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Showing posts with label <b>Amin Khan</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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<h2 class='date-header'><span>Monday, February 13, 2012</span></h2>

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<p class=MsoNormal align=right style='text-align:right'><a href="http://farm8.staticflickr.com/7002/6853717079_8c4ff79f15_b.jpg"><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:black;mso-themecolor:text1;mso-no-proof:yes;text-decoration:none; text-underline:none'><img border="0" height="248" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/0xTNHJr6hzICOTTuwEy1eM95HZM0UadqEnsnQM-azraKG5N6jrOuJXeJryaepljXOVUfe-u8CLGXzvQcEwQa971N7-1ThTXNpiBqjLEI_Z3-9Q%3Ds0-d" width="355"></span></a><span style='font-size:10.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><br> </span><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt; line-height:115%;font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor: text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>Amin Khan</span></i><span style='font-size:10.0pt; line-height:115%;font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor: text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'><o:p></o:p></span></p>  <p class=MsoNormal><span style='font-size:10.0pt;line-height:115%;font-family: "Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1;mso-themetint:242; mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor:text1; mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>What does surrealism tell us now? It&#8217;s been nearly 140 years since Rimbaud stopped writing, but I was reading Amin Khan&#8217;s <i style='mso-bidi-font-style:normal'><a href="http://www.spdbooks.org/Producte/9780942996753/vision-of-the-return.aspx"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Vision of the Return</span></a></i></span><span style='font-size:10.0pt;line-height: 115%;font-family:"Arial","sans-serif"'> in Dawn-Michelle <span class=SpellE>Baude&#8217;s</span> translation when I came across the following piece:<o:p></o:p></span></p>  <p class=MsoNormal style='margin-left:1.0in'><span style='font-size:10.0pt; line-height:115%;font-family:"Arial","sans-serif"'>I saw the corpse of the plum tree<br> of the camel his splattered guts<br> the soiled tears of the child<br> the sniffle of orphan light<br> <br> I abandoned the pursuit of art<br> to sleep for eternity<br> under the fevered feet of my children<o:p></o:p></span></p>  <p class=MsoNormal><span style='font-size:10.0pt;line-height:115%;font-family: "Arial","sans-serif"'>It&#8217;s that second stanza that stopped me cold. It seems like such a puffy, overwritten way to say <i style='mso-bidi-font-style:normal'>I chose death over art </i>that it calls to mind Pound&#8217;s old dictum that poetry needs to be at least as well written as prose. Now I&#8217;ve known <span class=SpellE>Baude&#8217;s</span> work for decades and I trust her judgment, as well as that of Post-Apollo Press, well enough to know that Khan cannot be an insignificant figure, and that this is not apt to be a blundering translation. <o:p></o:p></span></p>  <p class=MsoNormal><span style='font-size:10.0pt;line-height:115%;font-family: "Arial","sans-serif"'>For the most part, the early sections of Khan&#8217;s book are spare, a kind of muted expressiveness that can be quite effective. Nothing before suggests that this comic flight is intentional &amp; knowing that Khan first published this book in 1989, when he was in his early 30s, doesn&#8217;t much help. Rather, I think what Khan is doing here is signaling an allegiance to the surreal, as such, something he&#8217;s done elsewhere in this volume, perhaps with less pathos.<o:p></o:p></span></p>  <p class=MsoNormal><span style='font-size:10.0pt;line-height:115%;font-family: "Arial","sans-serif"'>Which brings me to the question of what does it mean? As an Algerian writing in French, it&#8217;s not an insignificant move. <i style='mso-bidi-font-style:normal'>Vision </i>was the third of Khan&#8217;s books, and the third to be published in French in Algeria, although Khan comes from a revolutionary family in Algiers and has worked as a diplomat for various global agencies (UN, UNESCO, <span class=GramE>The</span> World Bank). The work&#8217;s relationship to the life is obviously complex.<o:p></o:p></span></p>  <p class=MsoNormal><span style='font-size:10.0pt;line-height:115%;font-family: "Arial","sans-serif"'>My question has at least two aspects to it. One is what does it mean for someone from a former French colony, writing in French, to adopt the stance of an historic &#8211; albeit dated &#8211; avant-garde? The other, the one that itches at me still, is the problem of what does it mean to write a stanza whose primary message would seem to be surrealism, as if Khan had simply raised a large banner: SURREALISM HERE. <o:p></o:p></span></p>  <p class=MsoNormal><span style='font-size:10.0pt;line-height:115%;font-family: "Arial","sans-serif";color:#0D0D0D;mso-themecolor:text1;mso-themetint:242; mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor:text1; mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>Obviously the meaning of surrealism in France, where it was principally the poetry of sophisticates between two catastrophic wars, is very different from what it has been in the United States, where it has more often been a code for &#8220;<span class=SpellE>Europeanness</span>,&#8221; not in the sense of death camps &amp; carpet bombing so much as chardonnay &amp; Gauloises. Khan himself <a href="http://postapollopress.blogspot.com/2011/08/interview-with-amin-khan-author-of.html"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>aligns the book</span></a></span><span style='font-size:10.0pt;line-height:115%; font-family:"Arial","sans-serif"'> with his own sense of doom at the Algerian political situation in the late 1980s as Arab nationalism began to devolve into the civil war of the following decade. <o:p></o:p></span></p>  <p class=MsoNormal><span style='font-size:10.0pt;line-height:115%;font-family: "Arial","sans-serif"'>But I&#8217;m reminded of what Robert Grenier wrote about speech, himself echoing what William Carlos Williams once had written about the sonnet &#8211; that at a certain point in history an established mode of writing simply is the past dragged on as formal habit. That it can only say itself, so that little or nothing can actually be said <i style='mso-bidi-font-style:normal'>with it</i>. That might not be true of surrealism in France, Algeria or any of the former French colonies, but it&#8217;s very difficult to negotiate stateside. <o:p></o:p></span></p>  <p class=MsoNormal><span style='font-size:10.0pt;line-height:115%;font-family: "Arial","sans-serif"'>If you examine that second stanza more closely, you will note that Khan is associating death here with domesticity, suggesting that to look to the family as a respite from the coming slaughter &#8211; the first stanza is clear enough &#8211; is a coward&#8217;s mode of survival. One might associate Khan&#8217;s indictment here of the domestic with Milan Kundera&#8217;s not dissimilar portrayal of libidinal life in Soviet-era Czechoslovakia. There is more going on in that second stanza than my first read-through could see. <o:p></o:p></span></p>  <p class=MsoNormal><span style='font-size:10.0pt;line-height:115%;font-family: "Arial","sans-serif"'>But what I get is this unresolvable cognitive dissonance between what this poem &#8211; and that second stanza &#8211; are and do in Khan&#8217;s life &amp; work, and what it means to come upon it in America some 23 years hence. It&#8217;s possible to build an intellectual bridge to the context in which Khan&#8217;s poem can be read as shattering, but it&#8217;s something very different to experience it. <o:p></o:p></span></p>
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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