DOCSLIB.ORG

Chapter- III the Alienated Self in Agha Shahid Ali and Mahmoud Darwish's

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chapter- III the Alienated Self in Agha Shahid Ali and Mahmoud Darwish's Chapter- III The Alienated self in Agha Shahid Ali and Mahmoud Darwish’s Poetry Alienation, despair and unrest are the most dominant themes in the modern English poetry. It basically emanates from a particular socio political environment where writers and poets feel marginalized and the dissent continues to be choked by the ruthless ruling class. The term Alienation involves some sort of separation; some relationship or connection that once existed, that is natural, desirable, or good, has been lost. The subject of separation can be either of a person from something or of something from something else. It is used to characterize the economic, social and political structure when that is felt to be oppressive or unrelated to one's longing desire or interests. But alienation also refers to the state of mind in which an individual experiences himself as an alien and estranged at home or away. The term ―alienation‖ refers basically to the displacement of something from one location to another. Many literary critics believe that there are many perennial ailments in the modern society responsible to it, while as others considered it as the objective fact of man‘s life in society. Alienation in terms of emotional isolation or disassociation has been a very common theme in the popular genre of English literature i.e. English poetry. The reason behind it, many opine, is the better future, unresolved conflicts, ongoing wars, spiritual bankruptcy and hollow sophistication which has taken deep roots in our everyday mechanical life. The Encyclopedia Britannica defines alienation as "the state of feeling estranged or separated from ones milieu, work, and products of work or self". The word Alienation is actually derived from the Latin words alius, alienus meaning ―other,‖ is fundamentally different from loneliness or solitude. The sensation arises from being physically close to –but spiritually distant from ----other people. In general sense it means ‗turning away or keeping away from former friends or associates.‘ Oxford Advanced Learner‘s Dictionary of Current English gives two meanings of the verb ‗alienate‘- i) to lose or destroy the friendship, support, sympathy, etc. and ii) to cause somebody to feel different from others and not part of a group.(1988:17) 58 Different interpreters of alienation have given different definitions. According to Arnold Kaufman, ―To claim that a person is alienated is to claim that his relation to something else has certain features which result in avoidable discontent or loss of satisfaction‖ (1970). Feur Lewis says ―........ the word alienation is used to convey the emotional tone which accompanies any behavior in which the person is compelled to act self destructively‖. Keniston views that ―Most usages of alienation share the assumption that some relationship or connection that once existed that is ‗natural‘, desirable or good, has been lost‖(1965). According to Hegel there are two types of alienation. The first type of alienation arises due to man‘s individuality or incompatibility in his personality and social substance. The second type of alienation is of the same level as the alienation expounded by Rousseau etc., in the principle of ‗Social contract‘ in which the theme of surrender or transfer of any right is vested. According to Hegel, the situation arises when a change occurs in man‘s concept of ‗self‘. The second type of alienation is permanent and from this we can control the first type. Karl Marx however puts forth a very comprehensive and complex idea of alienation that comprises various extrinsic dimensions of human existence in socio-economic context. His concept of alienation is often classified in the following manners: 1. Political Alienation 2. Economic Alienation Marx says about political alienation: ―The state does not care about Individual‘s existence, in a society without communion between people and that individual in his relation to such a state does not experience a feeling of solidarity, he is only able to relate himself to it as an isolated monad, an individual. He finds the concepts related to state faulty for political alienation. However the theory of alienation explained by the German philosophers and thinkers like Hegel, and Karl Marx explained alienation explicitly. In the post-colonial epoch, the forced or voluntarily migration and post-industrial experience phenomena has made the term ‗Alienation‘ the main feature of the twentieth century world literature. In the conflict zones where usually people live on the edge are torn between the internal conflict and external conflict or the self versus society feel more 59 alienated than others. Those who faced ethnic cleansing, mass migrations, forcefully dispossession in the host countries because of their cultural as well as political identity. They couldn‘t assimilate in the popular culture which escalates this extreme alienation with every passing day. The sense of exile is purely a psychological and spiritual while the geographical dislocation is just a physical condition. The external exile can be easily suppressed in a global village that facilitates the feeling of being at home anywhere in the cosmopolitan urban quarters of the world. This sense of alienation is more evident in the writings of diaspora writers, who are caught up between the cultural spaces of the host land and their identity. The dislocation and to locate their culture in an alien culture pushes these writers on the margins of two countries. The Indian diaspora which is a largest diaspora in the world also suffers the same fate while anticipating the host country and homeland. However the diaspora writers play a very important part in the galaxy of Indian writing in English which over the period of time has emerged as a unique variety of English literature. They face criticism by the nativists over leaving their country and serving in a foreign land. They blame them of hypocrisy who for better opportunity and good fortunes left their homeland. For these writers better future became important than the sense of being alienated or exile. In some case the internal political circumstances and the geographical reality, repressive regimes in their homeland force many Diaspora voices to express this sense of exile and alienation in the form of verse and prose. Their imaginations as well as their works are caught up in national identity and stagnant political limbos that are deep rooted in the trajectories of colonial history. This diaspora experience can be easily understood by this excerpt from Salman Rushdie: It may be said that writers in any position, exiles or emigrants or expatriates, are haunted by some sense of loss, some urge to reclaim, to look back, even at the risk of being mutated into pillars of salt. But if we do look back, we must also do so in the knowledge---which gives rise to profound uncertainties---that our physical alienation from India almost inevitably means that we will not be capable 60 of reclaiming precisely the thing that we will not be capable of reclaiming precisely the thing that was lost; that we will, in short, create fictions, not actual cities, or villages, but invisible ones, imaginary homelands, Indian of the mind. (1991,Imaginary homelands) Either the diaspora writers or native writers they project the collective consciousness of third world embroiled in the name of identity, counter discourse to the totalitarian Orientalism and hegemonic use of English. Being a late product of the world literature modern Indian English Poetry is still oscillating in between tradition and modernity. And for the diaspora poets there seems to be no escape from the pre-exilic state as they continue to struggle even in the aftermaths of exile and the rootlessness. This rootlessness and nostalgia according to William Saffron becomes the main reason for academic growth industry. Indian English diaspora poetry is one such example where poets instead of achievements and good fortune are still unable to forget their roots or Indian culture. They live with it and celebrate its ethos in the foreign lands before a different audience. Their poetry mark the theme of exile and their divided loyalty between the host country and homeland but it proves if not only mentally, physically they feel alienated and isolated. The post independence period was undoubtedly the most important turning point in the Indian English poetry. It differs from the earlier era because it reflected a moving away from the traditionalist in terms of theme and modes of expression. This was due to the unprecedented changes in the socio-economic and political milieu of the country, and, secondly, because of the rise of modernism in Indian literature in English. Indian poetry in English has been sensitive to these changes given the social and political climate in India. All these factors brought a considerable change in the style and pattern of Indian poetry in English that too on modernist lines. The contemporary Indian English poets write with a sense of analysis, interpretation and evaluation of the contemporary social, political and economic realities that reflect their response to the flux of experiences. It‘s no more slavishly imitates the British or American poets as they have developed now their own style of narration. 61 The 20th Century authors of English poetry in India include Dilip Chitre, Kamala Das, Eunice De Souza, Nissim Ezekiel, KersyKatrak, ArunKolatkar, P. Lal, Jayanta Mahapatra, Dom Moraes, Gieve Patel, and A. K. Ramanujan, and among several others. They represent a spectrum of cosmopolitan positions, in which numerous explicitly Indian elements interact with western ones and traditional sub continental conventions and codes modify and are modified by modern ones. (Haq, Kaiser, 1990) Today the galaxy of Indian English poetry is much larger and more varied than it was ever before. The new poets have found appropriate techniques for their perception of reality, range, variety and themes.
Load more

Recommended publications
  • Aga Shahid Ali As a Diasporic Poet
    Vol. 5(2), pp. 64-66, April, 2014 DOI: 10.5897/IJEL2013.0433 International Journal of English and ISSN 2141-2626 Literature Copyright © 2014 Author(s) retain the copyright of this article http://www.academicjournals.org/IJEL Short Communication Aga Shahid Ali as a Diasporic poet Bilquees Dar Arshiddar University of Kashmi, India. Received 25 March 2013; Accepted 2 December 2013; Published April 2014 This paper attempts to study the diasporic dimension of Indian diasporic writer late Aga Shahid Ali who emigrated from Kashmir to America. Aga Shahid Ali narrates the loss of his homeland due to enforced migration and exhibit the original exilic resonance of diasporic experience. In his poetic collection ‘the country without a post office’, the poet articulates diasporic experience of exile, loss, pain and creates possibilities of Kashmiri diaspora in America. Key words: Aga Shahid Ali, the country without a post office, diaspora. INTRODUCTION Diaspora elsewhere (Brah, 2006). Exile or Diaspora is a broad theme and has been widely discussed in literature. Indeed, William Safran calls it an Aga Shahid Ali as a Diasporic writer academic growth industry. In the context of literature, the Aga Shahid Ali was born in 1949, the son of distinguished theme of exile is often marked by a divided loyalty and highly educated family of Kashmir. He attended towards both the host country and the homeland. Many University of Kashmir, University of Delhi as well as theorists believe that though physical spacing can be Pennsylvania State University and University of Arizona. necessary to produce a sense of homelessness and Though a Kashmiri Muslim, Ali is best known in the U.S nostalgia, one does not need to be physically removed and is identified more as an American poet writing in from the homeland in order to be exiled; one may feel English and considered himself to be ‘a triple exile’ from exiled in one’s land.
    [Show full text]
  • Agha Shahid Ali Through a Cosmopolitan and Humanistic Approach
    Agha Shahid Ali through a Cosmopolitan and Humanistic Approach Kamal ud Din * Nukhbah Langah ** ABSTRACT: This paper argues that as a diasporic poet, Agha Shahid Ali’s sense of nationalism is not ‘jingoism’, for his vision is cosmopolitan and his approach is humanistic. We contend that despite being exposed to Muslim, Hindu and American culture, he does not overlook or close his eyes on inflictions and woes of his compatriots but expresses a sensitive knowledge about the politics of Kashmir, a fact that turns his poetic expression into a protest against the plight of Kashmiri people. Based on this context, we observe Agha Shahid Ali’s poetry in the light of Richard Jenkin’s concepts of identity and ethnicity and their relation to politics and ‘perceived interests’ as historical constructs, neither natural nor inevitable. The paper argues that on the cultural plane, his poems are suffused with images that reaffirm the composite culture of India and, as a matter of fact, South Asia. The focus, therefore, is on the images which range from those of Radha⁄ Krishna and Laila⁄ Majnun to Husain and Zainab. Hence, through close selected textual analysis of selected poems, we explore his literary inspiration through diverse influences from Ghalib and Faiz Ahmed Faiz to James Meryll and Lorca. Keywords: nostalgia, the country without a post office, Kashmir, homeland, South Asia, cosmopolitan, humanistic, poetry, nationalism, postcolonial, amnesia * [email protected] ** [email protected] Journal of Research in Humanities 64 Volume 56-2 (2020) PP. 63-78 Agha Shahid Ali’s collection, The Country Without a Post Office was written in the context of the ongoing conflict within Kashmir, thus reflecting the aspiration and the cultural quintessence of Kashmir.
    [Show full text]
  • European Academic Research
    EUROPEAN ACADEMIC RESEARCH Vol. IV, Issue 5/ August 2016 Impact Factor: 3.4546 (UIF) ISSN 2286-4822 DRJI Value: 5.9 (B+) www.euacademic.org Speaking Truth to Power: Resistance in Select Poems of Mahmoud Darwish and Agha Shahid Ali BURHAN BASHIR Ph.D. scholar Department of English Aligarh Muslim University, India Abstract: Resistance literature has formed an independent place for poets of resistance by handing over them an important role to have a say in freedom struggles. The tactics of resistance that have been most helpful are those inviting a wide audience. So literature comes forward as a choice that has far-reaching effects. Here, I discuss two prominent poets of resistance whose poetry stands true to the very definition of resistance literature. Their poetry marks the period of secondary resistance entailing ideological arena which according to Edward Said is inevitable after the primary resistance involving ‘fighting against the outside intrusion’ with arms. Key words: Resistance, occupation, politics, Palestine, Kashmir. Literature, especially poetry, has been used as one of the prime tools of resistance. It proves to be unique not only in its purpose but also in form and technique. The power of resistance comes in the ability of the author to ‗write back‘ to injustice. ‗Speaking the truth to power,‘ as Edward Said puts it , ―is no panglossian idealism: it is carefully weighing the alternatives, picking the right one, and then intelligently representing it where it can do the most good and cause the right change‖ (Said, Culture 75). 4544 Burhan Bashir- Speaking Truth to Power: Resistance in Select Poems of Mahmoud Darwish and Agha Shahid Ali To Said, resistance literature is ‗ideological decolonization.‘ He says after the primary resistance that involves ‗fighting against the outside intrusion‘ comes the period of secondary resistance that entails ideological arena (Said, Culture 209).
    [Show full text]
  • The Ghazals of Agha Shahid Ali* the Center/Margin Metaphor Implies A
    nishat zaidi Center/Margin Dialectics and the Poetic Form: The Ghazals of Agha Shahid Ali* The center/margin metaphor implies a power relationship. However, in diasporic epistemology, as Homi Bhabha (1994) and many others have shown, margins are no longer spaces marked by deprivation and power- lessness. They, on the contrary, are sites where culture is formed, marked by hybridity and multiplicity. ìRootless? Certainly notî (1992, 3), these words of Agha Shahid Ali unmistakably define his unique perspective towards the diasporic space he occupied. An Indian-American, a Kash- miri-Indian, a Shiite-Muslim, the hyphenated existence to Agha Shahid Ali did not entail an existence on the fringes or a depriving force. Instead of succumbing to the status of a refugee, he became the cultural ambassador of his country. Agha Shahid Aliís poetry1 is a sincere attempt to make this culture available to the world. Answering a self-posed question, ìWhat are the implications and con- sequences of writing between national paradigms, ëbilinguallyí or ëmul- tilinguallyí?î Azade Seyhan, in his book Writing Outside the Nation, replies, *Paper originally presented at a seminar on ìMargins and Nation Spaces: The Aesthetics of Cultural Expression,î University of Rajasthan, Jaipur, India 8ñ9 Feb- ruary, 2008. 1His corpus includes several volumes of poetry including Call Me Ishmael Tonight: A Book of Ghazals (2003), Rooms Are Never Finished (2001), The Country Without a Post Office (1997), The Beloved Witness: Selected Poems (1992), A Nostalgistís Map of America (1991), A Walk Through the Yellow Pages (1987), The Half-Inch Himalayas (1987), In Memory of Begum Akhtar and Other Poems (1979), and Bone Sculpture (1972).
    [Show full text]
  • Galaxy: International Multidisciplinary Research Journal the Criterion: an International Journal in English Vol
    About Us: http://www.the-criterion.com/about/ Archive: http://www.the-criterion.com/archive/ Contact Us: http://www.the-criterion.com/contact/ Editorial Board: http://www.the-criterion.com/editorial-board/ Submission: http://www.the-criterion.com/submission/ FAQ: http://www.the-criterion.com/fa/ ISSN 2278-9529 Galaxy: International Multidisciplinary Research Journal www.galaxyimrj.com The Criterion: An International Journal in English Vol. 8, Issue-V, October 2017 ISSN: 0976-8165 Villanelle: A Reviving Literary Form: A Comparative Study of The First Day of Spring of Agha Shahid Ali and Mad Girl’s Love Song of Sylvia Plath Pooja Gupta Research Scholar, Lucknow University, Lucknow. Article History: Submitted-04/10/2017, Revised-18/11/2017, Accepted-23/11/2017, Published-30/11/2017. Abstract: The purpose of this paper is to highlight the journey of villanelle to become a traditional literary form comparing the villanelles of Agha Shahid Ali and Sylvia Plath. Technically both the villanelles have similar form and theme. And both the poets are trying to convey their loss, loss of hopes, pessimistic philosophy, and melancholic situations through the medium poetry. The first portion of this paper will discuss villanelle as traditional form its advent and its way to reformation. The second portion of the paper will consider the analysis of The First Day of Spring of Agha Shahid Ali as a traditional Villanelle. The third portion will try to examine the poem Mad Girl’s Love Song by Sylvia Plath. And the last portion of the paper will be the comparative study of the villanelles of Agha Shahid Ali and Sylvia Plath.
    [Show full text]
  • The Poetics of Home, Displacement and Travel in Agha Shahid Ali's
    humanities Article Reconfiguring Home Through Travel: The Poetics of Home, Displacement and Travel in Agha Shahid Ali’s Poetry Antara Chatterjee Department of Humanities and Social Sciences, Indian Institute of Science Education and Research (IISER), Bhopal 462066, India; [email protected] Received: 7 July 2020; Accepted: 19 October 2020; Published: 24 October 2020 Abstract: This article seeks to examine how the Kashmiri-American poet Agha Shahid Ali explores and rethinks ideas of “home” and travel in his poetry. Ali’s poetry is a layered affective terrain in which his complex, entangled emotions surrounding home, exile, nostalgia, displacement, and travel play out. I argue that Ali’s verse, through multiple journeys ranging over locations, languages, cultures, and literary terrain, interrogates and collapses the boundaries between the “home” and the world. I read his poetry as voicing the “disturbed” and displaced home of Kashmir, while simultaneously distilling a “re-homing” desire. Such an impulse reconfigures and reimagines the home through the inhabiting and repeated “homing” of multiple, “foreign” locations. Poetic travel across geographic and literary terrain, in Ali’s oeuvre, thus speaks to the fraught and complex nature of the “home” in postcolonial and diasporic contexts, while remapping the home through the “re-homing” of the “foreign”. Arguing that “travel” is a means of negotiating and rethinking the “home” in Ali’s poetry, the article examines the intermeshed and dialogic relationship between home and travel that imbues his verse. Focusing particularly on poetic experimentation as a mode of travel, it aims to show how such literary travel makes new homes, while remembering and articulating Ali’s lost homes.
    [Show full text]
  • Agha Shahid Ali - Poems
    Classic Poetry Series Agha Shahid Ali - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Agha Shahid Ali(4 February 1949 – 8 December 2001) Agha Shahid Ali (Kashmiri: ???? ????? ???, ??? ????? ???;) was a Kashmiri American poet. He grew up in Kashmir, the son of a distinguished and highly educated family in Srinagar. He attended the University of Kashmir, the University of Delhi and, upon arriving in the United States in 1975, Pennsylvania State University and the University of Arizona. Though a Kashmiri Muslim, Ali is best known in the U.S. and identified himself as an American poet writing in English. The recipient of numerous fellowships and awards and a finalist for the National Book Award, he taught at the University of Massachusetts-Amherst, Princeton College and in the MFA program at Warren Wilson College. At the time of his death in 2001, Ali was noted as a poet uniquely able to blend multiple ethnic influences and ideas in both traditional forms and elegant free-verse. His poetry reflects his Hindu, Muslim, and Western heritages. In Contemporary Poets, critic Bruce King remarked that Ali’s poetry swirls around insecurity and “obsessions [with]…memory, death, history, family ancestors, nostalgia for a past he never knew, dreams, Hindu ceremonies, friendships, and self-consciousness about being a poet.” Known particularly for his dexterous allusions to European, Urdu, Arabic and Persian literary traditions, Ali’s poetry collections revolve around both thematic and cultural poles. The scholar Amardeep Singh has described Ali’s style as “ghazalesque,” referring to Ali’s frequent use of the form as well as his blending of the “rhythms and forms of the Indo-Islamic tradition with a distinctly American approach to storytelling.
    [Show full text]
  • Revised Pages
    Revised Pages Mad Heart Be Brave: Essays on the Poetry of Agha Shahid Ali Kazim Ali, Editor https://www.press.umich.edu/9493485/mad_heart_be_brave University of Michigan Press, 2017 Contents Introduction 1 Kazim Ali The World Is Full of Paper.Write to Me. 12 Sejal Shah Between Postindependence and the Cold War:Agha Shahid ali’s Publications with the Calcutta Writers Workshop 20 Rita Banerjee “this is an archive”:Agha Shahid ali’s Postcards from Kashmir 33 Amanda Golden The Veiled Sweets:Agha Shahid ali’s Surprising Use of Humor 45 Ravi Shankar Beyond Borders, Nations, and Exclusivist Identities: Agha Shahid ali’s Poetics of Plurality 55 Abin Chakraborty “Separation’s Geography”:Agha Shahid ali’s Scholarship of Evanescence 71 Amy Newman “a route of evanescence”:Agha Shahid Ali in America 88 Christopher Merrill The Loved One Always Leaves:The Poetic Friendship of Agha Shahid Ali and James Merrill 99 Jason Schneiderman Agha Shahid Ali,World Literature, and the Representation of Kashmir 104 Stephen Burt The Shifting Nationalisms of Agha Shahid ali’s Poetry 118 Raza Ali Hasan Revised Pages Mad Heart Be Brave: Essays on the Poetry of Agha Shahid Ali Kazim Ali, Editor https://www.press.umich.edu/9493485/mad_heart_be_brave University of Michigan Press, 2017 Missing Home, Imagining Violence:Agha Shahid ali’s Engagement with Kashmir 129 Syed Humayoun Poet in Srinagar 142 Feroz Rather Requiem:Agha Shahid ali’s Last Canzone 152 Dur e Aziz Amna Palimpsestic Intertextualities in “a Lost Memory of delhi” and “the Last Saffron” 156 Mihaela Moscaliuc
    [Show full text]
  • Research & Development
    Chief Editor Dr. A. Singaraj, M.A., M.Phil., Ph.D. Editor Mrs.M.Josephin Immaculate Ruba EDITORIAL ADVISORS ISSN (Online):2455-7838 1. Prof. Dr.Said I.Shalaby, MD,Ph.D. Professor & Vice President SJIF Impact Factor : 6.093 Tropical Medicine, Hepatology & Gastroenterology, NRC, Academy of Scientific Research and Technology, Cairo, Egypt. 2. Dr. Mussie T. Tessema, Associate Professor, EPRA International Journal of Department of Business Administration, Winona State University, MN, United States of America, 3. Dr. Mengsteab Tesfayohannes, Research & Associate Professor, Department of Management, Sigmund Weis School of Business, Development Susquehanna University, Selinsgrove, PENN, United States of America, (IJRD) 4. Dr. Ahmed Sebihi Associate Professor Islamic Culture and Social Sciences (ICSS), Monthly Peer Reviewed & Indexed Department of General Education (DGE), International Online Journal Gulf Medical University (GMU), UAE. 5. Dr. Anne Maduka, Volume: 4, Issue:1, January 2019 Assistant Professor, Department of Economics, Anambra State University, Igbariam Campus, Nigeria. 6. Dr. D.K. Awasthi, M.SC., Ph.D. Associate Professor Department of Chemistry, Sri J.N.P.G. College, Charbagh, Lucknow, Uttar Pradesh. India 7. Dr. Tirtharaj Bhoi, M.A, Ph.D, Assistant Professor, School of Social Science, University of Jammu, Jammu, Jammu & Kashmir, India. 8. Dr. Pradeep Kumar Choudhury, Assistant Professor, Institute for Studies in Industrial Development, An ICSSR Research Institute, New Delhi- 110070, India. 9. Dr. Gyanendra Awasthi, M.Sc., Ph.D., NET Published By Associate Professor & HOD EPRA Publishing Department of Biochemistry, Dolphin (PG) Institute of Biomedical & Natural Sciences, Dehradun, Uttarakhand, India. 10. Dr. C. Satapathy, CC License Director, Amity Humanity Foundation, Amity Business School, Bhubaneswar, Orissa, India.
    [Show full text]
  • European Academic Research
    EUROPEAN ACADEMIC RESEARCH Vol. II, Issue 3/ June 2014 Impact Factor: 3.1 (UIF) ISSN 2286-4822 DRJI Value: 5.9 (B+) www.euacademic.org Agha Shahid Ali and the Ghazal FATIMA NOORI Research Scholar Department of English & MEL University of Allahabad, Allahabad India Abstract: As Agha Shahid Ali tells us, the ghazal is an Urdu poetic form consisting of ‘autonomous or semi-autonomous couplets that are united by a strict scheme of rhyme, refrain and line length’. The Kashmiri- American poet exploits his unique diasporic position to use this traditional poetic form to write English poetry. Ali belonged to the beautiful land of Kashmir and his movement to America for higher studies, though a personal choice, pained him on separation from his homeland. He therefore always tried to create the same warm, secular, congenial and syncretic culture in the places he lived and in the poetry he wrote. The last volume of Ali, published posthumously in 2003, Call Me Ishmael Tonight is a book of Ghazals in English. This act of writing ghazals in English was Ali’s way of reconciling his two worlds- Kashmir and America. The paper discusses how Ali helped in the popularizing of a new poetic canon, the English ghazal, in the act of rehabilitating his divided loyalties; how the literary form helped Ali re-form his sense of self even when he was creating a new tradition in American poetry. Key words: Agha Shahid Ali, English Ghazal, Rebel’s Silhouette, Ravishing Disunities, Call Me Ishmael Tonight, Translation Faiz Ahmed Faiz, Diaspora, Identity. Agha Shahid Ali was born in February 1949 in New Delhi and brought up in the beautiful valley of Kashmir.
    [Show full text]
  • A Critical Analysis of Kamila Shamsie's Burnt Shadows لرواية
    A Critical Analysis of Kamila Shamsie's Burnt Shadows تحميل نقدي لرواية الظﻻل المحترقة لمكاتبة كاممة شمسي Prepared by: Iman. M. Omaishat Supervised by: Prof: Sabbar. S. Sultan A Thesis Submitted in Partial Fulfillment of the Requirements For the Master of Arts in English Language and Literature Faculty of Arts and Sciences Middle East University (MEU) August, 2015 ii iii iv v Acknowledgement All praises to Allah Almighty who blessed me with the courage to write this thesis. And I am seizing this opportunity to express my gratitude to everyone who supported me throughout the course of writing this thesis. I would like to thank my supervisor professor Sabbar Sultan and the committee members for their inspiring guidance, invaluable constructive criticism and friendly advice during the thesis work. I am sincerely grateful to them for sharing their truthful and illuminating views on a number of issues related to the subject. I express my warm thanks to Professor Sabbar Sultan, Professor Tawfiq Yosef, professor Bader Dwaik and the other members of the English Department in this university for their support and guidance. Researcher vi Dedication The thesis is dedicated to: my beloved mother, who always believed in me , and to the soul of my father. Researcher vii Table of Contents Subject Chapter Subject Page No. Thesis Title i English Authorization ii Arabic Authorization iii Acknowledgement iv Dedication v Table of contents vi English Abstract vii Arabic Abstract ix Chapter One: Introduction 1 1.1 South Asian Literature and its characteristics
    [Show full text]
  • Agha Shahid Ali: the Bard of Kashmir
    www.the-criterion.com The Criterion: An International Journal in English ISSN 0976-8165 If There Is a Poet, It Is This, It Is This: Aga Shahid Ali - Chronicler of Pain Dr. Iffat Maqbool Asst. Professor Dept of English University of Kashmir The passing away of Aga Shahid Ali in 2001 was a collective loss to Kashmir- the most eloquent Kashmiri-English poet, a writer of unmatched elegance and virtuosity, a chronicler of pain- his poetry is the very stuff of beauty, loss and redemption. His death deprived Kashmir of one of its most potent cultural voices, a voice that would have done more good than any Track 1 or Track 11 effort. His poetry touches subliminal heights in its gut response to the devastation of his land. Shahid can favorably be compared with other “Regional” writers from around the globe who shot into prominence especially after the de-recognition of normative Western/Standardized versions of culture and language. What these writers share is a rootedness in place and native landscape. Seamus Heaney from Ireland, Derek Walcott from the Caribbean and Mahmoud Dervish from Palestine are other poets whose art is surcharged with the politics of their native countries. Although Shahid’s devotion to form and literary finesse is evident in the poetry and his transnationalism or “hyphenated identity” a defining feature of his canon, volumes like The Half-Inch Himalayas and The Country Without a Post office are wedded to the politically volatile nature of his native Kashmir. Through these poems, Shahid gives a scathing yet beautiful account of the trauma/nightmare of the 90’s Kashmir when the “blood-dimmed tide” of a violent history submerged the paradise into death and destruction.
    [Show full text]