Guantanamo Poetry - five commentaries

This past week I received an e-mail from Jeff Charis-Carlson, Opinion Editor for the Iowa City Press-Citizen. He noted an earlier post in which I referenced the book, Poems from Guantanamo: The Detainees Speak that UI Press has published and brought to my attention a series of op-ed pieces on the subject that have appeared in the Iowa City Press-Citizen. I promised him I would take a look at them and I did. There were some interesting point offered in these editorials.

Jeff Charis-Carlson himself writes of his reactions to reading these poems and relates it to the haunting feelings that surface from reading Psalm 137, a song of exile in which the psalmist denounces those who captured him.

Shams Ghoneim, in another op-ed writes about the contrasting values on which America was founded and the code we are operating on with respect to the detainees at Guantanamo. She writes of Moazzam Begg's poem, "Homeward Bound," in which she can sense his hopelessness and sorrow. Begg received a letter from his 7-year-old daughter in which the only line that avoided the censor's pen was, "I love you, Daddy."

Joseph Parsons noted the poet Adrienne Rich has expressed that poetry can remind us of what we are forbidden to see. Parsons believes"Poems from Guantánamo: The Detainees Speak," is not about these accusations of maltreatment... "Its only ambition is to provide a glimpse into the lives, hearts and minds of the men held by the U.S. military at Guantanamo -- something we have been forbidden to see....as they pine for their families, their homes and all they hold dear."

Spring Ulmer writes, that words are dangerous things and "Poems from Guantánamo," had to be liberated from the Pentagon's "secure facilities," where most detainee writing remains in confinement, as it is considered "a security risk." I was struck by Ulmer's story where a year ago, after reading detainee Jumah Al Dossari's descriptions of torture (smuggled out and published online), she began writing letters to Dossari, only to have them returned by the military, marked and brutally ripped open as if to frighten her.

Tung Yin is a law professor at the University of Iowa, specializes in constitutional law and national security law. He writes of the poems giving human voice to the problems caused by applying the war model to non-state actors. He distinguishes the differences between traditional wars between nations, and that between the United States and al Qaida/Taliban. In traditional war, the enemy easily is identified, whereas in this conflict, the enemy hides among civilians. Because al Qaida members deliberately conceal themselves and because even the Taliban fighters did not wear traditional uniforms, there's higher likelihood that the United States would have incorrectly identified a person as the enemy. And in traditional war, it may be unknown what date the war will end, but it is known that the war can end when there is an armistice. In this conflict, it is unlikely the United States would negotiate with al Qaida, and we never may know if we have succeeded in destroying it as a threat to this country extending indefinitely the detention of these individuals without any due process.

I applaud the Iowa City Press-Citizen for dialogue it has contributed to the discussion of the Guantanamo poems.

life outside the safety and security that humans normally crave

"Sometimes I think poets are called on to experience life outside the safety and security that humans normally crave. That we have this responsibility in order to bring that dimension of life to the forefront for others."

That was an excerpt from a comment I posted in a response to something on another poetry blog. I won’t go into the entire substance of the initial conversation here. Instead I want to expound on the statement itself within the larger scope of poetry and life as a poet. It seems the statement could easily be applied across the board to the arts; however, it is my belief that it is especially significant in literary arts and most of all poetry.

I’m not certain if as practicing poets we develop this capability or if those who are drawn to poetry are individuals who largely experience a fuller range of emotions. Like the chicken or the egg debate, we could argue this for hours, I prefer to focus on the maxim and allow others to have that discussion.

Some may see this as an extension of the contention often voiced, that poets are all dark introspective individuals. It’s easy to see how this is affixed to us considering the high profile lives of poets known to have taken their own lives, been alcoholics, or insert whatever other depressive lifestyle you wish in the blank. It may be that the numbers of people in misery are no higher among poets than the population in general; that we know more of this from poets because they write of it where others silently go on to their demise. I'm not convinced one way or the other.

Good poetry provokes. It should provoke reaction. Sometimes socially provocative poetry can provoke action. I suppose this is why many find poetry and social or political issues to be so easily entwined.

A poem that provokes disgust with a reader has effectively communicated in some way because it has made that reader feel some emotion. A poem that can arouse passion in a reader again has brought to the surface an emotional response to the writing.

I read a good many poems that sound good or nice (both words perceived as positive but are about as bland as can be) and they do not bring any significant emotional connection to me as a reader. Something is missing here.

I like to think of us poets as both artists and historians. We tell something in such a way that we evoke a feeling that reminds you of something in your mental anthology of emotions that recreates and takes you there again.

If poets writing about war or death or rape or torture seems depressing, that is the point, but it is just as necessary as writing about birth or marriage or orgasmic sex or winning the World Series with a walk-off home run, because humanity must be able to experience the lows and the highs in order to appreciate these extremes in life.

It is critical in any art to push envelopes, to take risks with your work. I’ve seen poems that I did not particularly like but were quite effective at taking me someplace I’d rather not be. But such poetry is effectively doing what it should just as much as one that takes me to one of my most joyous memories.

So with this in mind, my point is that as poets we must write outside of our safety zones because that is where we need to take our readers.

Odds & Ends

Couple of interesting items:

The first one - I have to give credit to Jilly for Healing power of poetry.

Another, Fortune as Fate: The Story Of Two Poetry Magazines from the Wall Street Journal.

I had my eyes checked yesterday. Time for some new glasses. My present ones have made reading anything of length so damn frustrating. Here's hope that changes soon.

Perhaps JK Rowling was experiencing a bit of postpartum depression after the birth of her last Harry Potter book.

Poetry Mecca

I read yesterday of a young writer who won a university sponsored fellowship to live and work at the Frost Place for most of the summer. In the article, the Frost Home at Franconia is referred to as being seen by many as kind of a holy ground, "poetry's Mecca."

The idea of a physical space being a source of inspiration to writers and poets is not at all new. Nor is the thought that writing in a place where the presence of other poet & writer greats have created works in the past. Young writers for instance are often excited to be fortunate enough to attend a fellowship at say MacDowell Colony or say, Yaddo. Each with it's rich litany of great artists that have previously graced these places and worked their creative talents.

Sylvia Plath was drawn to the London flat at 23 Fitzroy Road (photo above) - in part because it had once been home to W.B. Yeats. It was here she ultimately created some of her most profound work before taking her own life.

So what is, or where is your poetry Mecca?

Journal Bits From The Past Week

Taken from my journal this week:

• Holder of first and last impressions
• A translucent additive to the tributaries / winding through the body
• fed on surplus desires / hand fulls of daffodils /knuckles white with clinch
• story lines so well rehearsed / blocked out in homes and on street /corners that Thornton Wilder / might have mistaken
• Life eases along here. Not saying it / is an easy life, just that resistance / has become the motor oil overdue for a change

Call for Censure by Feingold

Over the weekend Sen. Russ Feingold called for the censure of President Bush by Congress. He laid out his two part basis for censure on Meet the Press Sunday Morning. You can watch the program here.

Reading last night at Writerhouse

Poets from the Kansas City Metro Verse Chapter of the Missouri State Poetry Society read last night at the Writerhouse in the northland area in Kansas City. The reading celebrated the release earlier this summer of the KC Metro Verse Anthology. Pictured here are poets Amy Leigh Davis (top right) and Brenda Conley (bottom right) are featured here. I had not read out in the general public for a while, other then doing read-arounds at chapter meetings, which is not at all the same thing. It's something I really should make sure I systematically do again on a more frequent basis.

I've never been a fan of math... so of course when I find from time to time some reference drawing a common link between poetry and math it both peeks my attention and raises my natural defensive mechanisms. So here again is a quickie on Math & Poetry in the 60 SECOND INTERVIEW that I thought others might enjoy.

Well, I have a few chores to tend to this morning so that will wrap it up for now.