Saddik M. Gohar, United Arab Emirates University
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This paper underlines the attitudes of Palestinian / Arab poets toward the issues of exile and identity integral to their traumatic experience of Diaspora and displacement. From a historical context and within the parameters of colonial / postcolonial theory , the paper advocates a new critical perspective exploring the dialectics of exile and identity in Palestinian / Arabic poetry in order to argue that exile , in contemporary world literature , becomes a signifier not only of living outside one’s homeland but also of the condition caused by such physical absence. Aiming to reach a state of reconciliation rather than conflict, the poetic voices, analyzed in the paper, reflect a sense of nostalgia and emotional attachment toward their homeland. The paper argues that Palestine, for the Palestinian poets, is not a paradise or an idealistic utopia that only exists in their poetry and imagination but a geographical reality caught up in national and religious limbos and rooted in the trajectories of colonial history and diabolical power politics.
Saddik M.Gohar, UAE University, UAE
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This paper aesthetically articulates the representation of the Palestinian city in modern Arabic poetry in order to argue that while Arab -and non-Arab poets-incorporate variety of attitudes toward the city , the presentation of the Palestinian city reveals a radical difference from the rest of Arabic and non-Arabic poetry due to the peculiar history of struggle, resistance and victimization characterizing life in the Palestinian metropolis. To the Palestinian poets, in particular, the city is part of a homeland they have lost or a refugee camp that has been resisting the invaders for decades. Contrary to western cities inhabited by alien residents such as Eliot’s Prufrock, or Arab cities populated by strangers, outsiders, whores, outcasts and political prisoners as in the literary cities of Badr Shaker Al-Sayyab and Ahmed Abdul-Muti Hejazi , the Palestinian city is inhabited by heroes and martyrs. These heroes who appear in contemporary Palestinian poetry and take different shapes personify the struggle and resistance of a nation that has frequently refused to surrender at times of crisis. Representing the spirit of the Palestinian people confronting a world replete with treachery and hypocrisy, the Palestinian city and its nameless heroes , in contemporary Arabic poetry, is an embodiment of an eternal and unlimited Palestinian dream , the dream of return, rebirth and liberation. In this context, the paper affirms that unlike Arab cities which are associated with decadence, corruption, exploitation and moral bankruptcy, the Palestinian city, due to the Palestinian history of exile, resistance, victimization and pain, is viewed in Arabic/Palestinian poetry as a location of heroism, struggle, defiance and martyrdom.
Indrani Datta (Chaudhuri)
Vidyasagar University, India
Volume 2, Number 1, 2010 I Download PDF Version
This paper focuses on certain aporias in the life and works of a Lebanese American writer, Kahlil Gibran, that reveal his idiosyncratic interest in and preoccupation with India, neither his native nor his adopted country. It also charts out the ‘elliptical’ connection that this Lebanese immigrant forged with the Indian Nobel laureate, Rabindranath Tagore. A “belated” (Behdad 1) reading of these aspects opens up the possibility of critiquing Gibran’s life and writings through the theoretical framework of Nico Israel’s “outlandish”-ness (ix), a state that exists between, as Israel has stated, “exilic emplacement” and “diasporic self-fashioning” (16-17). This kind of “reading behind” (Behdad 4) rewrites “a kind of philosophical décalage” (2) that ruptures existing West-centric discourses by destabilizing and displacing them through “other locations…other trajectories of subjectivity, and…forms of knowledge” (Behdad 1). My critiquing of Gibran’s life and texts, in this manner, show how his sense of identity, generated out of trans-cultural and transnational spaces, not only engenders a counter discursive practice to the West-centric politics of exclusion but also tries to rescue non-Western writers, and their literatures, from the “anamnesiac order” (Behdad 3) of such politics.