Iraqi Poet Quotes

Before was different,” said Ahmed Ali, who for 31 years has held various jobs for Iraqi Republic Railways, the state rail authority, and now works as a cashier in the cafe car. “I used to meet the educated people, the uneducated, the actors, the poets, the poor man. Many different groups.” He adds, “Now, everything is gone.

American Jewish organizations (as well as Israel) rallied behind the Bush administration’s criminal aggression against Iraq, with Elie Wiesel declaring that “the world faced a crisis similar to 1938” and “the choice is simple,” and with self-promoting “Nazi hunter” Simon Wiesenthal proclaiming that “you cannot wait indefinitely on dictators. Adolf Hitler came to power in 1933, but for six years the world did not act.” Critics of the war stood accused of everything from Chamberlain-style “appeasement” to “an anti-Semitism of a type long thought dead in the West,” while even prominent American poets opposing the Iraqi war and Israel’s occupation were chastised for playing “on the edges of 1930s-style anti-Semitism.

Taxi drivers are some of my best friends in every city I visit. I wish to write a book on my encounters with taxi drivers in the Middle East one day. They see so much. They encounter all kinds of people. They learn to interact with people of different politics, backgrounds, gender, views, feelings, and even accents and dialects. In a sense, they are exposed to people in ways that any novelist, poet, anthropologist, or journalist would love to be. They are usually some of the best guides that hold the keys to the hidden secrets, especially the ‘dirty secrets’ of the cities where they live and work.

Fakhruddin ‘Iraqi produced one of the most exquisite commentaries on Ibn ‘Arabi’s doctrine of Love. This great poet-scholar had initially been associated with wondering qalandars, a group of outsiders who disregarded social norms and incurred the wrath of the orthodox community.

It seems to me that apart from the aptness of the Malay language in the construction of four-lined verses with a AAAA pattern of rhyme, the influence of Ibnu’l-‘Arabi’s and ‘Iraqi’s four-line shi’r and Jami’s ruba’i, the concept of the bayt and the shi’r in Arabic and Persian prosody, the creative genius of the poet, Hamzah’s choice of the four-line shi’r composed of a single bayt could well have been influenced also by the symbolism in the Sufi doctrines.