Rehan Qayoom is a poet of English and Urdu, editor, translator and archivist, educated at Birkbeck College, University of London. He has featured in numerous literary publications and performed his work internationally. He is the author of About Time and other books.
Karlo Sevilla lives in Quezon City, Philippines and writes for The Philippine Online Chronicles. His poems have appeared or are forthcoming in Philippines Graphic, Eastlit, Radius, Indiana Voice Journal, The Fib Review, Quatrain.fish, Shot Glass Journal, Pilgrim, and others. In his “spare time,” he coaches in wrestling and does volunteer work for the labour group Bukluran ng Manggagawang Pilipino (Solidarity of Filipino Workers). He is also an active member of the Brazilian Luta Livre Asia Pacific Union.
“How come your hair is so silky?”
the black musician asked, and she,
half-asleep, said Hong Kong was full of gloss
and sometimes the place got into your hair.
He was a professional, and they were playing
games with each other, fine-tuned notes
on silken skin. “The trouble,” he said,
“is you’re too sensitive,” and drew
music from the guitar strings on her head.
It was when he got to the bass
that something changed.
Later, he asked, anxious: “Did you,
Baby, did you?” for, at a crucial moment,
there were silences he didn’t expect.
“I always come quietly,” she told him
not adding: “I always go quietly too.”
The Clinging Vine
Put her in cold storage:
let the grey metallic doors
shut upon her. She will
taste good when the time is right.
Toss her into boiling water,
so red and soft, till the skin
splits and the juices ooze.
De-seed her; gently
roast the flesh.
A bit of garlic
is always good, roughly
in hot oil. For perfect partners,
try some ginger shreds.
Lastly, put her into the shiny processor.
Choose the blade with care
to ensure the texture’s right.
Chunky bits are perfect for the salads,
but pureeing makes her smoother
Down the throat.
Appetiser, main course,
take your pick.
Let dessert wait.
Over the past year, a group of Arab American writers—Hayan Charara, Marwa Helal, Randa Jarrar, Fady Joudah, Farid Matuk, Deema K. Shehabi, and I—began a group text, sharing stories about our own lives and the predicament of being Arab in America. This group text often touched on matters regarding the state of literary arts, though it was equally a space full of photos of our kids and lives. We had the sense of wanting to archive these conversations for future Arab American writers and somewhere along the line, the idea of a group essay emerged. I proposed that it would catalog the erasures we’d witnessed or experienced, but that it also would celebrate the liberatory work happening in our community, the poems and stories and art that hold us together and raise us up. In that group text we were after an asylum, a safe space, where we could explore and share inchoate thoughts, half-dreams, and the rough edges of our feelings.
These dispatches emerge from the inspiration of that space, though they lack the rough and informal improvisatory quality of a community talking with itself. Three other recent essays are also points of departure for these “Dispatches”—all of which were informed by the group text. Fady Joudah’s “Say It: I’m Arab and Beautiful,” Randa Jarrar’s “Ask Auntie Randa” pieces, and my “Same as It Ever Was: Orientalism Forty Years Later” confront the poison of white supremacy and Orientalism in American politics, literature, and culture, while offering antidotes: reclaiming beauty, liberation, and community.
On Thursday Palestinian poet and photographer Dareen Tatour was convicted by an Israeli court of incitement to violence and support for a terror organization, ending a years-long legal battle that began with Tatour posting a poem on Facebook entitled “Resist, my people, resist them.”
First arrested in October of 2015, Tatour was one of the earliest targets of Israel’s cybercrime unit, and its controversial predictive policing strategy of scanning social media posts for language perceived to be a threat against the state. In the years since, a rapidly increasing number of Palestinians–many of them teenagers–have been arrested over statements made online, often for little more than using the word “martyr” on Facebook.
In Tatour’s case, she spent much of the past three years on house arrest, as Israeli prosecutors argued that her calls to “resist the settlers’ robbery” and “not succumb to the ‘peaceful solution’” amounted to a violent threat against the state. That position has been condemned by free speech advocates like PEN International, and by over 300 writers, including Alice Walker, Claudia Rankine, and Naomi Klein, in an online petition circulated by Jewish Voice for Peace (JVP).
While prohibited from accessing the internet or using a cell phone, Tatour has maintained a line to the outside world through letters and her poetry. “Despite all this I have continued to write and I have touched the meaning of freedom,” she wrote, days before the verdict, in a letter addressed to JVP members. “Ideas have wings that no one can bind . . . My words have been able to cross distances and traverse borders until they reached to you.”
In the wake of his “conscious uncoupling” from fellow mega-celebrity Gwyneth Paltrow in 2014, Coldplay’s frontman Chris Martin found solace from his failed marriage in a somewhat surprising source: 13th-century Persian love poetry, notably a poem known as “The Guest House,” by the Sufi mystic Rumi. “That one Rumi poem changes everything,” Martin recounted to The Sunday Times in March. “It says that even when you’re unhappy, it’s good for you.”
Now, even if you’re not in the habit of adopting the self-help tips propounded by your favorite celebrity idols, you could do a lot worse than listening to Martin sing the praises of Sufi mysticism — Alec Baldwin’s advice on dealing with divorce and Jessica Simpson’s thoughts on planning the perfect wedding come to mind.
“This being human is a guest house,” Rumi’s beloved poem begins in the English translation by 79-year-old American poet Coleman Barks, who reads from the poem on the “Kaleidoscope” track on Coldplay’s latest album, A Head Full of Dreams. “Every morning a new arrival.”
Those arrivals may include unexpected visitors like depression, sorrow or meanness, but we must “welcome and entertain them all,” says Rumi. Indeed, if the 13th-century mystic’s broad body of love poetry was about anything, it was quite conscious coupling, from the intense passion felt for a lover to the ecstasy of immersion in the divine. “Rumi was an enlightened lover, a true human being,” Barks writes in Rumi: The Book of Love; his “love poetry is meant to obliterate you lovers. Rumi wants us to surrender.”
By Shelly Bhoil
Photo credit: Tenzin Sangmo – Dharamsala
Poet, translator Bhuchung D. Sonam is the author of four books, including Yak Horns: Notes on Contemporary Tibetan Writing, Music, Film & Politics and Songs of the Arrow. He has edited Muses in Exile: An Anthology of Tibetan Poetry, and compiled and translated Burning the Sun’s Braids: New Poetry from Tibet. His writings are published in the Journal of Indian Literature, HIMAL Southasian, Hindustan Times and Tibetan Review among others.
Burning the Sun’s Braids is Bhuchung Sonam’s most recent work, perhaps the first collection in English of new poetry from Tibet. This book provides an alternative view of Tibet where creative artists play a crucial role to assert their voice as well as to inspire the ordinary people to carry out resistance against an outside force.
Bhuchung Sonam’s permanent address was stolen.
Shelly: What a violent yet necessary, audacious yet logical, and unusual imagery of the burning of the pigtailed-sunrays in the title of your poetry anthology Burning the Sun’s Braids: New Poetry from Tibet! Can you throw some light on the title and also the intriguing cover of the book?
Bhuchung: The title of the book Burning the Sun’s Braids comes from the poem ‘Farewell Prostrations’ by Khawa Nyingchak who died at the age of twenty-six in 2015 while preventing Chinese poachers from killing endangered golden fishes from Kokonor Lake in eastern Tibet. The cover image is a painting titled ‘Two Spirits’ by Tsering Sherpa, a contemporary Tibetan artist based in California. I put them together to indicate the reality in Tibet today. Readers need to make their own interpretations and conclusions.
Shelly: As a bi-lingual book, Burning the Sun’s Braids accomplishes many things; not only does it cater to the Tibetan and English speaking readers but also reinforces the idea of rooting one’s identity in one’s home language, especially for the exile-born generation of Tibetans who have circumstantially drifted away from the Tibetan language. What was your idea behind translating poems into English from Tibetan?
Bhuchung: In an ideal world, I think, a work of art should not have any agenda or aim. But the world, as it is, is far from our dreams. This is even more so for people such as Tibetans living under occupation and as refugees away from their homes. For the third and fourth generation of Tibetans in exile who are growing far from their culture and language, I hope this bi-lingual book introduces what writers in Tibet are writing about and also inspires them to learn their language and strengthen their sense of identity.
The other goal is to get a wider audience for the poets from Tibet who have been suffering harassment, arrests and jail terms under China. I have immense respect for their courage and the least that I can do is to translate their work into a language that has, by and large, a global audience.
Shelly: The Tibetan language has undergone massive changes in the last few decades inside Tibet where a socialist ideology was introduced into it. In exile too, the Tibetan language had to be standardized in the schools for refugees who spoke different regional dialects. As I am told, the newcomer refugees (those who have come from Tibet in the last decade or so) and the born-refugees (those who were born in India to exiled parents) speak in a language which is mutually intelligible but not necessarily the same. Did you confront any issues of variations in the Tibetan language of the poems from what is standardized in the exile community, and the problem of the un-translatability of certain Tibetan nuances into English? If yes, how did you deal with these? Could you illustrate with an example or two?
Reviewed by Ranga Chandrarathne
Title: Lullaby of the Ever-Returning
Author: Sarabjeet Garcha
Publisher: Paperwall Media & Publishing Pvt. Ltd
Price: INR 200/-
Sarabjeet Garcha’s poetry collection titled Lullaby of the Ever-Returning is, in essence, a masterly exploration of universal themes coloured by cultural conditioning and geography. It gives the book a universal appeal, while at the same time codifying the unique culture of the soil.
Love is a recurrent theme in the book, a theme which is craftily manifested not only in a finely woven tapestry of poetry but also in prose which belongs at one level to the exclusive cultural experiences of the Sikh community and at another to the entire humanity. Both in the pieces of prose and in poetry, what Sarabjeet encapsulates is the multifaceted-ness of love beautified and made colourful by the powerful human agent. Although love is a universal experience, it has been aesthetically situated in the Sikh culture, adding a unique cultural dimension to it yet preserving its universal character.
A significant aspect of love in Sarabjeet’s work is the portrayal of its social manifestation, by and large defined by the moral codes of a given society. The poet amply manifests and reinforces the universal adage that a writer or a poet cannot afford to be universal without being local or without being firmly rooted in one’s own culture. The contours of the poet’s discourse of love are defined by a diction enriched with powerful metaphors and imagery masterly employed in the poems and in the pieces of prose in the collection. It is a literary feast that one would partake with delight.
the silt of
an ink river
a relic chamber
the heart’s hieroglyphs
the soul’s trompe l’oeil
The poem is dedicated to his friend and the nostalgia is reawakened through the lines of a link, obviously written in his handwriting. It is not just the feeling of love, but something much deeper than that. On the one hand, the poem is dedicated to someone’s handwriting and, on the other, it hits out at the destiny that unfolds layer by layer before us. The changes would happen for the good. The poem is marked for its brevity of expression and the metaphor-rich language.
Nineteen years old, I sat at a long table in a small room, a poem in front of me. “Harry Ploughman” by Gerard Manley Hopkins felt impenetrable. A jumble of syntax. Frequent semicolons and dashes choked my reading. While I listened to my professor speak about Hopkins and Robert Bridges, I noticed her own copy of the poem was littered with pencil streaks and pen jabs. My copy was pale. Unmarked, and truly, unread.
In order to understand writing, I have to annotate it. I started with Hopkins. I bought a used edition of his selected poetry and prose, and started writing in the margins of the beige pages. This wasn’t defacing; this was an act of communion.
There’s a difference between line-editing and annotating. When we edit—when we are edited—the goal is to transform a draft into something better, something finished. When I annotate a poem, I am receiving words that have been formed and felt and hoped. “Harry Ploughman” exists without my acknowledgment or enjoyment. I’m there to learn from Hopkins. “Hard as hurdle arms,” the poem’s first phrase, is enough for me to linger on—and we’re a few stanzas away from the combined word “Amansstrength.”
In order to appreciate Hopkins, I had to walk my pencil among his phrases. The spirit of his lines opened; that is not to say that all of his mysteries were revealed, but I could follow the turns of his rhythms. “He leans to it, Harry bends, look.” When I marked that final word of the phrase, the terse stop of look, I was documenting the poet’s accomplishment. Annotation can be an action of reverence.
Ever since, it’s been impossible for me to read a book, or analyze a poem, or follow the routes of an essay without underlining, circling, drawing arrows, making notes in the margins. Most writers and readers I know love to mark up their pages.