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robertogreco : solmazsharif   3

[Persian Letters] by Solmaz Sharif | Poetry Magazine
"Dear Aleph,

Like Ovid: I’ll have no last words.
This is what it means to die among barbarians. Bar bar bar
was how the Greeks heard our speech —
sheep, beasts — and so we became
barbarians. We make them reveal
the brutes they are, Aleph, by the things
we make them name. David,
they tell me, is the one
one should aspire to, but ever since
I first heard them say Philistine
I’ve known I am Goliath
if I am anything."
solmazsharif  poems  poetry  persian  2014 
april 2018 by robertogreco
marwahelal on Twitter: "𝙰𝚗𝚍, 𝚘𝚏 𝚌𝚘𝚞𝚛𝚜𝚎, 𝚊 𝚕𝚊𝚗𝚐𝚞𝚊𝚐𝚎 𝚒𝚜 𝚗𝚘𝚝 𝚖𝚎𝚛𝚎𝚕𝚢 𝚊 𝚋𝚘𝚍𝚢 𝚘𝚏 𝚟𝚘𝚌𝚊𝚋𝚞𝚕𝚊𝚛𝚢 𝚘𝚛 𝚊 𝚜𝚎
"𝙰𝚗𝚍, 𝚘𝚏 𝚌𝚘𝚞𝚛𝚜𝚎, 𝚊 𝚕𝚊𝚗𝚐𝚞𝚊𝚐𝚎 𝚒𝚜 𝚗𝚘𝚝 𝚖𝚎𝚛𝚎𝚕𝚢 𝚊 𝚋𝚘𝚍𝚢 𝚘𝚏 𝚟𝚘𝚌𝚊𝚋𝚞𝚕𝚊𝚛𝚢 𝚘𝚛 𝚊 𝚜𝚎𝚝 𝚘𝚏 𝚐𝚛𝚊𝚖𝚖𝚊𝚝𝚒𝚌𝚊𝚕 𝚛𝚞𝚕𝚎𝚜. 𝙸𝚝 𝚒𝚜 𝚊 𝚏𝚕𝚊𝚜𝚑 𝚘𝚏 𝚝𝚑𝚎 𝚑𝚞𝚖𝚊𝚗 𝚜𝚙𝚒𝚛𝚒𝚝, 𝚝𝚑𝚎 𝚖𝚎𝚊𝚗𝚜 𝚋𝚢 𝚠𝚑𝚒𝚌𝚑 𝚝𝚑𝚎 𝚜𝚘𝚞𝚕

𝚘𝚏 𝚎𝚊𝚌𝚑 𝚙𝚊𝚛𝚝𝚒𝚌𝚞𝚕𝚊𝚛 𝚌𝚞𝚕𝚝𝚞𝚛𝚎 𝚛𝚎𝚊𝚌𝚑𝚎𝚜 𝚒𝚗𝚝𝚘 𝚝𝚑𝚎 𝚖𝚊𝚝𝚎𝚛𝚒𝚊𝚕 𝚠𝚘𝚛𝚕𝚍. 𝙴𝚟𝚎𝚛𝚢 𝚕𝚊𝚗𝚐𝚞𝚊𝚐𝚎 𝚒𝚜 𝚊𝚗 𝚘𝚕𝚍 𝚐𝚛𝚘𝚠𝚝𝚑 𝚏𝚘𝚛𝚎𝚜𝚝 𝚘𝚏 𝚝𝚑𝚎 𝚖𝚒𝚗𝚍, 𝚊 𝚠𝚊𝚝𝚎𝚛𝚜𝚑𝚎𝚍 𝚘𝚏 𝚝𝚑𝚘𝚞𝚐𝚑𝚝, 𝚊𝚗 𝚎𝚗𝚝𝚒𝚛𝚎

𝚎𝚌𝚘𝚜𝚢𝚜𝚝𝚎𝚖 𝚘𝚏 𝚜𝚙𝚒𝚛𝚒𝚝𝚞𝚊𝚕 𝚙𝚘𝚜𝚜𝚒𝚋𝚒𝚕𝚒𝚝𝚒𝚎𝚜." - 𝚆𝚊𝚍𝚎 𝙳𝚊𝚟𝚒𝚜

Welcome to the VERNACULAR HOME, a @nomadreadings #crafttalk. Before we begin, I ask that if you are following along, that you engage these ideas by sharing them, faving, RTing, and chiming in with your own comments.

This talk is dedicated to all displaced peoples and all people who engage in creating a home of language on the page.

1. We’ve witnessed in recent years how advertisers have co-opted vernacular made popular by Black communities on this very platform and profited from it.

2. What these advertisers know is what any good poet knows: vernacular is the pathway to transformation. It is your first language — that language before you were aware of language. It is “like a howl, or a shout or a machine-gun or the wind or a wave,” K. Braithwaite writes.

3. Sidenote: Transformation has a cost but cannot be bought.

4. And as this scene from Spike Lee’s Malcolm X reminds , English is an inherently oppressive and racist language. As Malcolm X feels through this new insight into our language — a “con” as we’re told — he transforms and viewers are transformed with him.

5. Perfect segue to the next point…

6. If the poem does not transform (itself or the reader) it is not a poem. I repeat: If the work does not transform, what you have are words on a page — not a poem.

7. Let's now establish what vernacular [poetry] is.

8. Vernacular is a term used to express the idea that all languages are equal. It eliminates hierarchies of dialects vs. language.

As Baldwin writes in an essay I will share more of later, “...language functions as ‘a political instrument, means, and proof of power,’ and only politics separates a language from dialect.” (from the introduction by ed. Dohra Ahmed, Rotten English)

9. Now that we’ve established what vernacular is, please don’t tell me you speak only one language...

10. Your dreams are a vernacular. Nature is a vernacular. Your sneaker collection is a vernacular! Signage: a vernacular. Your unique way of looking at the world: a vernacular. Your heartbeat: a vernacular. Breath: same, a vernacular.

Whenever I teach this material, I end up yelling “EVERYTHING IS VERNACULAR” by the end of every class. So get ready.

11. Building on that (pun intended), vernacular is also the synthesis between the language (words and symbols in any language) we choose, and how we construct it with grammar, punctuation, syntax and form.

12. It is inaccurate to say we are "decolonizing" a language. What we are doing is reclaiming it by colonizing it with our own vernaculars and inventing what it has failed to imagine. It is a language that has failed to imagine 𝘜𝘚. And so this craft talk is also a call

A call to pay attention to where this language has become dull, stale, and boring. A call to pay attention to intentional and unintentional connotations. And to undo those connotations. In undoing them, I ask that we create radical solutions for this language that troubles us.

13. “It was during the anti colonial struggles of the twentieth century that the latent political potential of vernacular literature fully emerged.

14. Our resistance is in the refusal to assimilate, the preservation of our native vernaculars, the creativity in that preservation.

It is in understanding that there is a particular language [they] want [us] to know -- that particular language that is taught in schools, and the rules or codes implied in that agreed upon language and resisting those implications or overturning those agreements.

15. June Jordan said, “Good poetry & successful revolution change our lives, & you cannot compose a good poem or wage a revolution without changing consciousness—unless you attack the language that you share with your enemies & invent a language that you share with your allies.”

Now, with these ideas in mind, let’s go into the texts…

Harryette Mullen, "We Are Not Responsible," "Elliptical" and "Denigration" from Sleeping with the Dictionary [3 images of text]

Note the attention to language, the transformation or awareness brought to the everyday humdrum of signage and those aforementioned 𝓬𝓸𝓷𝓷𝓸𝓽𝓪𝓽𝓲𝓸𝓷𝓼.

Note the attention to punctuation. Each poem uses exactly one form of punctuation in a very distinct way.

I will leave the joy of those discoveries to you! We have more to read...

Here, this breathtaking excerpt by @yosuheirhammad from “break (clear)”, breaking poems [image of text]

The Arabic words "ana" and "khalas" are doing overtime.

"ana" = I am and becomes "I am my" in the last two instances. "Khalas" stands on its own line in the first instance -- open to many translations: "enough," "stop," or "no more" and establishes its commitment to finality in that last line, "khalas all this breaking."

MORE! Solmaz Sharif’s “Persian Letters”

Here the vernacular “bar bar bar” not only shows us the creation of a word: “barbarians” -- it holds a mirror up to the ones who made it.

“We make them reveal
the brutes they are, Aleph, by the things
we make them name.” - @nsabugsme

NOW Baldwin: “People evolve a language in order to describe and thus control their circumstances, or in order not to be submerged by a reality that they cannot articulate. (And, if they cannot articulate it, they are submerged.)”

"Black English is the creation of the black diaspora. Blacks came to the United States chained to each other, but from different tribes: Neither could speak the other's language. If two black people, at that bitter hour of the world's history, had been able to speak to each...

other, the institution of chattel slavery could never have lasted as long as it did. Subsequently, the slave was given, under the eye, and the gun, of his master, Congo Square, and the Bible--or in other words, and under these conditions, the slave began the formation of the

black church, and it is within this unprecedented tabernacle that black English began to be formed. This was not, merely, as in the European example, the adoption of a foreign tongue, but an alchemy that transformed ancient elements into a new language:

A language comes into existence by means of brutal necessity, and the rules of the language are dictated by what the language must convey.

Link to the full essay: “If Black English Isn’t a Language, Then Tell Me, What Is?” James Baldwin

Further reading: “Mother Tongue” by Amy Tan

I leave you with this poem by @kyle_decoy “American Vernacular” via @LambdaLiterary ]
marwahelal  language  poetry  writing  words  vernacular  culture  resistance  2018  jamesbaldwin  displacement  transformation  appropriation  malcolmx  english  poems  dohraahmed  grammar  punctuation  syntax  decolonization  colonization  assimilation  creativity  preservation  junejordan  harryettemullen  connotation  suheirhammad  solmazsharif  arabic  amytan  kyledacuyan 
april 2018 by robertogreco

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