Nothing extra to Lose is the 1st number of poems via Palestinian poet Najwan Darwish to seem in English. Hailed around the Arab international and past, Darwish’s poetry walks the razor’s area among melancholy and resistance, among darkish humor and cruel political realities. With incisive imagery and passionate lyricism, Darwish confronts topics of equality and justice whereas delivering a thorough, extra inclusive, rewriting of what it capability to be either Arab and Palestinian residing in Jerusalem, his birthplace.
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Additional info for Nothing More to Lose (NYRB/Poets)
In its place, he turns the irony of the Palestinian situation—suffering oppression by the hands of these who suffered severe oppression (far too gentle a time period for the Shoah, I know)—into poetry. “I don’t have a grandmother who died within the fuel chambers,” he writes in his poem “The gasoline Chambers,” after which is going directly to invoke the Nakba, the catastrophic mass exodus from the lands of Palestine in 1948, while the nation of Israel was once based: “Grandmothers, you didn’t undergo sufficient / for us to be stored / How awful was once the Nakba? / How harrowing to be a refugee? / those are yet small pains / for niggers like us. ” As terrible because the Holocaust was once, the injustice—and the tough irony—of the Palestinian scenario continues to be and can't be neglected. The agony, too, keeps and can't be missed. Najwan Darwish’s lyric voice obsessively takes at the mantle of the savior born in Bethlehem and crucified quite a few miles away in Jerusalem, the poet’s birthplace and residential. Darwish personifies the position of Christ as an emblem of either own and common soreness, whereas additionally connecting his soreness with a transparent political message, as within the poem “Sleeping in Gaza,” a robust remembrance of the Israeli air raids on Gaza in 2008 and 2009: “The earth is 3 nails / and mercy a hammer: / Strike, Lord / Strike with the planes // Are there any further to return? ” many times in Darwish’s poetry, we additionally seize glimpses of the poet’s depression, of his doubts as to the efficacy of poetry amidst the actual realities of politics and struggle. He has no illusions in regards to the function he's enjoying: “Even in war,” he writes, “I was once only a passerby. ” And this too is an important point of his resistance—the willingness to bare doubt, to name into query the very act of writing poetry within the face of day-by-day pain. In “Bint Jbeil,” the identify of a city in Southern Lebanon that turned a logo of Lebanese resistance opposed to the Israeli invasion in 2006, Darwish writes: “A couple of minutes later / sunrise unearths the lifeless / and that i doze off, damaged / via the debt I now owed / to people who hoisted sunrise for an additional day / over the hills of Bint Jbeil. ” Najwan Darwish makes use of his place of privilege to put in writing verse that bleeds onto the web page, that transcends the Palestinian event whereas nonetheless being deeply rooted inside it. Even in its darkest moments, his poetry is a poetry of healing—it offers voice to pray, in spite of the fact that infrequent and faint any wish can be. “The global should be good,” Darwish writes in a poem addressed to his fictitious son, “there could be not anything however the love / I left you as your inheritance. ” And we should always now not omit that there's wish, too, within the crucifixion. in line with a few, Christ wasn’t born the “Son of God,” he wasn’t born the embodiment of affection and compassion. He turns into “God,” turns into love, by way of passing absolutely in the course of the darkish evening of melancholy, in the course of the affliction of the move. within the poetry of Najwan Darwish, the crucifixion has now not but ended. ◆◆◆ whereas engaged on this publication, I consulted translations —into English, French, and Spanish—of a lot of Najwan Darwish’s poems.