7. The Narratolyric Writing
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Contents
The Dedication.................................................... 6
Contents ............................................................. 7
Preface ............................................................... 8
Chapter (1): The Prosaism of the Prose Poetry....... 11
Chapter (2): The Narratolyric Prose Poetry ........... 12
Chapter (3): The Prosopoetry .............................. 15
Chapter (4): The Bifold Hybridization.................. 16
Chapter (5): The Anti-narrative and The Mirror
Language.......................................................... 18
Chapter (6): The Levels of The Text .................... 22
Chapter (7): The expression is An Attempt to find the
beauty .............................................................. 25
Chapter (8):The literary expression...................... 27
Chapter (9): Expressive mosaic in "Sublime
Revenge".......................................................... 31
Chapter (10): The Narratolyricality...................... 35
Chapter (11): The rhythmicity of the Writing ........ 37
Chapter (12): Narrotolyric Writings Examples ...... 40
About the Author............................................... 52
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Preface
"The Narratolyric Writing" is relatively a short
introduction to a very wide world of the narrative
lyricism. Here is a collection of essays about the
core and the central idea of the narratolyric
writing. It is a door into a new world.
It is clear that the existence is composed from
formal aspect and intellectual aspect and
everything in addition to its external appearance
has an internal image. We have, with the external
form of anything, an intellectual idea about him
and we can say in a broad meaning that he has a
body and soul.
All the things differ in the power and clarity in its
existence. Some of them are so obvious and the
others are weak and inert. The differences
between things’ existences we call it "the
transfiguration". So everything has a
transfiguration, and each of them tries to present
with full transfiguration. In fact, our existence is
an attempt toward the grand transfiguration, and
everything has a degree in its transfiguration.
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The writing, like anything has an external form
and an intellectual ideation, and it always tries to
appear with complete transfiguration in these
sides and this is so obvious in literary writings. In
fact the literature is an advanced degree in the
writing’s transfiguration and every literary genre
is seeking a complete transfiguration in its
intellectual ideation in addition to its formal
appearance.
In the poetry, there are the narrative and the
descriptive poetry paralleling the dramatic
poetry. In other side there is lyric poetry which
opposite the narrative, and there is prose poetry
which is opposing the verse.
The prose poetry is always seeking a complete
transfiguration, and because the complexity of its
hybrid nature, its prose as well as its poetry tries
to reach the complete transfiguration with full
elements. Any piece will appear with weak prose
poetry’s transfiguration, if it doesn't consent this
situation; I mean the coexistence of
transfigurations of prose and poetry. The high
level of coexistent transfiguration of prose and
poetry in a prose poem we call (the complete
prosopoetry). The prosopetry has different
transfiguration’s degrees, and the "Expressive
narrative" with its narratolyricism is the highest
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in its level where we find the complete poetry in
complete prose. That is to say; the body is prose,
but the soul is poetry.
The storytelling, which is the narrative’s soul
disagreeing the expressiveness which is the
lyric’s soul. In expressive narrative, we make a
new hybrid by transplantation where we get the
soul of one of them and give it into the other. We
transplanted the expressiveness, the soul of the
lyric, into the body of the narrative, so we have
the "expressive narrative" with narratolyricism,
which is different from its usual meaning.
The expressive narrative represents a grand
transfiguration of prose poetry by summation of
the complete transfiguration of poetry with the
complete transfiguration of prose. It is a magic
and unprecedented appearance of prose poetry.
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Chapter (1): The Prosaism of the Prose Poetry
The prose poetry is a poetry written in complete
prose, and learns us that the poetry is not a visual
matter, but an intellectual and an emotional
substance composed of deep human pick up
where the detection of deep relations between the
things of the world. In the prose poetry, the poet
expressed his deep sentience by a narrative style
which resists the narrative properties. The anti-
narrative property of prose poetry is vital and
important for the transfiguration of it.
In steed of the traditional opposition between the
prose and poetry, we find the integration between
them in the prose poetry, where the complete
intellectual poetry written in a complete prose.
The prose poetry is a final ideational poetry
written in a usual daily prose, in sentences and
paragraph. In the prose poetry the poetry comes
with its deep pick up of human experience and
concord imaginary and allegory intellectual
practice within a pure prose language without
any formal or visual deviations from the usual
prose. Because of this, the prose poem should be
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written horizontally like a story or an essay, and
not vertical like the free verse.
Chapter (2): The Narratolyric Prose Poetry
After the establishment of the prose poetry and
the realization of the presence of the poetry
without metrical or formal elements, the question
about the nature of poetry becomes more
obvious. There are poetry and fiction and there
are lyric poetry and narrative poetry. In these
manners of writing the superficial structure
agrees with the deep one. In the lyric poetry there
are fragmentation and illogical construction
while in the fiction and the narrative poetry, there
are solidarity and logical construction, but in the
level of final purpose and meaning, the fiction
reaches its goal by a different way from that in
the narrative poetry.
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In all these writing patterns the deep structure
identifies with superficial one regarding the
logical or illogical construction and regarding the
solidarity or fragmentation. We can see that the
deep and superficial structures are prosaic in the
fiction and narrative poetry but they are poetic in
the lyric poetry. On the other side, the
disagreement is possible between the two
structures. The deep structure can differ in its
construction and semantic from the superficial
one, where the superficial can be prosaic but the
deep was poetic and the superficial can be poetic
but the deep was prosaic.
In the era where the poetry was defined by the
metric and verse, we can find the superficial
poetic structure with deep prosaic in the epic, but
this definition is not solid now, so the writing
with superficial poetic structure and prosaic deep
can be found in modernistic terms in that writing
with a clear disclosure and was written with
displaced, symbolic and metaphoric construction,
but in fact this will not realize the true superficial
poetic-deep prosaic system, and what I suppose
for this system is the fragmented superficial
structure which hides a clear and partial
disclosure and this is merely a playing in the
speech, not more.
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The (superficial prosaic / deep poetic) system is
obvious in the narratolyriv prose poetry which
we previously call (expressive narrative) , where
the superficial narrative gives the rising to the
poetic deep construction, while in the narrative
prose poetry, where the system is (superficial
prosaic /deep prosaic), and the lyrism and the
poetic elements occur in the semantic and
emotional level. In other word, while the poetry
was realized by the structure itself in the
expressive narrative, it occurred in the narrative
poetry in the semantic, analytic and poet-
structural level.
So the most important differential point in this
view is the compatibility and the incompatibility
between the superficial and deep structures. In all
types of writing, the superficial and deep
structures are compatible, except the narratoluric
prose poetry (expressive narrative) where we find
the incompatibility between the prosaic
superficial structure and the poetic deep one.
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Chapter (3): The Prosopoetry
The narrative to be expressive, poetic and
different from non-poetic narrative should be
characterized by prosopoetry, where the complete
poetry occurred in midst of complete prose. The
prospoetry in the narrative, or in prose in general,
has many textual, pre-textual in the general
language consciousness and post-textual features
in the site of reading. These features include the
continuous clausal structure, the logical structure
without breaks or fragmentations, and the non-
storytelling narrative which resist the narrative.
These features are responsible for the production
of prosaic in the text. The features which are
responsible for the production of poetry in the
expressive narrative piece include the symbolic
metaphoric, the inspirational anti-narrative, the
wavy writing, and the faltering of meanings in
the deep structural.
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In the expressive narrative, the superficial
structure is prosaic and narrative but the deep one
is poetic and lyric.
Chapter (4): The Bifold Hybridization
In the literature, there are the prose and the
poetry and in the middle there is the prose poetry.
This the hybridization of prose poetry.
In the prose poetry, there are the lyric prose
poetry and the narrative prose poetry, and in the
middle there is the narrato-lyric prose poetry.
This is the second hybridization inside the prose
poetry hybridization.
The following figure illusitrates this system:
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Chapter (5): The Anti-narrative and The Mirror
Language.
The most obvious thing in Devin Johnston "Poem
for the New Year", which was published in
"Poetry Magazine" in its December 2016 issue, is
the anti-narrative style. Anti-narrative is the
cornerstone of prose poetry, where the narrative
has been set for symbolization and inspiration,
and not for storytelling or events making. The
time colored the anti-narrative speaking, but it is
distracted and not logical.
In this poem, the anti-narrative appears with high
transfiguration, which means that the poem is a
prose poem, and not a free poetry written in
prose. So the poem should be written in
sentences and paragraphs, and not in stanza and
lines. Although, the breaking may decrease the
prosaic features of the poem, but the deep prose
poetry with anti-narrative remains contact. This
fact means that the prose poetry is not a shape or
text style on paper, but it is the figure and type of
existence in our deep thinking.
It is beneficial to mention the text of poem before
any attempts to analyze the stylistic features,
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which are responsible for anti-narrative and prose
poetry in it.
(Poem for the New Year)
Devin Johnston
( I’ve tracked myself from day to day / how many
steps through a field of snow /how many hours
have I slept / what have I eaten / what did I burn /
calories or cigarettes /what birds have poured /
through Bellefontaine /where mausoleums bear
the names/ of Busch and Brown / Lemp and
Spink /on marble white as winter endive/ when I
can read my title clear / to mansions in the skies
/what have I read /how many words/ what facts
/statistics biometrics /what data aggregation /
what news/ of wins and losses/ getting and
spending/ each dawn a color wheel / to gauge the
shifting moods /the daylight sunk in trees /an
index of attraction / According to the Tao Te
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Ching / each day brings more /and more of less
/less and still less / with no end to nothing /and
nothing left undone /Even here in Bellefontaine
/along a winding street /silence brings an
interval/ of yet more distant sound /trucks along
the interstate /a plane behind the clouds )
The poem was written in a vertical manner with
lines and breaks, and what we do is assembling
of the pieces to approach the prosaic soul of the
text.
The style is, in its deep existence, a figure of the
idea, and here we can see the deep idea of the
poem appearing in a system of interrelated ideas.
This system of disclosure forms mirrors in
clauses and attributions, where every sentence
with its idea reflects the soul of the other. This
style we can mention it as an internal inter-
textuality, but in partial or different affective
expression, and we can call it (mirror language).
In fact the poetry, in its deep presence, is not the
theme or the idea, but it is the expressional stye,
the bulk of feelings and the affections which they
try to reach the reader. From the title and the first
central words in the poem, we can see the idea of
the poem; it is the (tracking and counting), and in
fact the voice of counting is louder than tracking.
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The poet appears so careful and precise in
counting the pieces of his daily life.
The tracking and/or counting transfiguration
stands in front of the reader's eyes by many
vehicles, which form systems of foregrounds.
One of these devices, and in fact, one of the
important devices here, is the anti-narrative. By
the anti-narrative, the poet narrates his counting
smoothly and precisely. The second counting
device is the mirror language where the deep
central idea appears in many subdivisions. The
mirror system of the text started with a question,
which is not for questioning, but for counting.
The second system is the partial answering,
which form the middle part of the poem. This
answering is not for answering, but for
suggestion and decrepitude of thought. The third
conveyance speech system is the conclusion,
which forms the last part of the poem, and again,
it is not for the description of the conclusion, but
for inspiration.
In the poem, there are other devices by which the
deep idea takes its full transfiguration. One of
them is the lexical content. As we see, the poem
was filled with counting words, which transfer
the reader’s mind into the field of counting. In
fact the deep idea, I mean the ( counting),
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appears in super-transfiguration where it presses
on the writing to adegree where the word
(statistic) appeared in the text, and this is a high
level of transfiguration, which we can call it the
"super-transfiguration".
Chapter (6): The Levels of The Text
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From where does my text begin? Does it begin
from the paper, my mind, or the reader’s eyes?
This question is not easily answered, but it may
become easier if I understand the essence of my
writing.
In fact, no one can say that the text is an element
on paper, because this is a very superficial view
which antagonizing the clear sentimental truth.
We can see the conscious and the subconscious
existence of what we name "text". What I want
to say that the text has sold presence, but at the
same time it is totally immersed in the doubt with
lacking of fully understanding. Because the text
has many intellectual existences, the original one
is obscured. I see that there is a text in my paper
and another one in my mind, and a third one in
dear reader’s mind. Another one before all these
levels or after all of them is possible.
Now what is the original text? And what is the
mirror? In fact the process of text multi-
formation exactly mimics the manner of mirror
image, but the reflectivity and mutual
effectiveness are central in this system. Each one
of the over mentioned forms of the text is
independent in its shape from its source, but at
the same time it is dependent on it in its presence,
and here is the creativity of our intellectual
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system which deals with writing. In real words
this is the real creativity of the language system
and you see this clearly.
So the system of the multi-formation of text in
its existence characterized by two important
features; first the dependency in its presence and
the second is the independency in its shape. Of
course, the differences between theshapes of the
different existences of the text are minimal, and
any of them always try to keep the deep message
and central idea of the text.
What is obvious to me is that the text on paper is
a reflection of what is in my mind, and the last
one is the reflection to a collection of sentience’s
components which I realize their effect on my
response to what I receive from the external. That
external I shared it with the readers, but its
meaning in my internal is different from that in
the reader internal. This modification on external
things and the difference in their meaning
pointing our fingers to the real origin of the text,
I mean the author’s internal which is formed
from a mutual system of consciousness, sentience
and awareness.
Anything in external has different meanings for
every conscious creature and has a modified
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image in any intellectual presence, and my text is
one of the external things in our world, but we
should remember that these modifications are not
free and totally independent. Our differences in
the imagination of external and our modifications
on its meaning are always under the effects of
universal systems where everything we are in
share, especially and importantly the language. In
fact, the language is the most important and
effective organizer of our thoughts and
existences, and we can say that the origin of my
text is our language, and its beginning stared
from it.
Chapter (7): The expression is An Attempt to
find the beauty
Our world is in its essence is a transfiguration of
the beauty and all of us appreciating it. We can
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see the big impact of the colors and perfumes on
our daily life, and in fact our existence is simply
an incessant attempt to find the beauty.
The seeking of the beauty is an innate desire, and
as we can't live without food, actually we can't
live without the beauty.
One of the beauty’s pages in our life is the
creative writing, which, by its admirable styles,
enlivens the lands of hope and illuminates the
areas of darkness. The beautiful writing can
change our awareness about ourselves and the
world in addition to its innovative features which
make us fly with cheerfulness and jaunt with a
delight.
These conscious and subconscious effects of the
creative writing occur as a result of the strong
relationship between the language and our minds.
In fact there is an underestimation of the
powerful effect of the writing on our minds ’
embodying and the final appearance of our
existence. The language is the central tool in the
organization of thought, and any conception
about anything should be occurred through the
meanings. That is to say, through the language. If
we want to change any situation we can do that
by the universal changes in our words about it,
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In the speaking activity, there is always a content
and the way by which this content has been
expressed.
The content of the speech can be divided broadly
into internal and external and into real and
imaginary. And these content can be expressed in
the usual traditional way or in an artistic fine
way. The first is the traditional speaking while
the other is the literature.
The external and internal literary contents can be
expressed by reporting or narrative manner. The
example of the reported external literature is the
non-fiction creative writing, and the example of
the narrative external literature is the fiction. The
example of the reported internal literature is the
lyric poetry, and the example of the narrative
internal literature is the narrative poetry. All of
that is obvious.
So the lyric poetry is an expressing the internal
literary content in a reporting manner, and the
narrative poetry is an expressing the internal
literary content in a narrative manner. And
obviously, not all the reporting expressions of
literary contents are lyric poetry and not all the
narrative expressions of literary contents are
narrative poetry.
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While the internal and external and the report and
narrative are well distinguished, the literary
property of the speaking has a vague concept, but
we can realize many characters which distinguish
the literary speaking from the traditional one.
To understand the difference between the
literature and the traditional speaking, we should
understand the components of the " expression".
The understanding of the expression components
is the way to understand the differences between
the literature and the traditional speaking and the
tool to differentiate the various literary genres
and their subdivision..
In fact the element which makes the writing or
speaking appeared as a literary piece is the
manner of expression. Usually the literature had
been understood as a process of selectivity and
betterment, but this not fixed. The fixed character
in the literary writing is the special expressional
manner.
In the way of speech letter, there is always a
road which should be followed to transmit the
letter from the speaker to the hearer. We can find
easy three types of these "letter-transmitting
roads". The first is the traditional road an it is the
shortest road of reception of speech letter, the
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second is the error road where the deviation from
the traditional road presents the errors until it
reach the claver state and non-meaning speech.
This road we can call it the" error road", The
third road is a road has been characterized by
additional surrounding meanings which make
the process of understanding take a long way in
relation to the usual with more quantity of
meaning per the unit of the articulation and
present with a wider semantic field. This road,
which is characterized by the relative longevity
and bigger meaning bulk and wider semantic
field is the literary road. So we have three roads
for speaking and understanding; the traditional,
the error, and the literary road.
The differences in these characters of the literary
road. I mean the longevity, the meaning bulk and
the semantic wideness, give the rise to the
literary genres. It is not right to think that these
characters are present in the level of phrases or
sentences only. In fact, each one of these
properties has many features which can involve
the words, the phrases, the sentences, the
paragraphs, the whole text. The degree and the
level of the transfiguration of each property give
rise to the different literary genres.
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Chapter (9): Expressive mosaic in "Sublime
Revenge".
Olfa Philo′s "Sublime Revenge" is a play written
by a poetess, and because of that the lyric voice
was loud. The play was written in a short
message literary way and appears with the usual
Olfa′s direct style with the concentration on deep
disclosures. In "Sublime Revenge", we find the
superficial polyphonic dialogue with deep
monophonic lyric voice.
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Olfa Philo is a Tunisian poetess and writer, and
her writing was characterized by emotional
impetus and clear text message. Here, I will try to
pursue the stylistic elements in Olfa
̓ s play, which
was published on Amazon in 2015 in a book of
172 papers, and it was – as its synopsis said-
written after experiencing difficulties at all levels
caused by magic spells.
It is so clear that the play is a typical example of
what we call the "affair literature", where the
writing tries hardly to emphasize the deep idea
and deliver the central message.The author tries
everything to deliver our pure voice, and to bring
our consciousness to the field of serenity. In
"Sublime Revenge" we can see our life expressed
in short glimpse.
Because of the centrality of disclosure in this
play, we find the "mosaic writing", where the
sentences behave as mirrors. Each sentence
appears as a reflection of another, and lastly all
sentences trend toward the central ideas of the
text. This manner of writing was called the
"mirror language". The clearest example of the
mosaic in this play had been presented in a
system of polyphonic voices in scene (1), where
the site of illusion has been represented by
Satan’s voice.
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"Satan:
Damn you Mystery, what the hell are you doing?
Revealing all my cards, undoing all my traps!
Disclosing all my secrets, ripping all my webs!
Alerting potential prey, warning all my victims!
Closing all my doors, jamming all my openings!"
We can see the mirror situation of these
sentences by overturning the different aspects of
a central idea with different expressional tool.
The mosaic system of the text was expressed by a
collection of different sentences pointing toward
that idea.
The writing depends on a rhythmic system of
different ways, which highlight the deep and
superficial rhythmic characters of the play. One
of the obvious rhythmic techniques is the
repetition.
The author used every tool to express her
message, by direct and indirect language. So the
utmost disclosure is present strongly in the play,
which needs certain type of words and special
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textual techniques where the words and the
sentences appeared in highly emotional impetus.
This manner of literary disclosure we can call the
"expressional extremism". We can see this in
every part of this work.
The field of words in the text is not a free. In
addition to the subconscious factors, and context
elements, there are what we call "language
consciousness", which is the most important
factor in the specification of the text's shape and
its words. The language like everything else has a
consciousness and it always attempts to realize
the optimal situation in its external existence.
One of the features of optimal existence of the
language and its words are the expressional
lexicon, where the words appear in closer field
and compatible semantic group. In "Sublime
Revenge" we can see the clear expressional
lexicon with fields of words belong to the
deliverance, ethical and idealistic meanings.
The text was characterized by the high impetus
of internal feeling, and the usage of suitable
textual technique to show these feelings. Olfa
̓ s
"Sublime Revenge" is a clear example of
expressional dialogue where the author’s views
and messages have been embedded in every
piece with superficial polyphony and deep
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monophony, and this system is a clear feature of
lyricism.
This essay was an attempt to approach the
stylistic features of the lyric voice in Olfa
̓ s
"Sublime Revenge" and its expressional tools,
but I should emphasize that there are many other
aspects which can be followed in addition to the
stylistic feature, especially the cultural context
and the psychological revelation.
Chapter (10): The Narratolyricality
In Literature, there are the poetry, the prose and
in the middle, the prose poetry according to the
characters of the superficial and deep structures
of the speaking. Every speaking or its writing has
a superficial structure which is the first
construction and the understanding level in the
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hearing or reading process, and a deep structure
which is the analytic and semantic level in this
system. While poetry characterized by rhythmic
superficial and deep structures, the prose in
contrary to this has characterized by unrhythmic
superficial and deep structures. But in the prose
poetry we find the unrhythmic superficial
structure and the rhthymic deep one, and this the
cause of hybridization in the prose poetry. So the
pose poetry is a hybrid of prose and poetry and
the rhymicity and unrhythmicity.
The prose poetry can be produced with a
narrative or lyric manner. If the style is lyric in
both superficial and deep layers, there will be the
lyric prose poetry, while if the style was narrative
in both superficial and deep layers, there will be
the narrative prose poetry. But we can find the
superficial narrative structure with the deep lyric
structure. In this case there will be the hybrid of
Narrato-lyric prose poetry, and this the second
hybrid inside the first hybrid of proso-poetry. So
the Narratolyric prose poetry is a hybrid inside a
hybrid.
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Chapter (11): The rhythmicity of the Writing
The speech can be rhythmic or unrythmic, and
this division includes the literary and the
nonliterary speech. And if you ask about the
writing, it is clear that the writing is a symbolic
vehicle to transfer the speech by a visual vehicle.
Every speech piece has a superficial and deep
structure and each one of them can be ryhmic or
unrhythmic, so we have four system as a result of
the different compination of these elements.
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1-The rhythmic rhythmicity / poetry
2- The unrhythmic rhythmicity / prose
3- The unrhythmic rhythmicity / prosaic poetry
4- The rhythmic unrhythmicity. / poetic prose.
The rhythmic rhythmicity is responsible for the
production the poetrty, while the unrhythmic
unrhythmicity is responsible for the production
of prose. In the unrhythmic rhythmicity, there are
a unrhythmic (prosaic) superficial structure with
a rhythmic (poetic) deep structure, and because
the core and central of speech is the deep
structure, there will be proetry with superficial
prosaic shape and this is the prose poetry. In
opposite to this, in the rhythmic unrhythmicity,
where the superficial structure was rhythmic and
the deep one unrhythmic, there will be a prose
with poetic shape and this is a poetic prose.
From another aspect of the view, there is an
imprecise thinking that the poetry is equal to
lyricism and the lyric piece is always poetry. And
this is not right, the lyricism can present in prose
and the narrative can present in poetry.
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In the lyric prose, the superficial structure of the
poetic prose was lyric, and if the deep prose was
narrative, there will be lyric narrativity (
lyronarrative writing), while in the narrative
poetry, the superficial structure of the prosaic
poetry was narrative, and if the deep poetic
structure was lyric, there will be a narrative
lyricism ( narratolyric writing)
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She whispers from there: Where will you find
your story? The violet roses are sleepy, and the
mirrors follow the white trees. The birds and the
fabled river know that moment, which needs a
smile and warmth.
I will drown in the yearning sea. I will hug that
train where we met sleepy sounds, so from there,
my story will begin.
She said: the river colors are descended from that
balcony and they should kiss the eyes of flower
seller. That colored shadow told me: when the
moon sleeps in your lids, you will know a new
kiss and you will see the cloud flowers.
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Farmer
I am an old farmer, so I know this earth perfume.
I grew between its legumes like a butterfly loving
the sunshine. Come here look at the Euphrates.
He is sweet and clear. He doesn't know any spite.
With a brown garment and a headband, he
descended as a desert cavalier, so it is not strange
to see all that sand covering his face. Also, I will
tell you about Uruk, the sleepy city, which were
the seven wise men built up its foundations.
Come here; look at my palms, and see how they
are coarse like our trees and lucent Ambergris
which filled with honey. Because of this you find
the darkness sits there, in that corner with its icy
dress, killing my children.
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Cloud tales
When we learned laughs, the moon lights sleep in
our lids, and when I groped the face of a strange
voice, the vehicles pass very fast. How you can
imagine this? How you can count the cloud tales?
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Strange holiday
The holiday is a very delicate thing. We learned
it in our childhood, as we learned to carry our
bags. It is smooth like the skin of summery
dream, making us a spring butterfly. I was very
happy when I saw his heart. Its waterfalls amazed
me. They were calm as girl braids. That holiday,
which we saw him in someday, and we feel his
sleepy hands. I see it clearly when it plants its
field with wet tales. That holiday, which is
coming from faraway town. It stands with its
silky coat in the middle of the street as a strange
man. It dissolves in our veins as a passion letter.
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I was very wrong when I thought that it is an
emigrant goose.
The birds
Despite all of these dark clouds, and despite the
absence of simplicity behind the skyline, I still
like the sky color, and its wide space which make
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you feel that you are a light paper over the winds.
The sky despite its changeable color, it likes the
simple things. It bends to wipe a head of a wet
bird. As this, as a paper in river, I want to live in
simplicity, walking in my town alleys with
breeze jests with my deep. I am now feeling
boredom in this noisy city. The birds are few
nowadays. I was trying to plant a tree from that
type which blossoms in winter to make the birds
live with no estrangement, or in a precise words
to make myself live with no estrangement,
because the color of my county becomes so
strange. The birds told me that they are tired from
waiting the runaway boats. They were
whispering in my ears that the earth becomes red
like the lipstick. Yes, the birds don't lie. They are
icy and strange creatures. Listen to their chants
which will make your soul remember the loyalty.
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Heritage
What a frustration; after all that warmness which
overflowed me by falls of light, I find myself just
a crippled shadow of war. I am the heir of green
laughs. Here is my heart, look at it. Do you see
anything except for drought? Here are my wails
penetrating me like the feet of invaders which
had drawn my rusty face. I am the corpse
thundered by death fever. I lean down on
barefooted roads as a stranger, nothing
recognizes me but cold. In my darkened soul I
cannot see but my groaning, my clothes are torn
by stories by which I made a ragged shackle
binding my lost islands. This is what I am: a dead
mass dreaming of nothing. My ancestors
inherited me insanity. I am, by their favor, just a
heap of dark remnants, whose ghost rides on me
as a blind horse so that I am good only in
clashing with every palm tree, whose fruits are
breezy honey. I do not see all that glory, but I see
only a stone bleeding my feet, a harsh trunk
cleaving my head, and my grandfathers' tales
telling me what they saw when their heads were
immersed in troubled water.
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Love
As a dazzled butterfly, I will end in the love of
this earth. I will exit from its fissures with a
crown of heavy years. Like this, like an old
hunter, I will dissolve in the lake’s dream.
A Slivery Air
(Abstract Language)
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This silvery air is delicate as a green apple.
Under its wings, the town lives with quiescence,
and the swans dance like sun songs. The field’s
birds with their vivid colors bath over its swings
with delight. Wet leaves fill the street with
morning songs and moisten the girls’ hearts with
the breeze. It comes from a remote land on a
softness wing. Its sleepy river colors my blue
dreams with pearl taste and its fragrance jumps
between our breaths as butterfly.
A Statement about Abstract Writing
The poem tries to catch the exceptional deep
moment, where the delight and the colored
emotions were transfigured. The disclosure was
depending on the feelings impetus more than the
rational benefit of speech. It is like the abstract
painting which is depending on the deep and pure
meaning elements. In this piece there is a mixing
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of lyric voice with narrative, so this poem stands
between lyric poetry and the prose poem.
A Broken Mirror
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We know that all these touches which descend
from that balcony in a dazzled evening can't stay
in our hearts without scorch. Our eyes are so
small to see the life which sits with its hidden
beauty behind our time as a strange man. Please
tell me how the waterfall can wash my dream
while I am a broken mirror and my soul combs
her destruction at that corner without any hand. I
am a crippled shadow, so don’t try to see my
heart.
The Yellow Bird
You can feel my pulse with its violet water and
great tales of blind sand where the echo’s groans
as a yellow bird exhausted by rain. It narrates his
bright pain with wide eyes. The crying clouds are
shameful because they dissolve his feather and
bring an autumn whoop filled with a yearning
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death. Oh the bitter yearning, I am not happy and
can't tell you about my fiery passion, but you
should remember that yellow bird and his gray
blood.
About the Author
Anwer Ghani is an Iraqi poet and writer. He was
born in 1973 in Alhilla city. His name had
appeared in Adelaide, Zarf, Peacock, Otoliths,
Algebra of Owls, and others. And also had
appeared in Inner Child Press anthology "The
Year Of The Poet". Anwer Ghani is the chief
editor of "Tajdeed" literary magazine. He had, in
Arabic, forty books in literature and religious
sciences. Here is his website;
https://anwerghaniwriting.blogspot.com/p/blog-
page.html
Anwer Ghan is the chief representative of the
World Nations Writers Union (WNWU) in Iraq,
the member in international writers association
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(IWA), and the establisher of "Tajdeed Literary
Institute (TLI)" and the annual "Tajdeed" Prize
for expressive narrative.
