By Mahmoud Darwish
Sinan Antoon (tr.)
One of the main transcendent poets of his new release, Darwish composed this extraordinary elegy on the apex of his creativity, yet with the complete wisdom that his loss of life was once coming near near. pondering it would be his ultimate paintings, he summoned all his poetic genius to create a luminous paintings that defies categorization. In gorgeous language, Darwish’s self-elegy inhabits a unprecedented house the place opposites bleed and mix into one another. Prose and poetry, lifestyles and demise, domestic and exile are all sung through the poet and his different. at the threshold of im/mortality, the poet appears to be like again at his personal life, intertwined with that of his humans. via those lyrical meditations on love, longing, Palestine, heritage, friendship, family members, and the continuing dialog among lifestyles and dying, the poet bids himself and his readers a poignant farewell.
A significant poet, close to dying, meditating in lyric prose on all that he has misplaced: freedom, native land, formative years, love. during this relocating translation, Sinan Antoon generously invitations the English-speaking reader into the immensity—and metaphysical subtlety—of Darwish’s grief. —Richard Sieburth
The truest of poets... within the Presence of Absence is a ebook possessed of a outstanding and enduring attractiveness. —Chuck Wachtel
Beautiful... inescapably lyrical. —Bookslut
Mahmoud Darwish [is] probably the key Palestinian poet of final century. —Tablet
There are maps of Palestine that politicians won't ever be able to forfeit: the only stored within the thoughts of Palestinian refugees, and that that's drawn by means of Darwish’s poetry. —Anton Shammas
Then got here silence. Mahmoud Darwish started to learn. We didn't be aware of a observe of Arabic, yet we heard his voice succeed in out and sink deep right down to pluck the strings of the Palestinian soul. It used to be a paranormal evening in Ramallah, the magician, Mahmoud Darwish, whose spell was once forged how it has been via ages--simply via being that elusive archetype, a lot envied and feared by means of power—a poet comfortable with, simply because attuned to, his personal humans. —Wole Soyinka
Mahmoud Darwish is without doubt one of the maximum poets of our time. In his poetry Palestine turns into the map of the human soul. —Elias Khoury
Darwish is the finest poetic voice of the Palestinian people... lyrical, imagistic, plaintive, haunting, constantly passionate, and elegant--and by no means something below free—what he could dream for all his humans. —Naomi Shihab Nye
[A] distinct achievement... It bargains expensive wisdoms from a lifestyles trip, rendered within the opaque lyricism of Darwish's poetry...His is the voice of dispossessed Palestine yet its longings, together with sheer lust, are common. This publication overflows with resonant strains and questions... it's a publication for all times. —The Independent
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Additional resources for In the Presence of Absence
Interruption even releases an infinite movement. (“Rams,” 145–6) More than just a description, these lines declare admiration for Gadamer’s readiness to let the poem interrupt and “undecide” his reading. As such, they declare as well that this vigilance, “ready to embark on a wholly other path,” is the attention that the reader Derrida himself seeks to bring to bear, “listening faithfully, giving ear” to an interruption. “Giving ear” translates here “tendant l’oreille,” to prick up one’s ears, to listen for a sound or a voice, more literally, to stretch out or tense the ears in some direction.
La prolifération des livres et la fin du livre,” Noroît, 132 (November 1968). 2. See also Negotiations, which collects five interviews. 3. On these questions, see Elisabeth Weber, “Upside-Down Writing,” her fine introduction to Points. 4. In a translator’s note in Points (459, n13), I rather hastily identified the allusion here to the first interview as Positions, published in 1972. But the book by that title in fact collected three interviews, given between 1967 and 1971, with different interlocutors and initially published in different reviews.
2 This figure probably falls well short of any thorough count, presuming one could be made that included all the interviews Derrida has frequently granted to newspapers when he travels abroad, to obscure journals, or even student publications. Above all, any such accounting—a hundred, two hundred, five hundred—presumes that the genre “interview” is a self-evident one, and therefore easily discernable from every other genre of writing, speaking, or engaging with interlocutors. But this assumption and its attendant or supporting presuppositions encounter serious challenges in all of Derrida’s work, challenges that are not only theoretical, as we say, but quite practical.
In the Presence of Absence by Mahmoud Darwish