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This translation of Nizar Kabbani's poetry is accompanied by the striking Arabic texts of the poems, penned by Kabbani especially for this collection. Kabbani was a poet of great simplicity - direct, spontaneous, musical, using the language of everyday life. He was a ceasless campaigner for women's rights, and his verses praise the beauty of the female body, and of love. He was an Arab nationalist, yet he criticized Arab dictators and the lack of freedom in the Arab world.
A unique collection by the Arab world's most renowned poet. In a political age, in which the struggle against external and internal oppression has become central in Arabic poetry, Nizar Qabbani has succeeded in re-establishing the vitality and perennial force of the erotic in human life. Picking up a tradition of Arabic love poetry sixteen centuries old, he has enriched it with the experience of a modern man deeply aware of the changing status of women in contemporary times, and given the most eloquent poetic expression to the imperative of woman's freedom and her right to assume control over her body and emotions. An accomplished master of the erotic, standing among the best love poets of the world, Qabbani has asserted life and joy in the face of chaos and tragedy, paying fervent homage, sustained over five decades, to woman's grace and loveliness. As such he has been able to bring equilibrium and decorum to poetry in crisis, reviving faith in the possibility of happiness and emotional fulfillment. Yet he is also moved to anger by the forces of evil around him, and the opposing poles of exaltation and rage, of agony and ecstasy, describe his unique experiment. A man of his times and of all times, he is by far the most popular poet in the Arab world.
Nizar Qabbani is the most celebrated and popular poet in contemporary Arabic Literature. He remains one of the most prolific and influential Avant-guard poets of Modern Arabic Poetry. His writings constitute a School of thought, a movement, a trend, that produced a large number of followers across the Arab world who tried to imitate Nizar and adopt the path that he pioneered, but none earned the fame and prestige that Qabbani achieved. Nizar started his career writing about love, romance and romantic and erotic topics. These were fiery subjects and mostly taboo at the time. He was severely criticized by the conservative establishments, but this never deterred him. His goal was to expose the injustice imposed on women, to openly discuss love and passion without shame, and to free the Arab spirit from the years of bondage in the dungeons of past traditions. His poetry later evolved into the political arena, and he wrote the most moving and effective political poetry criticizing the then current Arab regimes and exposing their failures, complacency and ultimate defeat in facing the national responsibility that they were entrusted with.In his poetry, Nizar continued the theme of love poetry that was started by Omru' al-Qays in Pre Islamic Arabia and then popularized by the two Umayyad poets: Jamil Bin Mu 'ammar and 'Umar Bin Abi Rabi 'a. In his poetry, Nizar combined the elegance, transparency, sexuality, and piety of the three poets and brought poetry to the homes and dining tables of the millions in the Arab world who loved him and admired his poems. He wanted to make poetry like bread a daily nourishment available to every person who could read Arabic. On the other hand, when Nizar Qabbani wrote his political poetry, he was focused, critical, harsh, punitive, severe and unforgiving. He was bleeding for his nation and eulogizing its failures and defeats. When Nizar wrote about love, he dipped his plum in Jasmine and rose water. But when he wrote his political satire, he dipped his pen in blood. This book is not about sex and seduction. This book is an existential document written by an abused woman awaiting her execution. She knew that there is "No Exit," yet she chose to overcome her fate and write. This is a surrealistic diary of a frustrated female pushed to her limits by the costumes, traditions, and beliefs of a rigid society that treats women as slaves and empowers men to rule over them. This nameless female, a modern Scheherazade, stood face to face against her assassin in her attempt to triumph over death by documenting her story, and consequently, the story of the millions of women who were sacrificed daily in the bedchamber of Shahrayar . However, the frustration, anger, despair and dejection of all these women is also evident and is shared by men at the end of the book as the " men" admit their guilt and sin that has accompanied them since the "Age of Ignorance" in Pre-Islamic Arabia.
First published in 2005. Routledge is an imprint of Taylor & Francis, an informa company. By far the most popular poet of the Arab Word, popular in the true sense of the word. The late Nizar Kabbani's selected poems appear here in English for the first time. So popular is he that one of his poems is the greatest love song in the Arab world, recorded by the legendary Egyptian singer Um Khalsoum and played on virtually every taxi's radius across the Middle East.
As the title of this book indicates, this is Nizar's journey in life as a student, a son, a man, a lover, a revolutionary, a rebel, a diplomat, a patriot, an ambassador, a world traveler, a citizen of the world, a literary critic, a champion of women's rights, and a Don Juan. Above all, he is a pioneer of Modern Arabic Poetry and the innovative "poet par excellence" who stood firmly and honestly in the face of the literary and political establishments that held, at that time and for the past thousand years before, an absolute monopoly on the fettered mind and on the restrained imagination of generations of young Arab men and women, both politicians and intellectuals alike. Nizar stood unyielding. He was a "Man against [the] Empire." He was the uncompromising witness to his times and era, an effectual participant who helped shape the new movement in Modern Arabic Poetry and modernize the Arabic language and the Arab nation's outlook towards women, love, sex, emotions, and most definitely, patriotic sentiments that were until then politically correct but phony and void of any national passion or commitment. Nizar Qabbani was never a casual observer standing on the margin of history or a bearer of false witness and fake testimony; instead, he was the storm that brought the change and the mirror in which the Arab nation saw its putrefied and failing body reflected and suspended in a vacuum on the decomposed garment of tradition and worn out institutions. This book is not just an autobiography of Nizar Qabbani; rather, it is a comprehensive testimony of his era and a multi-faceted historical and humanistic document that records the story of the Arab nation's emotional, political, social, literary, and cultural struggle against its own outdated tradition, against foreign influences, and ultimately against itself and its own demons of superstition, magic, fables, and archaic beliefs.
In Nizar Qabbani's own words: "This book in which I have collected some of my dialogues with the press... and excerpts from TV interviews concerning the topic of women... is simply an attempt to correct the old picture that has been engraved in people's memory about me... hoping to replace it with a more modern image and also more humane... After forty years of wandering across the regions of poetry and women...I feel that my image in people's minds is still cloudy, confused, and veiled with colors that are blended and intermingled... In spite of what is being said about me... that I am the most widely read poet from the Gulf to the Ocean...I continue to feel that I am also the saddest poet from the Gulf to the Ocean...I still feel that out there... there are those who still read me wrongly... understand me wrongly... and even those who slaughter me wrongly...I do understand that choosing women as a primary subject matter for poetry is a difficult choice... that even choosing women as a topic of discussion is in itself a taboo... and that he who touches a woman's hand is like one who touches a burning coal... I also know that getting involved in a relationship with a beautiful woman in my country is like getting involved in a smuggling operation... or like robbing a bank.
It is summer 2001 and Sami Traifi has escaped his fraying marriage and minimal job prospects to visit Damascus. In search of his roots and himself, he instead finds a forgotten uncle in a gloomy back room, and an ugly secret about his beloved father... Returning to London, Sami finds even more to test him as his young wife Muntaha reveals that she is taking up the hijab. Sami embarks on a wilfully ragged journey in the opposite direction, away from religion – but towards what? As Sami struggles to understand Muntaha’s newly-deepened faith, her brother Ammar’s hip hop Islamism and his father-in-law’s need to see grandchildren, so his emotional and spiritual unraveling begins to accelerate. And the more he rebels, the closer he comes to betraying those he loves, edging ever-nearer to the brink of losing everything... Set against a powerfully-evoked backdrop of multi-ethnic, multi-faith London, The Road from Damascus explores themes as big as love, faith and hope, and as fundamental as our need to believe in something bigger than ourselves, whatever that might be.
The book aims to explore the foresight of prominent Middle Eastern authors and artists who anticipated the Arab Spring, which resulted in demands for change in the repressive and corrupted regimes. Eventually, it led to cracking down on the protests with excessive force, which caused tremendous human suffering, destruction, and also escalation of extreme insurgency. The author analyzes major literary and artistic works from Egypt, Syria and Tunisia, and their political context. This monograph will be helpful to scholars and students in the growing field of Middle Eastern and North African Studies and everyone who is interested in the politics of MENA.
From Fouad Ajami, an acclaimed author and chronicler of Arab politics, comes a compelling account of how a generation of Arab intellectuals tried to introduce cultural renewals in their homelands through the forces of modernity and secularism. Ultimately, they came to face disappointment, exile, and, on occasion, death. Brilliantly weaving together the strands of a tumultuous century in Arab political thought, history, and poetry, Ajami takes us from the ruins of Beirut's once glittering metropolis to the land of Egypt, where struggle rages between a modernist impulse and an Islamist insurgency, from Nasser's pan-Arab nationalist ambitions to the emergence of an uneasy Pax Americana in Arab lands, from the triumphalism of the Gulf War to the continuing anguished debate over the Israeli-Palestinian peace accords. For anyone who seeks to understand the Middle East, here is an insider's unflinching analysis of the collision between intellectual life and political realities in the Arab world today.
A collection of Palestinian poetry originally published in 1970 that resonates with liberation and civil rights struggles around the world. This updated edition for the current generation of activists features new poems translated by Edmund Ghareeb, an internationally recognized Lebanese-American scholar, and a new foreword by Dr. Greg Thomas. In 1971, in the wake of George Jackson’s killing by San Quentin prison guards, a poem entitled “Enemy of the Sun” was found among ninety-nine books in the revolutionary’s cell. The handwritten poem came to be circulated in Black Panther newspapers under Jackson’s name, assumed to be a vestige of his more than a decade long incarceration. But Jackson never wrote the poem; it was authored by the Palestinian poet Sameeh Al-Qassem and had been included in an anthology of the same title a year before Jackson’s death. Originally published by Drum & Spear, the publishing arm of the Student Nonviolent Coordinating Committee, Enemy of the Sun: Poetry of Palestinian Resistance links twelve poets working in a poetics of refusal and of hope. Bearing witness to decades of Zionist occupation, to a diaspora exiled in refugee camps and writers held captive in Israeli jails, the collection offers a means to an end: “as poetry, yes it sings—as bullets on a mission; it calls for change.” In each poem is a whole life—joy, love, beauty, rage, sorrow, suffering—and in each life is a record of resistance: the traces of a people who refuse to leave their homeland, who time and again alchemize grief into principled struggle. In the intertwined histories of this book, and in the unyielding political edge of the poems themselves, is a long story of solidarity between oppressed peoples: from Palestine to South Africa to Algeria to Vietnam to the United States.