War Haiku: Feel the conscience of the world
Dr. Hashem Merghani
1
Writing is a terror that lights up the conscience.
Ali Abdul Qayyum
2
With poetrys blood, this harsh love.
The history of spirits is written
Exiled cleansing. No name.
He has all the names
Abdulwahab al-Bayati
3
Why did I abhor the bad guys, Dad?
Not your fault, son. Its language geography!
Fathi Al-Behairyi
From the heart of the darkness in which the world shrouded its moment of creating a pop of grasshoppers, the word was blessed to represent its voice - meaning, its presence, as well as its connotation. To light it up and light the road ahead. In one word: To think of him from the clouds of silence and deep exile to the space of a welcome presence in this carnival of creation; At first it was the word, and also at the end - the word that the poetry soon stood, since its mud was made intact in the hands of the Lord, to pay tribute to its prayer: Brides, feasts, other universes: new and different, to live: comforts of the ferocity of the imagination, a conscience of the entity of existence, a tongue for silence, theatres of the festivals of soul and the brides of the body, to draw an antidote to anecdotal surgeries, to repay the anomaly, to embark on the different world, to spread a net beyond you...
The purposes of this article are not so much to explore the trajectories of the worlds poetry clash forest as to refer to one aspect of this clash by examining its contemporary relationship with war through a small, neglected window clutch - the haiku poem.
Although Haiku is originally a great Japanese poetry art invented in the Edo Period era, this very short poem, with its tight economy, as a pretext for storing the entire world within it, quickly crossed the frontiers of the country that exploded in its land to fragment almost everywhere. This is for a simple reason: the Japanese were not the first to invent this form, but the first to establish it as a widespread official art and give it a name. In the soil of each part of the Earth inhabited by humans, the roots of human culture are deeply intertwined in a unit that does not know the isolation of schizophrenia.
Haiku is simply defined as a very short one-house poem consisting of seventeen soundbites in Japanese, usually written in three lines in which these passages are distributed as: five, seven, and five.
These soundbites in Japanese poetry were strictly associated with a particular semantic structure; The Haiku poem must include a word referring to the annual season or chapter called kigo in Japanese, and a conclusive detailed word changing the course of the poems movement called kierji; But in different parts of the world, Haiku was freed from the Japanese Brookst Bed: Permanent intervention in natures bayonet, its connection to its seasons, the exact number of soundbites, determining the type of words in its systems between one word defining the poem season and another changing its course.... etc.
He retained his naughty force in the window, his feat intensification, the essence of his lush dialogue with the environment around him, his hoarding in the presence of the bodys senses a bridge between the vocabulary of the universe around him and the vineyards of the distant spirit, and captured the essence of his vision: The fragility of life, the catastrophic moment of the indifferent River of Time, the acquisition of the transitory little vocabulary of life and its elevation of the epitome of immortality through the miracle of poetry, engaged in - various parts of the world are delirious - enriching it with the neighbouring races and literary forms that engaged it in a lush creative dialogue: Prose poem, very short story, naughty, one house poem, opening quote, poetic signs, blink and rare... etc.;
All those races that emanate from the linguistic economy as a basic strategy for building their texts; Even the long poem itself may have hoarded a package of haiku poems; In the mine of many poems, there are veins of gold from Haiku poems, and perhaps some of that includes what Arabs called the whole point, the best verse of the poem and the most Serwa, which can be, for example, its inaugural insight, which can form a fully fledged poem, especially when the poet rallies with his entire arch and his experience.
It may be recalled here that the Haiku poem itself is originally the beginning of the Japanese long poem Ringa, which was called the hoku hokku and then broadcast the separation, and became written as independent poems; relatively late in her split, Japanese writer Masaoka Shiki (1867-1902) gave her name: haiku.
In this context of emancipation, we should also recall that the Japanese Haiku poem itself tried to break free from its construction accessories and nasal semantics - except under 17 passages - in what is known as the Senryu Sinrio poem, which is an evolution of the Haiku poem by freeing it from the captivity of nature to the generalized generosity of humanity as well as a new body.
I should say that many non-literary objects and arts are involved in the Haiku world - without calling it so, of course - with the effect of the law of the writing economy, which never seeks to scrape words so as not to overwhelm the body of meaning, who in this context can overlook: Seoran Nuggets, Kafka Meditations, Bissoa Visuals, One Minute Movies, Photo Singing a Thousand Words, Tweet... Etc?!
All those exclusively promising worlds depart from the haiku cloak in that literal sense, breaking its narrow structural/semantic shell restriction to open its true performance: distilling the human experience whatever it may be; There is therefore a valid confession pause here: the Japanese Haiku poems in their Arabic translation have not been so genuinely sought after as to sacrifice part of the general literary trader; Perhaps the real reason for this, as well as some details of different cultural contexts from spot to spot;
What goes into the identity of the writing and carves its privacy from spot to spot despite its coalition in depth is: its rhythm is leaked away from our hands by translation, which only conveys the ghost of meaning, stripped of its bell, rhythm and systems; That is, stripped of the new meaning that she wears after entering the field of literature, the other thing: the constructive/semantic Haiku Broxte to which we referred that poem and its pattern; That is why the Haiku poem, in its own form, sometimes appeared to be rampant on Arabic taste, and its artisan imitators, who introduced it into a strange predicament: the signifier Her models seemed, for the most part -- some if anything, mitigation -- like a stray, non-Ram-thrown dump, a dirty, dirty joke like an incomplete joke; Her beauty shines as a witch from the distillery miracle, where the orchard hides in a flower, with the expression of our poet Mohammed Al-Maki Ibrahim.
Then poetry can flourish me with bright pearls of worship leapfrogging the memory of this reading lots of them, of which we choose to represent not exclusively...
Poet Salah Ahmed Ibrahim:
The Nile and the Land Choices Here
Nevertheless,
It is obscured that Keplow receives such a rare pearl:
Not a miracle.
To fly this beautiful human being.
Miracle being flightless.
Secretary of Fields: 88
Who is Yisri Nasrallah:
The Poem River
Before her whistles were completed
Its time for the job.
I am now my soul is dark,
But a clean neckband.
Its Gregory Hopkins from the other beach:
In Red Indian Dakana
I hesitate to ask:
How much do I owe you?
And so, and so on.
In this fascinating little book, Heiko War: Traces of Lead from Around the World issued by the Jordanian House of Spaces in its first edition in 2017, the Iraqi poet and translator Azad Iskandar translated a number of Haiku poems he had collected over two years, describing the book as, in one respect, his personal vendetta of wars and their perpetrators, as he is The song that stood in the face of the cannon, the drop of dew that drowned the river of blood.
One hundred and forty-four pages of small pieces included Heikos poem, translated by Alexander from English, albeit originating in various languages of the world. The well-known novelist Ennam Kaji, the American Granddaughter and Untouchable, wrote a short, chunky introduction to the anthology, capturing the essence of the Haiku recipients response in general: Whoever listens to Haiku does not disturb and needs to be restored, but silences and withdraws to himself in reflection, grotesque, in conformity with the universe (Introduction: 6), and also captures the essence of the response to such selections:
The ruin of the Earth is not what we read in this book. He has two engineers and two builders who take care of repairing what has been shattered, even the gods of the soul, a line and then a second, after which the third comes to say his word and walk peacefully. The Haiku poet (here) goes on to leave his camel in the shoulders of his readers, freaking out, dropping or grabbing her and sharing in the fire. Open your palms and hearts and take off your reassurance socks as you step on this carpet (Introduction: 8).
By the nature of the books specific choices, the book contains only drops of the sea of hair sprawling in the fight against war and of Haiku specifically; Despite the long history of long poetry in glorifying the war from Homer to Brecht, from Amr Ben Kulthum to Abd al-Razak Abd al-Wahid, and whether those wars were fair or unfair, a war of resistance to colonialism or involvement in his invading armies, fuel for civil wars or a theology of liberation, in realization of national glories engaged in no collective consciousness or slide; An appetite for open ideology or a response to its aggression... etc. But his awareness - poetry - that lacked after centuries of massacres and blood was sharp in its rejection, anti-ugliness, vandalism and absurdity, crucial to the welfare of its insane politicians, and as the war shed precious blood, it drained enormous ink that represented its vast blog lake a net voice for the conscience of this debilitating world.
Here we do not change the approach to these cash selected texts; Neither the context of bullets crumbling above us allows for such luxury, nor the blood of the victims can afford more of this critical theorem that we have had to. Most of our intention here is to gently touch the wounds of the victims, the vandals of the empty cities, the desperate walls of despair on which we lean, our inflammatory houses, our burning libraries with the possession of this humiliating war. - To prepare for that day when we can settle one account with them - so we will just elect a number of the books anthology that represents a sample for the rest of it, and it will destroy the reader of the climates of that nightmare that the farce of mass killings called the Passport of War: The Childhood of our Unaccompanied Human Mind:
1
Looking for
Anti-war poems
I find two kids playing
Naomi, Canada
2
Theyre going to war.
In the eyes of the dead.
They dont see, they dont see
Ron Ross, Tasmania
3
Hand at ear
Try in vain
To wipe away tears
Sylvia Mizeret, Slovena
4
He says, Jaw!
And his smile fills his face.
Baby without arms
Dainius der Jubila, Lithuania
5
In black bags
Mobile phones show
Uninterrupted
Marcos Solzberg, Switzerland
6
Smells of orange
Smell then blind...
Chemical attack
Alan Summers, England
7
Men On Cakes
Theyre building a new orphan.
For children with scars
Alan Summers, England
8
Flying grief,
He has wings,
But theres no heaven to fly.
Sudkhu Altancholone, Mongolia
9
Fireworks.
Refugee Child
Blocking his ears
Andrea Kitchon, Italy
10
Torture...
Another spot
On the flag.
Billy Wilson, United States
11
Africas Forests
The gun is bigger.
Carol McRory, Canada
12
Crowded coastline
Soldier sitting surrounded
In his uniform
Slavko Sidlar, Serbia
13
Demolished House
In the empty courtyard
Dog strapped
Robert Bebek, Croatia
15
The rickshaw is over,
Chickens surrounded
By the victor.
Medhat Hinchic, Bosnia
Concluding,
As in the great December Revolution, which was darkened and sealed from Khalil Farah until Marwa Babakar; The moral and cultural discourse that has erupted since April 15, 2023, is far from widespread and effective, and continues to be extended amidst the jihadists of the belligerents and their horns. This approach, of course, cannot be approached - because it is confined here to Heiko War teams in some of its translated models - but it is wider than this proposal:
This vast literary discourse is needed for those who know their poetry from websites, social media, blogs, prints, manuscripts, writers groups of friends, etc., in preparation for the release of a series of books in War Anthology that includes: her poems, her narratives, her testimonies, her photographs, her documentation of a writer etc.
Last call: No to war, military barracks and Janjaweed dissolve. After a comprehensive accounting of both for all their crimes.
Footnotes:
1 . See in Haiku the introduction of Hassan Salhabi to his book The Sound of Water: An Anthology of the Most Prominent Haiku Japanese Poets, Al Faisal, No. 11, year 1437 A.H., as well as the valuable lexicon prepared for Haikibedia at the conclusion of his book, see also Haiku. The Penguin Book of Haiku by Adam L.ken
2. In Haiku al-Arabi viewed - represented - Anatology of Haiku Arabic poems, the preparation and presentation of Abbas Mohamed Amara, the publications of Moment, 2019, as well as the magazine Haiku al-Arabi, which is supervised by Mahmoud al-Rugby and published electronically, as well as several Arab haiku websites.
