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2024, Seagull Books
The Universe, All at Once: Selected Poems Selected by Salim Barakat Translated by Huda J. Fakhreddine followed by an interview with the poet https://press.uchicago.edu/ucp/books/book/distributed/U/bo238314772.html Salim Barakat, the captivating Kurdish-Syrian poet and novelist known for his mastery of Arabic style, is hailed as an enigmatic and intricate figure in contemporary Arabic literature. In The Universe, All at Once, he curates, in collaboration with translator Huda J. Fakhreddine, a selection from his later works, considering them the pinnacle of his poetic career. Drawn from pieces composed between 2021 and 2023, the poems in this collection vary from excerpts of an expansive book-length poem to concise, intense fragments. Fakhreddine expertly renders his writing in English, a courageous and praiseworthy attempt to challenge the barriers of the untranslatable. This volume not only showcases the prolific author’s poetic evolution but also features a comprehensive interview with Barakat. Conducted by Fakhreddine, the interview delves into Barakat’s early influences, hobbies, talents, reader expectations, and reflections on displacement, childhood, and interpersonal connections. Together, The Universe, All at Once presents the best of Barakat’s latest poetry to his readers and allows invaluable insight into the writing processes and motivations of a visionary modern poet.
International Journal of Kurdish Studies
Salīm Barakāt’s Intermediary Existence: His Poem Maḥmūd Darwīsh2019 •
In January this year, with my first article on Salīm Barakāt, Empire, Split Ethnicities, and an Explosion of Poetry, I introduced Barakāt’s early writings saying that guidelines to understanding the poetry of the Kurdish poet Salīm Barakāt (b. 1951, Qamishli, Syria) are to be found in a poem by his friend, Palestinian poet Maḥmūd Darwīsh (b. 1941, al-Birweh, Palestine – d. 2008). I now present guidelines to understanding the mature output of both these poets guided by Barakāt’s poem “Maḥmūd Darwīsh” (1984 – 2002). Barakāt’s multi-layered substantially surrealistic poem also serves as an ‘index to the acts of the wind.’ In the same period, Syrian Alevi poet Adūnīs (Ali Ahmad Said Esber, b. 1930) published his book al-Sūfiyya wal Surriyāliyya (Sufism and Surrealism) (Dar al-Saqi, 1995), and then his poem Fihris li-A‘māl al-Rīḥ (Index to the Acts of the Wind) (1998) exemplifying the theories of the book. I have included translations of salient whole poems. Keywords: Salīm Barakāt, Maḥmūd Darwīsh, Adūnīs, Modern Arabic Poetry, Sufism, Surrealism
Middle Eastern Literatures
Salim Barakat's Poetry as Linguistic Conquest: "The shot that kills you may you recover"2019 •
Salīm Barakāt is a Syrian-Kurdish poet and novelist, who first appeared on the Arabic poetic scene in the early 1970s. Although he experimented in his early work with a mixed form of verse and prose, he ultimately took up prose as matter for poetry, positing a distinct definition of the “poetic” rooted in an interrogation of the Arabic language and a close attentiveness to and violent playfulness with its grammar and syntax. This paper is a close reading of a poem titled “Istiṭrād fī siyāq mukhtazal” (Digression in an Abridged Context) from his 1996 collection T̩aysh al-yāqūt (The Recklessness of Sapphire). Language in this poem is penetrated, disrupted, occupied and overcome as the poem progresses towards its final Kurdish “shot,” towards the echo within one tongue of another tongue that has been repressed. Thus, Barakāt superimposes the linguistic onto the ethnic, sublimating the tension of Arab and Kurd into an invasive linguistic intervention. By that, he also disrupts the relationship between language and voice and urges us through his language play to hear, in Arabic, a different voice.
Ygdrasil, A Journal of the Poetic Arts
Ygdrasil - May 2012 - Contemporary Iraqi Poetry Edited and Translated by Khaloud Al-MouttalibiIn order for the English reader to understand, enjoy and appreciate contemporary Iraqi poetry, light must be shed on its past. The reader will find that the translated poetry reflects the experiences of theIraqi people, dictatorship, social problems and the horrors of war and terrorism that the country still endures. The article that accompanies the poems, written by Professor Malik AlMuttalibi (College of Fine Art, Baghdad University) aims to paint a picture of the historical background of contemporary Iraqi poetry and the stages through which it went. Khaloud Al-Muttalibi
Journal of Arabic Literature
Arabic Poetry in the Twenty-First Century: Translation and Multilingualism2021 •
This paper examines the work of a sample of contemporary Arab prose poets whose poetic investments exceed the linguistic parameters of previous generations. Unlike the pioneers of the prose poem in Arabic in the early 1960s, the poets of this generation are not interested in interrogating Arabic poetic language or reimagining Arabic literary history. Instead, these poets embrace the Arabic literary tradition as an open multi-generic practice exercised in the space between multiple literary and linguistic traditions. This essay shows how their deliberate detachment from the Arabic poetic tradition, as well as from the inheritance of the early modernists, reveals a relationship with the Arabic language that differs from that of their predecessors. Their poetry is thus born translated: it is multilingual and exophonic in its motivations.
International Journal of Kurdish Studies
Empire, Split Ethnicities, and an Explosion of Poetry2018 •
Abstract Guidelines to understanding the poetry of the Kurdish poet-prophet Salim Barakat (b. 1951, Qamishli, Syria) are to be found in a poem by his friend, the Palestinian poet-prophet Mahmud Darwish (b. 1941, al-Birweh, Palestine – d. 2008) – Laisa lil-Kurdi ila al-Rih [Ila: Salim Barakat] (The Kurd Has Only the Wind [For Salim Barakat]) ( (2004). For the benefit of the English-speaking reader, as Darwish‘s poem and Barakat‘s poetry (also in Arabic) have not previously been translated to English, I have included, in the body of this study, my translation of Darwish‘s aforementioned poem and various of Barakat‘s poems, namely: Niqabat al-Ansab (Lineage) (1970); Kama‟in fi al-Mun„atafat Killiha / Htam ma – Sihm (Ambushes at Turns / Conclusion – A Sort of Arrow) (1985). I have appended the whole of Barakat‘s long poem Surya (Syria) (2014). The techniques Barakat introduces into the art of writing modern Arabic poetry come from modern mainstream poetry, as well as from his Kurdish and Persian background. Altogether his concept of history, which puts into sharp outline the norm of the ancient and medieval world of empire, enters the poem-of-his-being, the ―work‖ as Maurice Blanchot describes it – and makes his chronicling unique. Discussion of the selected poems clarifies as to how Barakat became a poet-prophet, and describes the commitment he took on not only to the Kurdish nation, but also to the entire Middle East. Keywords: Salim Barakat, Kurdish poet, Zoroastrianism, modern Arabic poetry, Mahmud Darwish
Arab studies quarterly
To flee from all languages: The gap between language and experience in the works of modern arab poets2005 •
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British Journal of Middle Eastern Studies
Arabic Poetry: Trajectories of Modernity and Tradition2013 •
To read Mahmoud Darwish is an unforgettable and transformative experience, one of beauty and simultaneously of profound pain for it makes the reader vividly aware of the injustice and staggering cruelty that Palestinians have endured for almost seventy years at the hands of Israel, a genocide the entire world is accountable for. The renowned Nigerian poet Wole Soyinka eloquently describes this effect: “Then came silence. Mahmoud Darwish began to read. We did not know a word of Arabic, but we heard his voice reach out and sink deep down to pluck the strings of the Palestinian soul. It was a magical night in Ramallah, the magician’s night in Ramallah, the magician, Mahmoud Darwish, whose spell was cast the way it has been through ages…” In his tireless quest for freedom, Mahmoud Darwish successfully transcends all kinds of borders. Not only those of land and occupation, and the confines of oppression, but also those of country and nationalism. Furthermore, Darwish’s poetry frees his audience from the boundaries of subjective experience, allowing them to access “visions of universal truths in the depths of the mind.” Although Mahmoud Darwish “did as much as anyone to forge a Palestinian national consciousness,” his poetry and prose deal primarily with humanity, “highlighting universal human values through the mirror of the Palestinian experience.”
International Journal of Kurdish Studies
The Unimaginative Symbols of Salim Barakat2018 •
Abstract Kurdish poet Salim Barakat (b. 1951, Qamishli, Syria) in 1986 published a philosophical poem entitled Haza‟in Manhuba (Glimpses of Spoliation), the whole of which I have translated from the original Arabic and included as annotated appendix. Barakat writes modern secular poetry in a genre I describe as modern Islamic literature, a genre that finds its roots in the Turkic poetry of Shah Isma‟il I who founded the Safavid dynasty in Persia. Barakat‟s theoretical model for his philosophical poem within the aforementioned genre, and his use of meaning-making techniques of repetition is to be found in the arena of ancient Greek literature. It is, however, essentially his concept of history that affords him space to include these meaning-making poetic techniques as he strives to present to his readership an exact description of the revolts, uprisings and insurgencies that have been ongoing since the Abbasid caliphate. He explains the why and how of the wrongdoing, and the consequences on the Day of Judgment, the divine sphere of action functioning as part of his historical narrative. His symbols, in this particular poem, lean less on the Persian and Arabic Sufi poets. He rather creates symbols of his own, symbols that provide an aura of the scientific, and are as “unimaginative” as possible – being symbols of the most basic kind. As usual, his extraordinarily skilled and extensive use of devices of repetition reflect his Kurdish heritage. Keywords: Salim Barakat, Unimaginative Symbols, Kurdish, Kurdish heritage, Haza‟in Manhuba
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