{"id":36256,"date":"2025-02-21T09:46:42","date_gmt":"2025-02-21T07:46:42","guid":{"rendered":"https:\/\/themarkaz.org\/oldsite\/?p=36256"},"modified":"2025-02-21T09:46:42","modified_gmt":"2025-02-21T07:46:42","slug":"palestinian-equals-arab-equals-human-on-najwan-darwish","status":"publish","type":"post","link":"https:\/\/themarkaz.org\/oldsite\/palestinian-equals-arab-equals-human-on-najwan-darwish\/","title":{"rendered":"Palestinian Equals Arab Equals Human: on Najwan Darwish"},"content":{"rendered":"

On Najwan Darwish\u2019s new English collection, \u201cat once anti-nationalist yet profoundly and personally invested in the Palestinian cause,\u201d according to his translator, Kareem James Abu-Zeid.<\/span><\/p>\n

 <\/p>\n

No One Will Know You Tomorrow: Selected Poems 2014\u20132024<\/span><\/i>, by Najwan Darwish
\n<\/span>Translated by Kareem James Abu-Zeid
\n<\/span>Yale University Press<\/span><\/a> 2024
\n<\/span>ISBN 9780300275469<\/span><\/p>\n

 <\/p>\n

Eman Quotah<\/span><\/p>\n

 <\/p>\n

\"No<\/a>
No One Will Know You Tomorrow<\/em> is published by Yale<\/a>.<\/figcaption><\/figure>\n

In Palestinian poet Najwan Darwish\u2019s new collection of selected poems from the past 10 years, the Palestinian condition is the Arab condition is the human condition. We Arabs and people of Arab descent in the diaspora may feel the conflation and overlap of the three conditions deeply, but to those for whom Arabs and Palestinians are the ultimate \u201cother,\u201d <\/span>Palestinian equals Arab equals human<\/span><\/i> may be a foreign concept.<\/span><\/p>\n

Made up of poems from a half dozen collections, as well as previously uncollected poetry, <\/span>No One Will Know You Tomorrow <\/span><\/i>gives English-language readers a survey of the recent work of a well-established, prolific, and respected contemporary Arab poet who speaks in the melancholies of past and present.<\/span><\/p>\n

Tapping into influences both classical and contemporary <\/span>\u2014 <\/span>a 10<\/span>th<\/span> century Sufi mystic, Al-Jahiz and Al-Ma\u2019arri, popular Arab performers of the 20<\/span>th<\/span> century, a martyred prisoner\u2019s mother who herself died in a Gaza refugee camp <\/span>\u2014 <\/span>Darwish\u2019s poetry lives across a vast geography and history. Turning the book\u2019s pages, I felt I was walking the halls of time, from modern-day occupied Palestine to twentieth century Lebanon; from Arab Grenada to medieval Macedonia to Arabia at the time of the Prophet Mohammed. In these poems, death lurks round every corner; dead poets and others speak and appear in memory, dream, and story; land is beloved but also a source of sadness and displacement; exile is the only meaning.<\/span><\/p>\n

Darwish has called poetry a \u201cspiritual practice\u201d; you see it in the way he merges the infinite and the specific in a poem like \u201cI Often Dream\u201d:<\/span><\/p>\n

I often dream that the waves of Haifa\u2019s sea
\n<\/span>are dunes of blue
\n<\/span>and that an ageless camel driver
\n<\/span>is emerging from them,
\n<\/span>dragging the days behind him.
\n<\/span>He stops, for a little while, beneath my window
\n<\/span>so I can give him everything
\n<\/span>the Arabs have laid away with me:
\n<\/span>the openings of unrecited poems
\n<\/span>and wars that never ended.<\/span><\/p>\n

But the spirituality of poetry, and its ability to travel across space and time does not inure the poet (and his narrators) from the material realities of life under occupation. He lives on the land of occupied Palestine, splitting his time between Haifa and Jerusalem. In \u201cAt a Poetry Festival,\u201d he writes:<\/span><\/p>\n

In front of each poet was the name of their country,
\n<\/span>but in front of me
\n<\/span>there was only \u201cJerusalem.\u201d<\/span><\/p>\n

How ghastly your name is, my little country,
\n<\/span>your name is all I have left<\/span><\/p>\n

He continues: \u201cYour name\u2019s like a ship with no hope of arriving\/no hope of returning \u2026\u201d And yet, \u201cit never goes under.\u201d Darwish never names Palestine in this poem; in fact, the word doesn\u2019t appear in any of the poems reproduced in <\/span>No One Will Know You Tomorrow<\/span><\/i>, an absence that functions as a reminder of all that is lost.<\/span><\/p>\n

Darwish keeps coming back to land and loss. In \u201cI Don\u2019t Claim,\u201d he writes, \u201cI don\u2019t claim to have any country other than loss.\u201d And in \u201cLand,\u201d he addresses the land, telling it how much misery it\u2019s brought people, making them \u201cwretched when they have you,\/wretched when they lose you.\u201d The poem ends with a wish: \u201cif only\/we could inhabit the clouds.\u201d As though the human condition could simply improve if we were untethered from the earth.<\/span><\/p>\n

Translator <\/span>Kareem James Abu-Zeid<\/span><\/a> describes Darwish\u2019s poetry as \u201cat once anti-nationalist yet profoundly and personally invested in the Palestinian cause.\u201d Being Palestinian, in Darwish\u2019s verse, is \u201cwalking in the Barzakh,\u201d living in both heaven and hell, \u201cuntil Heaven was no longer Heaven,\/Hell no longer Hell.\u201d It is as much a spiritual as a material condition.<\/span><\/p>\n

At the heart of the collection is a series of poems called discourses, or mukhatabat, modeled after spiritual texts by 10<\/span>th<\/span> century Sufi mystic Al-Niffari. As Al-Niffari\u2019s did, each of the poems begins with \u201cHe said to me:\u201d; in his notes, translator Abu-Zeid explains that these are discussions with God, a high power, a higher version of self. In this context, Darwish\u2019s \u201che\u201d wanders from the Battle of Badr to death\u2019s door; from a city that may or may not be Paradise to a poetry class.<\/span><\/p>\n

Speaking as a witness of Badr, an early battle in Islamic history, \u201cHe\u201d says:<\/span><\/p>\n

My son, the believers moved me with their faith
\n<\/span>and the infidels move me
\n<\/span>with their pride and refusal,
\n<\/span>and I was with the one side
\n<\/span>and the other,
\n<\/span>and this was one
\n<\/span>of the many tragedies
\n<\/span>we never speak of
\n<\/span>to anyone.<\/span><\/p>\n

Later, to \u201cHis\u201d declaration that \u201cEvery soul shall have a taste of death\u201d (a quote from the Quran), the poet replies: \u201cNot mine.\/It keeps tossing back its drink\/and will not die.\u201d And in another poem \u201cHe\u201d says, \u201cI don\u2019t want to die in an occupied country,\/or have my name appear\/in occupied newspapers\/ \u2026 if I\u2019m lucky, that is, and the occupiers\/do not steal my body.\u201d<\/span><\/p>\n

There is a weariness to many of the poems collected here, and I have to confess to some weariness reading them <\/span>\u2014<\/span> not due to any fault of Darwish\u2019s or my lack of appreciation for his verse; his words belong to a long lineage of existentially tired and also beautiful poetry in many languages. No, I am weary because of the weight Palestinian poetry carries more than a year into the genocide in Gaza, because of the weight of the genocide. Because, when reading an <\/span>analysis of \u201cexhaustion\u201d<\/span><\/a> \u2014<\/span> \u201ca less explored aspect of Palestinian life\u201d <\/span>\u2014 <\/span>in Darwish\u2019s poetry as research for this column, I stop at the critic\u2019s description of the United States \u201cstill turning a blind eye to the unprecedentedly wide documentation of the atrocities this year in Gaza.\u201d And confirm that the year in question is not 2023 or 2024 but 2021. Oh, if we only knew then that what lay ahead was more (worse) of the same!<\/span><\/p>\n

Like many other Palestinian poets, Darwish has addressed the uncomfortable truth that his poems about the trauma of occupation are perpetually useful as a currency of online and in-person protest and resistance, last year <\/span>telling Time magazine<\/span><\/a>, \u201cIt\u2019s dark that [my poems] are timeless.\u201d Even when poems do not fall on deaf ears, when they are shared incessantly, they cannot (without human action off the page) change what occupation is, what history is, what life is. In \u201cA Brief Commentary on \u2018Literary Success,\u2019\u201d Darwish writes:<\/span><\/p>\n

Here in my prison cell, which I chose
\n<\/span>of my own free will,
\n<\/span>here between the mountain and the sea,
\n<\/span>this is where the news reaches me,
\n<\/span>the news of my poetry spreading like fire.
\n<\/span>And there are some who congratulate me
\n<\/span>that the flames have reached
\n<\/span>the ends of the earth.<\/span><\/p>\n

The poet finds no joy in that. The world is a prison, though the poet is aware that it is not a literal prison. \u201c[W]e Arabs don\u2019t stop death,\u201d he writes.<\/span><\/p>\n

No one <\/span>\u2014<\/span> no human <\/span>\u2014 <\/span>does. \u201cAnd do not think that glory lies in rising early,\u201d Darwish writes to an unnamed \u201cpoet who dreams of glory.\u201d \u201cGlory lies in sleeping and dreaming\/it\u2019s also glorious to pass away \u2026 \/All glory lies in this: to die\/as a human being.\u201d<\/span><\/p>\n

While in the Arab world Palestinian poetry is rightly seen as an essential component of a larger tradition that itself belongs to world literature, Palestinian poetry\u2019s reception in the Anglophone West largely pigeonholes it into a mode of resistance. That mode is important, of course. But this translated collection by Darwish may make the argument to those unfamiliar with the Arab poetic tradition that there is much more to see here.<\/span><\/p>\n

As Darwish <\/span>has said<\/span><\/a>, \u201cOn the symbolic level, poetry is a community\u2019s language and its voice through history.\u201d*\u00a0<\/span><\/p>\n

 <\/p>\n

* Eman Quotah\u2019s translation from Darwish\u2019s original Arabic column.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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