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Shakir Nabulsi's work is an example of this critical approach, which makes use of the fact that Kabbani was as jolted by "June" as any other Arab writer and said things such as "Ah my country! You have transformed me / from a poet of love and yearning / to a poet writing with a knife" (Jayyusi, 1996, xv). One critical approach to Kabbani has been that, during the postindependence era (Syria gained independence in 1945), when more politically engaged poets were addressing themes that build national character, the young Kabbani was occupied with the frivolous themes of sex and love, and only later did he see the light and start writing poetry concerned with serious issues. This crushing defeat allowed Israel to take territories from three Arab countries and shocked Arabic-speaking peoples out of their postindependence optimism (Barakat, 256). In June 1967, the combined forces of Arab states were routed by the Israeli military in six days. That is why the lover in "Readings from the Crypts of Holy Simpletons" cannot perform in bed after "June": "After June, I lost my lust / and fell between my sweetheart's arms / like a ragged flag" (3:309). "How can I love you, my lady?" the speaker asks in "Writings on the Wall of Exile" (in Freedom, I Have Married You, 1988), "when national security agents / arrest dreams / and send the people of passion into exile?" (Kabbani, 6:193).2 Freedom, equality, and dignity are prerequisites for erotic joy as Kabbani sees it. The coercion he rails against is not just social but explicitly political. Political oppression from outside the bedroom as well as the traditional social strictures that render women hunks of meat - or mensafs,1 as Kabbani likes to put it - make real love and sexual delight impossible in Kabbani's book. That love cannot thrive in an environment of coercion is a basic Kabbani axiom. The sensual and the political facets of reality are fused in much of his work, particularly in the recurring characters who people his poems, figures which illustrate how unnatural it is to separate Kabbani's politics and erotics, and how much more is opened by understanding their tight embrace. In fact, politics generally provides the context for love in his erotic poetry, and his erotic sensibility infuses the scene of his political poetry. In their evocations of heroism, nostalgia, mysticism, grief, and passion, the poems gathered here transcend the limitations of time and place.The work of Nizar Kabbani (1923-98), arguably the most widely read contemporary poet in the Arab world, is usually treated as if he wrote in two categories: erotic poetry and political poetry. Here too are literary giants of the past century: Khalil Jibran, author of the bestselling The Prophet popular Syrian poet Nizar Qabbani Palestinian feminist Fadwa Tuqan Mahmoud Darwish, bard of occupation and exile acclaimed iconoclast Adonis, and more. Poets include the legendary pre-Islamic warrior 'Antara Ibn Shaddad, medieval Andalusian poet Ibn Zaydun, the wandering poet Al-A'sha, and the influential Egyptian Romantic Ahmad Zaki Abu Shadi. As a unifying principle, editor Marle Hammond has selected eighty poems reflecting desire and longing of various kinds: for the beloved, for the divine, for the homeland, and for change and renewal. The Arabic poetic legacy is as vast as it is deep, spanning a period of fifteen centuries in regions from Morocco to Iraq. Seller Inventory # NGR9781841597980īook Description Hardback. This is a Brand New book, in perfect condition.
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In their evocations of heroism, nostalgia, mysticism, grief, and passion, the poems gathered here transcend the limitations of time and place.