Opinion: Everything Stuck To Him By Raymond Carver Analysis
| My Reflection As A Writer And Speaker | The Role Of Suffering In The Crucible |
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Reviewed by Kevin Blankinship Nonfiction by A feeling of resignation haunts the verses of this celebrated Palestinian writer, but weariness becomes an improbable source of strength in his work. Do Palestinian authors speak for their people, or for themselves?
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Should they write about politics, and if so, how? Since then, he has been translated into Everythinh languages and garnered praise from writers and critics like Issa J. To steal a phrase from American epigrammatist J. In sum, he speaks for Palestinians even as he speaks for himself.
True, a tone of resignation does echo in many poems.
But Darwish trades the cynicism of Nothing More for a hopeful assent to what life under occupation brings. Still, the exhaustion lingers, and it leads to self-reproach when Darwish feels powerless against it.
Then he asks a furious question to himself: How could you smile, indifferent to the brackish water of the sea while the barbed wire wrapped around your heart? How could you, you Carveer of a bitch? Paradoxically, when Darwish succumbs to the weight of reality, he starts to wonder if he himself is real. He becomes a Whitman-like container of multitudes: now a slave in ancient Egypt, now the bohemian poet Abu Nuwas, now a soldier in disguise. Other times, it is Darwish who stays put and the world that comes to him.
Further Reading
Tamerlane is troubled by a verse from Hafez that says he would give up Samarkand and Bukhara—the two grandest capitals of the realm—for just two beauty marks on the face of the beloved, who in a mystical context stands for Deity. The world-conqueror summons Hafez, worn down and dressed in rags, and asks how he could so easily give up worldly extravagance. The poet, surrounded by carnage and burning streets, flashes a knowing smile.
Darwish takes this faraway moment of wry defiance as a badge for Palestinian opposition.]
Cannot be