Art

After the departure of Mourid Barghouti … Palestinian poetry is an orphan

“As if when he died, he broke what he promised … as if we had some experience with him on the day of his departure … as if we had agreed that he would live forever,” verses from a poem titled: “The love of separation is like a balcony that fell with all its flowers”, written 10 years ago specifically, the Palestinian poet is a desire Barghouti, in the lament of his late friend Mahmoud Darwish, to join him after 13 years, after a journey of suffering from a disease that has increased in intensity in recent months.

The body of the late Palestinian poet resides in the Jordanian capital Amman, where he lived in his last years, where the family burials are located, to accompany his partner, the novelist, and the late Egyptian critic, Radwa Ashour.

Art and Pain
“I am four years older than Israel, and I will surely die before the liberation of my country from the Israeli occupation. My age, most of which I lived in exile, left me laden with irreversible alienation and memory that nothing could stop it,” are words Barghouti used to repeat, referring to his birth in the year 1944 Four years before the Nakba.

Al-Barghouti was born in Ramallah and studied there until 1963 when he joined the Faculty of Arts, Cairo University, to study English literature, and when he finished his studies came to the defeat of 1967, and he could not return.

Al-Barghouti left 12 collections, beginning with “The Flood and Reconstitution” (1972), the last of which is “Wake Up to Dream” (2018), in addition to two prose books, “I Saw Ramallah,” and “I was born there .. I was born here” which is considered an autobiography Novelist, about Palestine that was.

At the time of the issuance of Barghouti’s first collection, critics considered it a new shift in Palestinian literature. His speech was not a slogan, as Barghouti rejected what he called “khaki literature,” as he considered this type of what he called resistance poetry as a trap from which one should always escape.

Al-Barghouti said in a testimony published in the Egyptian magazine Fusool: “I believe that the poet is free to deal with any scene that life presents. What is important is how he portrays this scene away from the formula of the subject, the news, the generalized abstract rhetorical formulas, the poetic and the linguistic trope that repeats and says what was said.

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