Modern Iraqi Poetry Since 1947 PDF Download

Author: Fadel Khalaf Jabr
Publisher:
ISBN:
Category : Arabic poetry
Languages : en
Pages : 51

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Book Description
This anthology captures the catalysts, motivations, inspirations, and outcomes of the free verse movement in Iraq from its inception in 1947 to the present day. It provides English readers with an understanding of the breadth of modern Iraqi poetry landscape by including translated poems within their political, economic, and social context. Beginning in Iraq in 1947, a free verse (shi`r hurr) movement emerged, completely altering the way much poetry would be written thereafter in the Arab World. Wanting to break free of traditional poetry's meters, meanings, and rhymes they found constraining poets began experimenting with new and different styles better able to capture the feelings, values, and events of current and contemporary life. Building on and encouraged by earlier efforts at innovation, they endeavored to break the rigidity of traditional poetry and express new attributes and domains: the dream world, free imagination, open narrative, folklore tales and legends, everyday life, surrealism and mythology. Over subsequent decades, poets furthered the free verse movement, adding their own conceptions of modernism and post modernism along with new styles, meanings, and mediums. Many anthologies of Arabic or Iraqi modern poetry have been published in the United States, such as: Fifteen Iraqi Poets, New Directions Publishing Corporation, 2013; Flowers of Flame: Unheard Voices of Iraq, Michigan State University Press 2008; Modern Arabic Poetry: An Anthology, Columbia University Press, 1987. However, despite the intentions of the editors, the content of these anthologies reveals several limitations. First, the anthologies introduce only a small portion of the wide Iraqi poetry landscape. Second, the poets selected are mainly those who are already known and internationally translated. Third, occasionally, poets are been selected based on personal preferences not by merit. Despite these limitations, the collections are valuable for introducing in English a flavor of Iraqi poetry. The current work sets out to fill the gaps in the preceding collections and be as resourceful, inclusive, and representative as possible. Poets were selected that represent the full Iraqi poetry landscape, not only those who are well-known and established. Besides bringing a mix of Iraqi poets from different decades, the anthology also provides background on the social, political, and cultural context that dominated each decade. In addition, the translation process used in this anthology distinguishes it from other collections. The distinctive features include: the translation process, the range of the selection, and the perspective on the translations. All poems included in this anthology went through a similar, four-step translation process, an academically controlled system not necessarily available or followed in other poetry collection translations. In Step 1 of this process, the translator produces a raw summary of the content of a poem. In Step 2, the translator generates a literal version, noting any implied cultural, political, linguistic or social references. In Step 3, the translator produces a clean draft translation, which he or she sends, along with the initial raw summary and the literal translation, to a native speaker for review and provision of feedback, in order to check the reception in the host language. In Step 4, the translator produces a final version of the translation, incorporating all the elements of the preceding steps. In addition, in selecting these poems, I attempted to maintain a neutral selection process, rather than promoting my personal preferences and own acquaintances as an Iraqi poet myself. A neutral selection process provides the anthology authenticity, credibility, and a fair representation. To begin, I collected a variety of samples from different poets actively publishing in each decade since the 1940s. To gain access to a wide range of Iraqi poets living both inside and outside Iraq, I used different sources, such as Iraqi newspapers, popular websites, interviews, and personal connections, to acquire poems for the anthology. The response was tremendous. From the numerous poems that I collected, I then selected the ones that best illuminated how the changes and events taking place within Iraq and its society have influenced poets and their poetry. The discussion of the trends and events taking place in the context where the poems were conceived and produced is an additional strength of this anthology.