Partaw naderi biography of martin
Lesson 2: 21st Century Literature from the World
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Thu, 26 December 2019
Thanks to Kurdish poet and translator, Choman Hardi, we translated this wonderful poem by Dilawar Karadaghi over the course of three workshops at the beginning of 2005 when, appropriately enough, it was bitterly cold – though too cold for snow. And, as London faces its first ‘arctic blast’ of this remarkably mild winter, it seems fitting to choose ‘An Afternoon at Snowfall’ for our poem-podcast this week. The poem is read beautifully for us by two poets: in Kurdish by Mohammad Mustafa and in English by W N Herbert.
This is one of my favourite poems that we’ve translated in our workshops, I think because of the way in which Dilawar expresses something so essential about what it means to be exiled through the repeated evocation of every day, almost banal, details.
Book a Season Pass for our upcoming Poetry Translation Workshop: https://www.eventbrite.com/e/poetry-translation-centre-winter-spring-workshops-2020-tickets-84139289881
This is part of our new rebranded weekly release: the Dual Poetry Podcast, one poem in two languages from the Poetry Translation Centre. As ever we will be releasing a translated poem each week.
Please take a moment to rate and review this podcast on iTunes or wherever you download.
Direct download: snowfall_2.mp3
Category:general -- posted at: 7:00am UTC
Thu, 19 December 2019
This week's poem ‘Bucket, rope, fire extinguisher, etc’ is from by Legna Rodríguez Iglesias' collection Dame Spray, which was published in 2016.
The poem refers to Cubans entering the US by crossing the border from Mexico.
You can buy Legna's book 'A little body are many parts' from the PTC website.
This is part of our new rebranded weekly release: the Dual Poetry Podcast, one poem in two languages from the Poetry Translation Centre. As ever we will be releasing a translated poem each week.
Please take a moment to rate and review this podcast on iTunes or wherever you download.
Direct download: LEGNA_B An open letter from World-wide Poets addressed to United Nations Secretary-General Ban Ki-moon, President of the European Commission José Manuel Barroso, and President of the United States, Barack Obama. Dear Sirs, After more than a century of systematic crimes such as genocide, slavery, sexual abuse, war crimes, and discrimination, being a Hazara still appears to be a crime in Afghanistan and Pakistan. As recently as Thursday, January 10, 2013, more than one-hundred Hazara were killed in an organized terrorist attack on the city of Quetta, Pakistan. In the past few years, more than a thousand Hazaras were killed in similar attacks in Pakistan alone. Today, even in their homeland, Afghanistan, Hazaras are not safe. Every year, they are attacked by Afghan Kuchis who are backed by the Taliban and the Afghan government. Hazara roads are blocked by Taliban gunmen. Hazara cars are halted and its passengers are killed. In the center of Afghanistan, where a huge population of Hazaras are marginalized, they do not have access to basic legal rights. They still suffer systematic discrimination and Taliban attacks. As a result, millions of Hazaras have fled to numerous countries as refugees or asylum seekers, frequently living in terrible conditions. The Hazara indigenous people made up nearly 67 percent of the population of Afghanistan prior to the 19th century. In that century, they were subjected to genocide and enslavement twice. They were forced to flee most of their land, located in the south of modern Afghanistan. More than 60 percent of them were killed and thousands were sold as slaves. Afghanistan’s entire 20th century history has been marked by killings of Hazaras and systematic discrimination against them. On February 10 and 11, 1993 in the Afshar area of Kabul, the Mujahadeen government, and its allies exterminated and left injured thousands of Hazara men, women and children. In August 1998, the Ta
The play consists of scenes and stories woven around the notorious killing by the Israeli Defence Forces (IDF) of 13-year-old Iman al-Hams in Gaza in October 2004. Iman was deliberately shot despite it being obvious that she was a schoolgirl, and Israeli soldiers later described how their commander emptied his entire magazine into her body.
The play had a direct visceral impact, intensified by the musical soundtrack performed by five talented and versatile young musicians. Their line-up of instruments included several with a Middle Eastern sound - dulcimer, mandolin and bazooki. When Leonie Evans sang, the effect was ethereal.
The play opened with the black-clad cast rushing and darting on to the stage in all directions, clutching eerie white masks. This dynamism and physicality was maintained throughout the drama.
The stage was at the centre of the auditorium, with rows of seats on either side. At times a muslin screen was suspended across the stage on which were projected images of Palestinian crowds and funerals, which mingled with the actors on stage.
Some of the scenes had an absurdist, dark humour, such as “The Toilet is Another Country” in which the IDF prevent a boy from using a latrine. The situation escalates to draw in more and more characters. In another confrontation, an old lady shot in the ankle by the IDF has a sarcastic exchange with a soldier who tells her to get up and hurry. Death is ever present, and in one visually eloquent scene girls wind a funeral shee Poets Demand End of Genocide Against the Hazara people