Abstract

Acclaimed Arabic poet
The World Will Be Good
My son, I’m sleeping on the riverbed and listening to you as you cross the bridge. It’s for your sake, too, that I sleep in language: your words never fail to wake me. The world will be good: there will be nothing but the love I left you as your inheritance to weigh down your shoulders, so share that love, ‘split yourself into many bodies’ just like Urwa Bin al-Ward, the son of the rose (you too have no father but the rose).
*
My son, the cities were jagged and all of this was so absurd. Come, let’s go to the forest, jump on my shoulders and we’ll return to our roots, come and laugh with me, we’ll cleanse this river with our sound: in the forest no one will judge us for our laughter.
*
ABOVE: Najwan Darwish
Credit: Veronique Vercheva
My son, I missed you on the eve of Eid al Adha, the great festival. You would have loved these lanterns as they swayed to the praises of the Prophet. I would have woken at dawn to listen to the hymns. Is it fear, or is it joy that makes you tug my hand like this? Don’t worry, we won’t be lost here… For your sake I woke early and made my peace with the festival.
*
From beyond the years, from beyond the countries and all that the maps conceal, I guard you and you guard me. I’m sleeping on the riverbed and listening to you as you cross over.
In Paradise
We once woke in Paradise and the angels surprised us with their brooms and mops: ‘You smell like alcohol and earth; your pockets are full of poems and heresies…’ Servants of God, we said, go easy on us. We long for but a single morning in Haifa: Our dreams led us here by mistake.
In Paradise (II)
Even in Paradise I tossed and turned, writhed in longing; enchanted by time, I willingly returned to its bondage, uncertain of my immortality. Even in Paradise all I could think of was the earth.
The First Hour
A song from Aleppo, or a poem from Andalusia, or a ditty from a village whose people were expelled: What will visit the sick man in the New Year’s first hour? This is Haifa, the joy of God’s hands in clay… Don’t say goodbye to her, it’s you who brings her back now and forever. Amen.
An Ass from the Sixties
‘I don’t ever think during my hours of official duty, And my life, as everyone knows, has been one long official duty…’ That’s what the employee, who had been awarded the Order of the Patient Donkey, said to me. ‘My wife doesn’t think either, nor my children, nor will my grandchildren think, Nor do the clouds that pass over our house. My boy, I’m worried about these thoughts that flit through your head like grasshoppers. You remind me of myself when I was a young ass back in the sixties: I used to listen to The Beatles and think about suicide…’ Then he patted me on the shoulder with an affectionate hoof and went on his way, With blue flies dancing around his stately pair of glasses…
Translated by Kareem James Abu-Zeid
Footnotes
Born in Jerusalem in 1978, Najwan Darwish is one of the foremost Arabic-language poets of his generation. He has gained widespread acclaim for a body of work that both embodies and transcends the Palestinian struggle. Since the publication of his first collection in 2000, Darwish’s poetry has been translated into over ten languages. His new collection, Selected Poems, spans over a decade of Darwish’s verse and shows the full range of this versatile poet. In it, we see Darwish pushing against both the boundaries of the Arabic language and our preconceived notions of what Palestinian resistance poetry should look like. Resistance, in his verse, takes on many forms, and goes far beyond simply decrying the atrocities of the Israeli Occupation. It seems, in Darwish’s verse, that no one is truly innocent, that no one can ever fully escape the tangled webs of politics and lies – least of all the poet himself. It is this tendency towards self-criticism that has, over recent years, turned Darwish into one of the most powerful voices to emerge from Palestine. In 2009, the Hay Festival Beirut39 selected him as one of the 39 best Arab writers under the age of 39.
