even talk about these things. We can't face them unless we give up all shame. Sometimes I tell myself firmly: he's only a child, why get so stirred up? But that's how women are made. I can't help myself. If you, young man, are the wone to take away my shame, I will take you for my God. When a woman is getting dressed, you should leave. If you happen to catch a glimpse, you should bite your tongue, go away, and come back after a while. You should ask if you can come in. That's the proper way. It's not as if this is your own house and I'm your wife. Even my husband doesn't come in when I'm dressing. Along with being so brash, you're also angry. Don't be. Never mind what I said. Come, Krishna, eyes dark as the lotus. (no online source)Suyunbay Eraliev : Beginning 481
[from Russian, tr. Yuri Vidov Karageorge] Kyrgyz poet (b. 1921), lived in Soviet times and wrote in Russian. hails from peasant stock in the Talkog region and served on the front lines in World War II. first poetry collections appeared in the late 1940s, but his best-known work came during the next four decades, including the long poems Ak-Moor (1958), To the Stars (1965), and The Testament of Djalil Mirza. He is President of the Kitep Society of the Kyrgyz Republic. From the green meadows of Altai I brought back a miraculous new wine to the great summit of Tyan'-Shan'ya, so that it might regenerate our self-esteem, strengthen our people's spirit amid the devastation, amid the battles, amid our wanderings, so that it might invigorate our spirit from year to year, amid our legendary traditions. In the firmament, on the vaulted slopes where flow the crystal waters, in the villages so highly protected by the endless stream of years gone by, One could almost hear the strains of "Manas" as time suddenly released the reins, even the rain, like the glance of an evil eye, gave up its place to that weather. (online source: independencedayproject.blogspot.comSeven Sparks, Rafiq Raaz
tr. Muneebur Rahman [one needs to read this poem -in the context of the militancy that scarred Kashmir in the 1990s] At the midnight’s hour a sage’s soul came afire. In splendor he began to dance, a frenzied dance. I was still in awe and fear when he bestowed A folded paper on my undeserving self! Suddenly I looked at the gift and trembled, For I saw seven sparks wrapped in a silken paper. Then rapture overcame me and I dosed. I dreamed the dancing sage came to rest. With folded hands I humbly asked what gift is this? Pray, make me aware of this secret tonight! For God’s sake what will I do with the sparks? For if I keep them, they will burn the silken paper! The silken paper will burn, he said, the sparks will vanish. Seven spots will burn for years on the subcontinent.K. Satchidanandan : Stammer
p.484 A stammer is no handicap. It is a mode of speech. A stammer is the silence that falls between the word and its meaning, just as lameness is the silence that falls between the word and the deed. Did the stammer precede language or succeed it? Is it only a dialect or a language itself? These questions make linguists stammer. Each time we stammer we are offering a sacrifice to the God of Meanings. When a whole people stammer stammer becomes their mother tongue: as it is with us now. God too must have stammered when He created Man. That is why all the words of man carry different meanings. That is why everything he utters from his prayers to his commands stammers, like poetry.Muhammed Hasan ’Awwad : Secret of Life and Nature 534
[Saudi Arabia, tr. from Arabic Laith al-Husain and Alan Brownjohn] What secret lies in the winds blowing north and south bringing rains What secret lies in the sea one day calm, another day tumultuous Chasing the full moon, and the stars in its ebb and flow Why does the earth revolve around the sun, forever and ever going Why do the stars shine at the night and the sun at day, dazzling the eyes Why does the eclipse of sun and moon appear one day, and other days hides away Why is Neptune inscrutable to us We cannot see the stars around it? Why are we willed to live on earth Not choosing, and spend our lives uncertain of the world Why is death, like life, decreed upon us it robs the soul of its potency and grandeur Have philosophies, science and religion been a minaret for people? Did they awaken our minds from slumber? Have we torn out the curtains of uncertainty? Like the ancients we live our course Then others come after us to do the same And life, sun and stars and night and day Revolve as ever before Life's secret must remain inscrutable. (online source: http://independencedayproject.blogspot.com/2008_09_01_archive.html)Bozor Sobir (Tajikstan 1938-): Letters 569
[tr. from Tajik, Judith M. Wilks] Major Tajik poet, rustic background, politically sensitive, often opposed soviets and corruption under apparatchiks. I opened your letters And I have them up to the air, That they might become spring clouds, That letters of memories Might weep over the hills, That they might weep springs and rivers. That the letters might weep over us. Last night I told a story Of you to the wild wind. In memory of you I recited from memory A verse to the streams, That the water might bear it away And tell it to the rivers, That the wind might bear it away And sing it to the plains. Last night under the rain I walked road by road in my thoughts. Your tresses strand by strand In my thoughts I walked, braiding strands. The kisses that had not been planted on your lips —Along, all along the road, Along the edge, the edge of the stream— I walked, planting them in the ground. So that, ever following in my footsteps —Along, all along the road, On the edge, the edge of the stream— Kisses might grow like daisies, Kisses might grow like wild mint. Last night it rained and rained. The water was too much for the river to hold. Last night my loneliness Was too much for me alone to hold . . . . Last night the April rain Washed the footprints from the ground. The wound in my heart grew worse, Because it washed away the imprint of your foot. Last night I wandered the streets in vain, Like a hunter who has lost the trail I searched . . . . Last night the world was all water, The sky was refreshed, The ground was refreshed, But I, with your name on my lips, All alone like the parched land I burned up under the rain. (online source: http://bozorsobir.com/bozor_sobir_poetries.htm) Links bio: http://www.angelfire.com/rnb/bashiri/Poets/Bozor.html http://www.archive.org/details/BarguzidaiAshoriUstodBozorSobir poems: http://bozorsobir.com/bozor_sobir_poetries.htmHong Yun-Suk (Korea): Ways of Living 4 573
You have to wait. At the crossroads’ red traffic light, you have to stop going along, pause for breath, look up for once at the forgotten sky, hoist up and fasten the slipping pack. A scrap of pink cloud on a remote mountainside, inky darkness, on the corner you turn, on the road left ahead cold rain pouring down we are all being soaked as we pass through this age for see, this is destiny's winter and no one can escape from this rain. Frozen, we rub one another's flesh, we sparingly share and kindle the remaining fire. In the darkness our roots twine together. (online source http://independencedayproject.blogspot.com/2008_09_01_archive.html)Bassam Hajjar (Lebanon): Hatred, p.590
Had this heart been a tree trunk it would have loved me. Had this tree trunk been a heart it would have awaited the woodcutter (tr. from Arabic by Shariv S. Elmusa) links : bio and one poemForugh Farrokhzad (Iran, 1935-1967)
The Iranian poetess Forugh (Forough) Farrokhzad died young but left a lasting imprint on Iranian poetry, and you can get a whiff of the power of her writing even in translation. She left her husband after three years and had a series of affairs in conventional Iran, and died in a car crash at 32. See biography and poems at voiceseducation.org which also includes links to much Iranian poetry.Forugh Farrokhzad : Sin, 561
I have sinned a rapturous sin in a warm enflamed embrace, sinned in a pair of vindictive arms, arms violent and ablaze. In that quiet vacant dark I looked into his mystic eyes, found such longing that my heart fluttered impatient in my breast. In that quiet vacant dark I sat beside him punch-drunk, his lips released desire on mine, grief unclenched my crazy heart. I poured in his ears lyrics of love: O my life, my lover it's you I want. Life-giving arms, it's you I crave. Crazed lover, for you I thirst. Lust enflamed his eyes, red wine trembled in the cup, my body, naked and drunk, quivered softly on his breast. I have sinned a rapturous sin beside a body quivering and spent. I do not know what I did O God, in that quiet vacant dark. (tr. from Persian by Sholeh Wolpé) (online source http://www.voiceseducation.org/content/forough-farrokhzad)Kishwar Naheed: Non-Communication 563
Kishwar Naheed is a powerful feminist voice from Pakistan, and I became aware of her poems after reading her in Meena Alexander's excellent anthology, Indian Love Poems. Like the body peeping through a muslin dress now all the taut veins of my brain are evident. Separation's first day was easier than the second for the first day's first night was spent telling stories like Sheherzade. A night like one thousand one nights, white like unwritten paper, this creaseless brightness is like the image formed in the mind before a word comes to the lips. In the crowded era of my days and nights you like a comb passing through hair keep announcing your existence but passion and love like my unkempt hair keep knitting a web inside me. Like broken, diffused clouds in the sky the termite-ridden page of life will not even sell at the price of scrap. Thundering like clouds you, cascading like the rain I, like two deaf singers are singing each other a song. (tr. from the Urdu by Mawash Shoaib) (online source :independencedayproject.blogspot.com each webpage on this blog is a poem from a different nation, posted on their independence day. )the red grapefruit : Agnes Lam 592
[ Agnes Lam Iok Fong lives in Macao; besides poetry, writes two newspaper columns] you cut open the grapefruit cutting carefully like tearing down my cocoon the grapefruit is opened into two red suns I feel so free flying out from the cocoon like the summer butterfly flowers are full of my eyes sweet as the grapefruit's red the two pieces of the fruit stay firm together plentiful like the smile of first love it's thus I fall in love with red you cut the grapefruit into eight pieces red mouthful by mouthful it's like eating my sweetest memories I take up the last segment and kissing this last piece of red my heart becomes pale the taste of a grapefruit like your love to me surprisingly sweet and plump to see bitter to the taste like sorrow when there is no more flesh in the grapefruit the inner skin of the fruit is so pale as to make me cherish that sugary smile of the red fruit that was I hold the pale skins in my hand mind and eye bringing back the original it's like letting the cocoon wrap my body and now I can see the outer skin of the grapefruit was never red at all (tr. Christopher Kelen, Agnes Vong and the poet) (online source http://www.thedrunkenboat.com/lam.htmlNabila Az-zubair (Yemen): The closed game 595
[tr. Najwan Darwish; anti-establishment woman author; her novel "It's my body won the Naguib Mahfouz prize 2002. ] And now there are two boxes we will throw to the sea My box, the sea entered because it was open Your box, the beach buried because you never got out (no online source)Contents
Foreword xxvii Preface xxxiv Acknowledgments xlviiiIn the grasp of childhood fields
Joseph O. Legaspi, Ode to My Mother's Hair 9 Phillippines -> US Jennifer Kwon Dobbs, Elegy for Pure Music 11 Korea -> US Tenzin Tsundue, Exile House 14 Tibet -> India (read his poetry at http://www.universeofpoetry.org/tibet.shtml Nick Carbo, Directions to My Imaginary Childhood 15 Phillippines -> US Ha Jin, Homework 16 Alvin Pang, String Theory 17 Singapore Tanikawa Shuntaro, In Praise of Goldberg 18 Japan Venus Khoury-Ghata, "Our cries, she used to say" 19 Lebanon--> France [French] Pak Chaesam, The Road Back 20 Korea [1933-1937] Xuan Quynh, The Blue Flower 20 Vikram Seth, Suzhou Park 21 Hamid Ismailov, The Shaping Clay 22 Uzbekistan -> UK Mong-Lan [Mông], Overhearing Water 23 Vietnam -> US 1970 Romesh Gunesekera, Turning Point 25 Sri Lanka -> UK 1954 [English] Rajinderpal S. Pal, proof 27 Kyi May Kaung, Eskimo Paradise 29 Cyril Wong, Practical Aim 32 Chin Won Ping, In My Mother's Dream 33 Dilawar Karadaghi, A Child Who Returned from There Told Us 37 Nguyen Quang Thieu, The Habit of Hunger 39 Aku Wuwu, tiger skins 40 Jon Pineda, My Sister, Who Died Young, Takes Up The Task 41 Kimiko Hahn, Things That Are Full of Pleasure・ 42 Leong Liew Geok, Dismantling the Wayang Stage 43 Rajendra Kishore Panda, from Bodhinabha: The Sky Vision 44 India [Oriya] Abdellatif Laabi, "The portrait of the father" 44 Shukrulla, The Age of My Father 45 Uzbekistan 1921 Chitra Banerjee Divakaruni, The Walk 45 India -> USA F [English] Luis Cabalquinto, Depths of Field 47 Phillippines 1935Parsed Into Colors 49
David Avidan, Dance Music 58 Xue Di, The Wanderer 58 China -> US 1957 Diana Der-Hovanessian, Two Voices 61 Jessica Hagedorn, Motown/Smokey Robinson 63 Mamdouh Adwan, Tired of Soliloquies 64 Kamaran Mukri, Star, Bird & Autumn 65 Noozar Elias, Stars and the Dawn 65 Manju Kanchuli, The Way of a River, The Forest, Night 66 Nepal 1951 F Fazil Husnu Daglarca, Dead 67 Kitamura Taro, excerpts from "A Man of the Port" 68 Leung Ping-Kwan, Postcards of Old Hong Kong 70 Ravi Shankar, Exile 71 Taha Muhammad Ali, Postoperative Complications Following the Extraction of Memory 72 Yan Li, Warm Inspiration 73 Nirmalendu Goon, Firearm 74 Bangladesh 1945 Patrick Rosal, About the White Boys Who Drove By a Second Time 75 to Throw a Bucket of Water on Me Gregory Djanikian, The Boy Who Had Eleven Toes 76 Cesar Ruiz Aquino, She Comes with Horns and Tail 78 Ishigaki Rin, Plucking Flowers 78 Kazi Nazrul Islam, I Sing of Equality 79 Firuza Mammadli, Leaning My Shoulder to the Sun 81 Xie Ye, At Last I Turn My Back 81 Mohan Koirala, It's a Mineral, the Mind 82 Nepal 1934 Tsuji Yukio, Rum and Snow 83 K. Dhondup, Exile 84 Mohja Kahf, Lifting the Hagar Heel 84 Purna Bahadur Vaidya, Water Is Water 85 Wadih Sa'adeh, Genesis 86 Yong Shu Hoong, Chicago 86 Boey Kim Cheng, Wanton with James 87 Issa Makhlouf, We Travel 88 Saqi Farooqi, An Injured Tomcat in an Empty Sack 89 Zakariyya Muhammad, Everything 90 Muhammed Al-Acha'ari, excerpt from "Little Wars" 91 Syed Shamsul Haq, Poem 240 92 Unsi Al-Haj, is This You or the Tale? 93 Yi Sha, excerpt from "Wonders Never Cease" 95 Nazik Al-Mala'ika, Insignificant Woman 96 Meena Alexander, Floating on Fifth 97 India -> US F [English] Bimal Nibha, Cycle 98 Nepal Gieve Patel, Squirrels in Washington 99 India [English] Sa'adyya Muffareh, excerpt from "The Spell of Blazing Trees" 100 Nurit Zarhi, "For they are at the center of my life" 101 Wing Tek Lum, The Butcher 103 Ahmad 'Abd Al-Mu'ti Hijazi, The Lonely Woman's Room 106 Hatif Janabi, Paradises, Soldiers, and Stags 108 Iraq -> Poland Li-Young Lee, Immigrant Blues 109 Barouyr Sevag, The Analysis of Yearning (Garod) 110 Shirley Geok-Lin Lim, Scavenging on Double Bluff 112Slips And Atmospherics 115
Yang Lian, Knowing 124 Rukmini Bhaya Nair, Genderole 126 Cathy Park Hong, Ontology of Chang and Eng, the Original Siamese Twins 127 Che Qianzi, Sentences 129 Jose Garcia Villa, The Anchored Angel 130 Fatima Mahmoud, excerpt from "What Was Not Conceivable" 132 Arun Kolatkar, The Alphabet 133 Lawrence Joseph, Then 134 Brian Kim Stefans, from The Screens 135 Habib Tengour, The River of the Cyclops 137 Prageeta Sharma, A Brazen State 138 Mei-Mei Berssenbrugge, Safety 138 Sarah Gambito, Scene: a Loom 140 Katayoon Zandvakili, The Eglantine Deal 140 Aimee Nezhukumatathil, By the Light of a Single Worm 142 Marilyn Chin, Tonight While the Stars are Shimmering (New World Duet) 143 John Yau, In the Fourth Year of The Plague 144 Ahmad Dahbour, The Hands Again 146 Lale Muldur, 311 SERIES 2 (TURKISH RED)* 146 Tada Chimako, Haiku 148 Taufiq Rafat, Lights 150 Yeow Kai Chat, Quarterly Report No. 7: Epiphytes And Vetiver Control 151 Kitasono Katue, Oval Ghost 152 Tan Lin, excerpt from BlipSoak01 153 Wafaa' Lamrani, A Talisman 155 Monica Youn, Stereoscopes 156 Bahtiyar Vahapzade, Pauses 157 Arvind Krishna Mehrotra, The World's a Printing House 157 Etel Adnan, Insomnia 159 Alamgir Hashmi, Snow 161 Abed Ismael, The Poem The Mirage 163 Arundhathi Subramaniam, Strategist 164 Marjorie Evasco, Dreamweavers 165 Khaled Mattawa, Texas in the Afternoon 166 Tsai Yim Pui, enchantress 167 Yu Jian, excerpts from "Anthology of Notes" 168 Baha Zain, Language 171 Malaysia Vidhu Aggarwal, Customs House 171 Ouyang Yu, A poem, long overdue 173 Jalal El-Hakmaoui, You Hear Me Jim Morrison? 174 B.S. Mardhekar, The Forests of Yellow Bamboo Trees 175 Paolo Javier, DJ Cam 1 176 Salim Barakat, Index of Creatures 177 Ricardo M. De Ungria, Notations on the Prospects For Peace 179 Srikanth Reddy, Loose Strife with Apiary 182 Jenny Boully, from The Body 182 Michael Ondaatje, Proust in the Waters 187Earth Of Drowned Gods 189
Saadi Youssef, America, America 197 Latif Nazemi, A Word for Freedom 201 % Sesshu Foster, Gigante 202 R. Cheran, I Could Forget All This 204 Muhammad Al-Maghut, After Long Thinking 205 Jeet Thayil, Spiritus Mundi 206 Kedarnath Singh, An Argument About Horses 208 Fadwa Tuqan, My Freedom 210 Pham Tien Duat, In the Labor Market at Giang Vo 211 Shang Qin, Flying Garbage 212 Aharon Shabtai, Our Land 213 Abbas Beydoun, White Lie 215 Hsien Min Toh, Crow-Shooters 215 Suheir Hammad, nothin to waste 216 Fawzia Afzal-Khan, Amazing Grace 217 Marne L. Kilates, Python in the Mall 219 S. Sivasegaram, Ahalya 220 Mohammad Kazem Kazemi, excerpt from "Return" 221 Rafiq Azad, Give me Bhaat, Bastard 222 Linh Dinh, Eating Fried Chicken 224 'Abd-Allah Al-Baraduni, From Exile to Exile 224 Pireeni Sundaralingam, Letters from Exile 225 Carolyn Marie Souaid, Apology to Orhan Pamuk 226 Meng Lang, Facing a Nation 227 Walid Bitar, A Moral Climate 228 Monzer Masri, A Dusty Skull 229 Nadia Anjuman, The Silenced 230 Afghanistan [Dari] Xiong Hong, Dark Associations 231 Hayan Charara, Thinking American 731 Hilmy Salem, Trembling 232 Hasab Al-Shaikh Ja'far, Signature 233 Ketaki Kushari Dyson, A Woman Reflects on Mutability 234 Ashur Etwebi, Politics 236 Taslima Nasrin, At the Back of Progress 237 Bangladesh F Khalil Reza Uluturk, The Poet's Voice 238 Luisa A. Igloria, Hill Station 239 Phillippines -> US 1961- Duo Duo, When People Rise from Cheese, Statement #1 241 China (Li Shizheng) -> Holland 1951- Prathibha Nandakumar, At the Staircase 241 Yang Mu, Fallen Leaves 242 Mahmoud Darwish, In Jerusalem 245 Vijay Seshadri, The Disappearances 246Buffaloes Under Dark Water 249
Fatma Kandil, The Islands 259 Lisa Asagi, Physics 259 Kim Sung-Hui, Sun Mass 262 Mani Rao, ァ 262 Rick Barot, Many Are Called 263 Zhang Er, Blue 265 Eileen Tabios, Tercets from The Book of Revelation 266 C. Dale Young, Proximity 271 Buddhadeva Bose, Rain and Storm 272 Chogyam Trungpa, Haiku 273 Eva Ranaweera, The Poson Moon 274 Paul Tan, The Sentry at Munanyu Speaks to the Astronaut 275 Muhammad Al-Ghuzzi, A Dream 276 Melih Cevdet Anday, Vertigo 276 Qasim Haddad, All of Them 277 Moniza Alvi, The Wedding 277 Arthur Sze, Labrador Tea 279 Angkarn Kalayanaphong, Scoop Up the Sea 280 Luis H. Francia, Gathering Storm 280 Takahashi Mutsuo, The Dead Boy 282 Taher Riyad, excerpt from "Signs" 283 Wang Xiaoni, White Moon 283 Tamura Ryuichi, A Thin Line 284 Yao Feng, The Poet's Lunch 285 Kunwar Narain, The Rest of the Poem 285 India: Hindi Sajjad Sharif, Horse 285 Bangladesh Rachida Madani, excerpt from "Tales of a Severed Head" 286 Monica Ferrell, Mohn Des Gedachtnis 287 Nacera Mohammadi, Weeping 288 Hung Hung, Woman Translating, or La Belle Infidele 289 Arthur Yap, Night Scene 290 Shiraishi Kazuko, Travel Again -- The Time I Am Heading For Is May 291 Joy Kogawa, To Scuttle the Moon 292 Erkin Vahidov, Blue Bays 292 Sherko Bekes, excerpt from "Butterfly Valley" 294 To Thuy Yen, The Deserted Cafe 295 Suerkul Turgunbayev, Night 296 Tina Chang, Origin & Ash 296 Anjum Hasan, A Place Like Water 298 Edgar B. Maranan, Climbing Mt. fraya 299 Ziba Karbassi, Carpet Garden 301 Bhanu Kapil, from The Wolf Girls of Midnapure 302 Chuan Sha, The Wolves Are Roaring 304 Adrian A. Husain, Crocodiles 305 Sankha Ghosh, Four Poems from Panjore DanRer Shabda (Oars In My Ribs) 306 Al-Saddiq Al-Raddi, Song 307 A.K. Ramanujan, The Black Hen 307 India -> US [English] Montri Umavijani, A Revisit 308 Manjul, Sky 308 Ranjit Hoskote, Moth 309 Rajee Seth, It Can't Ever See The Sky 310 Roy Miki, About 311 Ling Yu, excerpts from "Turtle Island Aria II" 312 Esmail Khoi, Of Sea Wayfarers 313 Manohar Shetty, Spider 314 Malathi Maitri, She Who Threads the Skies 315 Amal Dunqul, The City of Wrecked Ships 315 Koike Masayo, Antelope 316 Atamurad Atabayev, Depth: A Sonnet 317 Nathalie Handal (Haiti/Palestine b. 1969), Autobiography of Night 318 R. Zamora Linmark, excerpt from "What Some Are Saying About The Body" 318 ... some say you shall remain on exhibit your death running on electricity. ...Apostrophe In The Scripture 321
Nazim Hikmet, Angina Pectoris 330 * Keki N. Daruwalla, Gujarat 2002 331 Adonis, excerpts from "Diary of Beirut Uoder Siege, 1982" 331 Gu Cheng, excerpts from "Eulogy World" 333 Jean Arasanayagam, Nallur, 1982 334 Granaz Moussavi, Camouflage Costumes 336 Bryan Thao Worra, Burning Eden One Branch at a Time 337 Jam Ismail, Casa Blanca 1991 338 Faiz Ahmed Faiz, Once Again the Mind 340 Yehuda Amichai, I Was Not One of the Six Million 341 And What Is the Span of My Life? Open Shut Open To Hu'u, Pham Hong Thai 344 Vietnam Jayanta Mahapatra, A Kind of Happiness 344 India English/OOriya Maya Bejerano, The Pecan Leaves 345 Ghassan Zaqtan, Black Horses 347 Barbara Tran, Lineup 349 Muhammad 'Afifi Matar, Recital 350 Kim Kwang-Kyu, North South East West 353 Y Nhi, excerpts from 'Letter in Winter" 354 Vietnam 1944 D.H. Melhem, Mindful Breathing 357 USA (lebanese parents) F Joko Pinurbo, Coming Home at Night 358 Amir Or, Blow Job 359 Waleed Khazindar, At Least 359 Saniyya Saleh, Blind Boats 360 Ahmad Shamlu, Greatest Wish Song 361 Amjad Nasser, One Evening in a Cafe 362 Bejan Matur, Time Consoled in the Stone 363 H.S. Shiva Prakash, Eleven Rudras 364 U Sam Oeur (cambodia) The Fall of Culture 366 Mammad Araz (azerbaijan), If There Were No War 367 Shamsur Rahman, Into Olive Leaves 368 [thinking of his mother, from a trench in a war] Sitor Situmorang, In Answer to Father's Letter 370 Kadhim Jihad, South 371 Sholeh Wolpe, One Morning, in the LA Times 373 Shin Kyong-Nim, Ssitkim Kut-A wandering spirit's song 374 Naomi Shihab Nye, The Word PEACE 375 Chen Li, War Symphony 376This House, My Bones 377
Sudeep Sen, A Blank Letter 386 Samuel Hazo, Just Words 386 Jibananda Das, Banalata Sen 388 Xi Chuan, excerpts from "Misfortune" 389 Partaw Naderi, Lucky Men 392 Oktay Rifat, Beyond the Seven Hills 393 Samih Al-Qasim, Excerpt from "An Inquest" 395 Banira Giri, Kathmandu 395 Simin Behbahani, Homeland, Once More, I'll Build You 398 Nadia Tueni, Cedars 399 Asadullah Habib, The Story of My Country 400 My country is a book of disasters or maybe a beautiful poem without end never to be completed, nor read to the end (tr. from Darsi, Bashir Sakhawarz) Garrett Hongo, Chikin Hekka 401 Al Mahmud, Deathsleep [Bangladesh] 402 Choman Hardi, Summer Roof 404 Bhupi Sherchan, Cursed House 405 Dilip Chitre, Ode to Bombay 406 Amin Kamil, In Water 406 Ravil Bukharaev, The Wey 407 Luo Zhicheng, On Encountering Sorrow 408 Mohammad Rafiq, No One Belonging to Me 414 Vivek Narayanan, The Dump 415 India [English] 1972- Gevorg Emin, Small 415 Armenia 1918-1998 Wong Phui Nam, excerpts from Against the Wilderness 417 Bei Dao, Black Map 418 China Yasmine Gooneratne, Washing the Grain 419 Sri Lanka [English] Louise Ho, POP SONG 1 "At Home in Hong Kong" 1964 420 M. Athar Tahir, Carpet Weaver 421 Ilhan Berk, Istanbul 422 Turkey 1918-2008 Bino A. Realuyo, Filipineza 423 Gurbannazar Eziz, The Eastern Poem 424 Ard Al-Aziz Al-Maqalih, Ma'reb Speaks 425 Kirpal Singh, Two Voices 425 Singapore 1949- Brian Komei Dempster, Your Hands Guide Me Through Trains 427 Hassan Najmi, Train Station 428 Morocco 1959- Ak Welsapar, Midday 429 Dorji Penjore, I Want My Soil Back 430 Nguyen Duy, The Father 430 Dom Moraes, Gondwana Rocks 431 India -> US [English] Gemino H. Abad, Jeepney 432 G.S. Sharat Chandra, In the Third Country 434 India -> US [English] Edip Cansever, Bedouin 435 Al-Munsif Al-Wahaybi, In the Arab House 436 Agnes S.L. Lam, Eighteen Haiku for Xiamen 437 Merlie M. Alunan, The Neighbor's Geese 439 Bashir Sakhawarz, Kabul Behind My Window 441 Sohrab Sepehri, At the Hamlet of Gulestaneh 442 Zhai Yongming, The Black Room 443 Salma Khadra Jayyusi, A Tale 444 Peter Balakian, Mandelstam in Armenia, 1930 445 U Tin Moe, Desert Years 446 Suji Kwock Kim, The Korean Community Garden 448 Gyalpo Tsering, The Nomad III 450 Farah Didi, Dying for a Himalayan Dream 450 Elmaz Abinader, This House, My Bones 451Bowl Of Air And Shivers 455
Sarat Kumar Mukhopadhyay, To God 464 India [Bangla] Tsering Wangmo Dhompa, One more say 464 Tibet F Pimone Triplett, A Vision of St. Glare 465 Russell C. Leong, Tian Oiao Sky Bridge 466 Sargon Boulus, How Middle-Eastern Singing Was Born 467 Agyeya, Quietly 469 India [Hindi] 1911-1987 Goenawan Mohamad, A Tale 469 Indonesia 1941- Ko Un, excerpts from Flowers of a Moment 470 Korea Liu Kexiang, Natural Science Teacher 474 Taiwan Muhammad Haji Salleh, the forest last day 474 Muhammed Al-Faituri, A Scream 476 Behcet Necatigil, Phosphorus 477 Turkey Viswanatha Satyanarayana, Song of Krishna (5) 478 India [Telugu] 1895-1976 Kim Nam-Jo, Foreign Flags 479 Nissim Ezekiel, The Hill 480 Suyunbay Eraliev, Beginning 481 Kyrgyzstan 1921 [Russian] Lisa Suhair Majaj, Reunion 482 K. Satchidanandan, Stammer 484 Dahlia Ravikovitch, Grand Days Have Gone By Her 485 Rafiz Raaz, Seven Sparks 486 Yona Wallach, Tuvia 487 Saksiri Meesomsueb, excerpt from "Tutka Roi Sai (Sand Trace Doll)" 489 Eunice De Souza, Sacred River 489 Eric Gamalinda, Valley of Marvels 490 Indran Amirthanayagam, Yamoussoukro, With Cathedral 491 UK -> US (b. Sri Lanka 1960) Woeser, Midnight, on the Fifth Day of the Fourth Month in the Tibetan Calendar 494 Cathy Song, Breaking Karma 495 Yusuf Al-Khal, Retaliation 496 Najwan Darwish, Clouds 497 Nazeeh Abu Afash, excerpt from "The Wolfs Hour" 498 Fehmida Riyaz, Iqleema 498 Amrita Pritam, excerpt from "Creation Poems" 499 Abdul Bari Jahani, Messenger 500 Ku Sang, This Year 501 Sujata Bhatt, Black Sails 501 Suresh Parshottamdas Dalal, Prose Poem 505 Abdullah Habib Al-Maaini, Noon 505 Sasaki Mikiro, The Procession 506 Badr Shakir Al-Sayyab, Wafiqa's Casement 507 Shanta Acharya, Highgate Cemetery 508 Shiv Kumar Batalvi, Turbaned One 509 Rahman Rahi, Redemption 510 Toya Gurung, After a Turn Around the Temple 511 Saif Al-Rahbi, Clump of Grass 512 Eshqabil Shukur, The Corpse of a Sufi 513 Suad Al-Kawari, Comfort for a Lonely Woman 514 Debjani Chatterjee, Swanning In 515 Sally Ito, Alert to Glory 516 Ngodup Paljor, Ways of the World 517 Amina Said, on the seventh day of my birth 517 Andree Chedid, To Each of the Dead 518 Edith L. Tiempo, Rowena, Playing in the Sun 519 Phan Nhien Hao, Trivial Details 519 Masud Khan, The Age of Commerce 521 Eugene Gloria, Allegra with Spirit 522 Attila Ilhan, The Dead Grow Old 523 Hilary Tham, Mrs. Wei on Piety 524 Abdallah Zrika, excerpt from "Black Candle Drops" 524 Dan Pagis, Ein Leben 526 Nujoum Al-Ghanim, Sand in Flames 526 Alfred A. Yuson, Dream of Knives 528 Sapardi Djoko Damono, Walking Behind the Body 529 Buddhadhasa Bhikkhu, Blind Eyes, Eyes That See 529 Oliver De La Paz, Aubade with Bread for the Sparrows 530 Ayukawa Nobuo, Ina Dilapidated House 531 Muhammed Hasan 'Awwad, Secret of Life and Nature 534 Saudi Arabia Michelle Yasmine Valladares, Mango 535 Du'thi Hoタn, Dhyana Land 536Quivering World 537
Evelyn Lau, 50 Bedtime Stories 546 Bibhu Padhi, Pictures of the Body 546 Qian Xi Teng, three love objects 548 Xi Xi, Sonnet 550 Ustand Khalilullah Khalili, Quatrains 550 Agha Shahid Ali, Ghazal 551 M.A. Sepanlu, The Terrace of Dead Fishermen 552 Nathan Zach, As Agreed 553 Abdul Wahab Al-Bayati, Aisha's Profile 554 R. Parthasarathy, East Window 555 Ishle Yi Park, Portrait of a Bronx Bedroom 556 Justin Chin, Eros in Boystown 557 Timothy Liu, Five Rice Queens 558 Ito Hiromi, Near Kitami Station on the Odakyft Line 559 Forugh Farrokhzad, Sin 561 Zheng Danyi, but love 562 Kishwar Naheed, Non-Communication 563 Abd El-Monem Ramadan, Preparation for Our Desires 564 Salah 'Abd Al-Sabur, The Gist of the Story 565 Kazim Ali, Said in the Rain 566 Sufia Kamal, Mother of Pearls 567 Zareh Khrakhouni, Measure 568 Bozor Sobir, Letters 569 Sylva Gaboudikian, What I Notice 570 Perveen Shakir, Consolation 571 Shu Ting, A Night at the Hotel 572 Hong Yun-Suk, Ways of Living 4 573 Thanh Thチo, Adornments 573 Wang Ping, Wild Pheasant 574 Ahmad Reza Ahmadi, I Did Not Expect 576 Cecep Syamsul Hari, Wooden Table 577 Laurence Wong, Dawn in the Mid-Levels 578 Rishma Dunlop, Saccade 579 Kim Su-Yong, Variations on the Theme of Love 581 'Enayat Jaber, Circle 583 Medakse, Envy (Yerance te) 584 Mureed Barghouthy, Desire 584 Priya Sarukkai Chabria, excerpt from "Flight In Silver, Red and Black" 585 Fawziyya Abu Khalid, To a Man 586 So Chong-Ju, Barley-Tine Summer 586 Abdullah Goran, Women and Beauty 587 Muhammed Bennis, Lore Is Eternity's River 588 Partow Nooriala, Are Fm a Snake? 589 Bassam Hajjar, Hatred 590 Nader Nadebpour, The Sculptor 591 Ooka Makoto, Rocking Horse 592 Agnes Lam, the red grapefruit 592 Reetika Vazirani, Quiet Death in a Red Closet 594 Dorothea Rosa Herliany, Saint Rosa, 1 594 Zahrad, Who Struck First? 595 Nabila Azzubair, The Closed Game 595 Harris Khalique, She and I 596 Hsia Yワ, Fusion Kitch 597 Hu'u Thinh, Poem Written by the Sea 597 Vietnam 1942- Nizar Qabbani, What Is Love? 598 Author Biographies 601 Translator Biographies 653 Country Index 675 Language List 682 Editor Biographies 683 Permissions Acknowledgments 685 Index 715Other reviews
Eastern Voices in a Norton Anthology of poetry, Khademul Islam 2008-09-20 The new Norton anthology of poems, titled Language for a New Century: Contemporary Poetry from the Middle East, Asia and Beyond published in April of this year casts a wide net. It consists of over 400 poets from 61 countries and/or territories ranging from Afghanistan to Oman, from Sudan to Korea, as well as in the diaspora in Australia, Canada, Europe, the United Kingdom, and the United States. It has been edited by Tina Chang, Nathalie Handal and Ravi Shankar, all of them fairly well-known poets themselves. Tina Chang and Ravi Shankar, as is common among American poets, are also academics, while Nathalie Handal is active in the theatre. In the Preface the editors say that this anthology was born out of despair. In the wake of 9/11, Tina Chang and Ravi Shankar were confronted anew with their hyphenated identities in America, "How could we respond to the destruction and unjust loss of human lives while protesting the one-sided and flattened view of the East being showcased in the media? What was the vantage point we could arrive at in order to respond on a human level, to generate articulate dialogue, conversations that did not fall into the rhetorical fallacies of us vs. them?" An answer was to join forces with Nathalie Handal, who had just then published "the groundbreaking anthology The Poetry of Arab Women and was herself of Arab descent" and bring out an anthology of poetry that would reflect "an alternate vision of the new century" consisting of "voices converg(ing) in the dream of shared utterance." There is a practical side to this collection, too, as explained by Carolyn Forche, another well-known American poet, in her elegantly written Preface. Even through the 1980s, she says, "there were very few anthologies of international poetry available in the United States", and that this new Norton anthology therefore is one that very much will fill the gap. She praises it as "imaginatively constructed and . . . sweeping . . . wherein we read through poetry unknown to us one poem at a time, through nine realms of human experience: childhood, selfhood, experimentation, oppression, mystery, war, homeland and exile, spiritual life, love and sexuality." What she is referring to is the anthology's structure, with the poems organized not in the conventional anthology manner of alphabetical listing, or by country and region, but grouped into nine sections according to certain common themes or threads running through them, allowing them "to speak to each other." The title of each of these sections (Slips and Atmospherics, or Buffaloes Under Dark Water, etc.) is a line from a poem within that section. Each of these nine sections also is headed with a personal essay by one of the three editors. The latter is a device that may work for some, while others may find it a little too intrusive, the editorial presence a little too heavy. It is natural that most of the poems are translations, though it does contain, especially in the case of the Indian poets and those living in the diaspora, original English language poems. Bangladesh is represented by ten poets through translations, among them Kazi Nazrul Islam, Rafiq Azad, Syed Shamsul Haq, Al Mahmud, Shamsur Rahman, Taslima Nasrine and Mohammed Rafiq. It is doubtful whether the editors were aware of, or made aware of, the fact that poems are written in the original English by Bangladeshis, which is a major oversight. The translations, excepting the ones of Mohammed Rafique (reproduced here), Taslima Nasrine, and Syed Shamsul Haq, are not particularly satisfying. In Al Mahmud's poem 'Deathsleep', the lines - My wife though, didn't want To reach any decisions about me The reliance that grows out of living together fifty years She does not have it. - which, even allowing for the fact that, in Carolyn Forche's words, when considering "poetry in translation, we consider the transmission of sensibility and the expressivity of content rather than the music, cadence, sound and wordplay"-- read like just plain bad prose. If I was Al Mahmud, I would wince and never open this anthology again. Another example is Rafiq Azad's famous poem 'Bhaat day, Haramjada’. Here the title is 'Give me Bhaat, Bastard', which in the Norton anthology looks ludicrous. One knows that the term 'bhaat’ has no equivalent in English, and that the translated 'cooked rice' is too cumbersome for poetry, and that just plain 'rice' does not quite convey the full Bengali meaning. Still, a compromise should have been made. After all, the word 'bhaat’ here is a synecdoche, a figure of speech in which the part stands for the whole, as in the prayer "Give us this day our daily bread", where 'bread' stands not just for bread alone but for the meals taken each day. So too 'bhaat’ here stands not for literally cooked rice, but also for food. And so here 'rice' or 'food' or some imaginative variation thereof could have been done instead of this . . . this . . . well, words fail me! To be shortly followed by these two dead lines in the body of the poem: Given twice a day two fist-full meals; demand comes for nothing else If I was Rafiq Azad, I too would join Al Mahmud in wincing and never open the damn thing again. But this was Norton's choice, and they have to live with it. The range of poems and poets here is admittedly enormous, and it'll take weeks, months, to really go through the poems and poets, and come to know them. Or arrive at any definitive conclusion about the anthology as a whole. What one can say at this point is that nearly all of them are major poets within their cultures and lands, and it really is a privilege that Norton is extending to us by providing such easy access to such a multiplicity of voices and bards. The book is beautifully produced, with a lovely, clear font and spacious layout accompanied by a thorough indexing of poets, languages, and countries. Wisely enough, it was published as a paperback, which lowers the burden of cost and makes for ease of carry. But (and there's always a but!) there's one thing that needs be said, and here I have to be careful to try and get it right. It is the persistent feeling that some of the products of the diaspora poets, especially those living in the United States, come across as artificial and contrived. It is a condition akin to what Timothy Brennan labeled as the "new cosmopolitan writing" in the context of his critique of the postcolonial critical industry (At Home in the World: Cosmopolitanism Now), where he points out that postcolonial literary studies, criticism and readings have begun to spawn a new literary genre (upsetting the natural process of literature first and criticism later) dictated by the conventions generated by that particular criticism and reading. As he put it "several younger writers have entered a genre of third world metropolitan fiction whose conventions have given their novels the unfortunate feel of ready-mades." Diaspora poetry, too, has by now evolved certain conventions whose lineaments can be clearly discerned, and there are poets who readily succumb to it, thereby stripping their po ems of shock, originality and well . . . .genuine poetry. The editors would have done well to be more aware of this development.Other reviews
http://asianamericanpoetry.blogspot.com/2008/04/review-of-language-for-new-century.html The preface thoroughly outlines the selection criteria for poems in the anthology: 1) a broad definition of "the East", 2) representation of a broad selection of countries and nationalities, 3) the definition of "contemporary poetry" as post-1946, 4) a broad representation of various schools/styles of poetry, 5) a balance of emerging and established poets from different generations, 6) the selection of many different aesthetic sensibilities, 7) the publication of at least one book, with limited exceptions, and 8) the inclusion of translations. the inclusion of just one poem -- as opposed to several poems per poet, as was done in The Open Boat (ed. Garrett Hongo) and Asian-American Poetry: The Next Generation (ed. Victoria Chang) anthologies -- may limit our understanding and appreciation of the work of any particular poet. http://www.mascarareview.com/article/127/Michelle_Cahill_reviews__Language_For_a_New_Century__/ Their definition of the East is broad and inclusive enough to include the ruptures of diasporas, as well as other gaps such as the often-neglected poetry of Central Asia. Their categories are fluid and unstable, crossing the boundaries of religion and state, thereby encompassing countries like Sudan or Tunisia, which are classified as both Asian and African. Undeniably the process of selection has been mired by challenges and problematic constructs, such as the balance of representation or indeed the notion of identity, which becomes framed in a particular way. The decision to publish a single poem by each of the poets is well intentioned and egalitarian. While this broadens the scope of the collection, to some extent it limits the depth to which a reader may engage with an individual poet's work. "Parsed into Colours" describes Handal's first collisions with racism. She recalls an incident during a childhood spent in the Caribbean, when she was asked by a Caucasian neighbour why she was playing with three Haitian girls. Ravi Shankar's essay "This House, My Bones" brings into lucid focus the cultural hyphenation experienced by the poet on returning to suburban America after a year spent in Madras, where he was taken to be blessed by a Hindu priest and have his head shaved and covered in sandalwood paste. I returned nearly bald, to Virginia in the middle of the school year. I had been a rare specimen in India, marvelled at for being American, and coming back I thought some modicum of magic would remain with me. . . Those were unsettled times because I was both literally and metaphorically between homes. (381) Carolyn Forché, in her foreword, describes how the arrangement of the poems follows "nine realms of human experience". There are obvious thematic classifications such as childhood, home, identity, exile and war. But the anthology includes poems which are equally inspired by, or evoke an understanding of mystery, spirituality, sexuality and love. One is struck, as ever, by poems about childhood, replete with vital perceptions and vivid images suggestive of those early encounters with language and otherness. Joseph O. Legaspi's "Ode to My Mother's Hair" is a lyric disclosure in which the mother's hair is metonymic of protection, nourishment, absorbing the domestic scents of "milkfish, garlic, goat;". The hair becomes an embodiment of nature. Fragile memories and emotions are evoked, balanced by a lyrical composure, suggesting the poet's trust. And in this river my mother's wet, swirling hair reminds me of monsoon seasons when our house, besieged by wind and water teetered and threatened to split open, exposing the diorama of our barely protected lives (11) Pak Chaesam's haunting poem "The Road Back", renders the mother as a central, if tireless figure, returning home to her sleeping children, after working all day. Within the domestic context, she is identified with nature's elemental beauty. Noone to see, no one to comprehend when she unties the starlight she carries back on her forehead, and shakes loose the moonlight that clings to her sleeves. (20) I was disturbed by the brutality of R. Cheran's "I Could Forget All This" (204), translated from Tamil by Lakshmi Holmstrom. It depicts convincingly detailed images of atrocities committed in the genocide war against Tamils: "a fragment of a sari/that escaped burning", "a thigh-bone protruding/from an upturned, burnt-out car." Within the same section, "Earth of Drowned Gods", I was struck by the starkness of the poem "White Lie" written by the Lebanese poet Abbas Beydoun and translated from the Arabic by Fady Joudah. The truth is also blood. And it might be a piece of tongue or something severed from us. We might find it in semen or in dust if these two things are not simply appearances (215) The section titled, "Bowl of Air and Shivers", attests to this spiritual and philosophical vision. The Tibetan poet Woeser, whose poem is translated from Tibetan by d dalton, juxtaposes the political and the divine, as a way of recording resistance. But here, in the Tibet that is daily ascending daylight nurtured by the gods’ ether the devils’ fumes also arrive (494) True to the range of styles and forms found in this anthology, there are more ironic engagements with the divine. Vishwanatha Satyanarayana's "Song of Krishna" personifies the god as a spoiled lover, undisciplined, announcing himself inconveniently to the speaker, while she is bathing: Debjani Chatterjee's whimsical poem "Swanning In" depicts the Hindu goddess of the arts, Saraswati as a gracious if "unexpected guest". "Even in Fortress Britain," the poet recognises a pervading presence in absence, an aporia, reminiscent of home, of Heaven, or "a neighbourhood in India." In "Cycle" the Nepalese poet, Bimal Nibha, compares a humble and ordinary object with the self. The lost bicycle with all its imperfections becomes the vehicle of the poet's body: his "weight", his "measure" and "breath". These poems illustrate how restraint, humour, or the supple use of metaphor can construct specificity and culturally-encoded meanings. --- blurb: A landmark anthology, providing the most ambitious, far-reaching collection of contemporary Asian and Middle Eastern poetry available. Language for a New Century celebrates the artistic and cultural forces flourishing today in the East, bringing together an unprecedented selection of works by South Asian, East Asian, Middle Eastern, and Central Asian poets as well as poets living in the Diaspora. Some poets, such as Bei Dao and Mahmoud Darwish, are acclaimed worldwide, but many more will be new to the reader. The collection includes 400 unique voices — political and apolitical, monastic and erotic— that represent a wider artistic movement that challenges thousand-year-old traditions, broadening our notion of contemporary literature. Each section of the anthology — organized by theme rather than by national affiliation — is preceded by a personal essay from the editors that introduces the poetry and exhorts readers to examine their own identities in light of these powerful poems. In an age of violence and terrorism, often predicated by cultural ignorance, this anthology is a bold declaration of shared humanity and devotion to the transformative power of art.