A Note from Jorge: I did not want to make any personal assessments regarding these poets, their poetry or why they were chosen by me. But if you need me to, I will keep it extremely simple. These are four American poets of various ages and backgrounds who published a volume of poems in 2013 whose books, out of much else I also read in 2013, I either enjoyed or found much in to ponder about. I did not choose to publish them here to advance aesthetics and/or processes, but to look and listen back at a few voices that added to America’s and the world’s orchestration of poetic music and images in the about-to-be past year. I will let each poet and his/her words speak or sing for them.
Kazim Ali, whose “Prayer”, “The Fortieth Day” and “Open House” from his Sky Ward (Wesleyan University Press, 2013) are highlighted this week, reflects briefly on these poems, the process that led to their creation as well as a few poets who inform his life and/or craft.
Q: 1) Can you briefly describe how you came to these poems; or how they came to you; or how you came to each other?
Kazim Ali: “Prayer” was in a sequence of poems that dreamed of Icarus falling from the sky. He did not regret disobeying his father. He knew it was the only way to live. What could the world be for but to be lived in, what could the body, even queer, even disobedient, be for other than to live?
Each time I publish a book of poetry (there are only three so far, four if you count Bright Felon which I suppose you could, if you insist) a long time after I try to encapsulate the full book in a single poem. There is a poem called “The Far Mosque” in my book THE FORTIETH DAY. The poem “The Fortieth Day” is in my book SKY WARD. There is a poem called “Sky Ward” in my new manuscript in progress. And so I feel myself forward and try not to forget my catechism.
In “Open House,” the roof of the house opened to the sky, the sun, the stars, the empty space. Ovid had it right: sometimes bodies turn into other bodies. What do you do but wonder.
Q: 2) Please comment upon voice and the necessity for that/of that voice in your poems highlighted here.
Kazim Ali: I have no voice, only the conditions of my life. Not just the immediately present ones but all the past conditions that constructed and developed them. But ultimately I am no person, no body, only a thought, or a thought of a thought. How is voice to have any agency? Voice is sound in shape. Change the sound, change the shape. Who is I? No body.
Q: 3) How do these poems reveal in microcosm what you and your poetry are up to in macrocosm? If they sound or draw out a story, if they sing of vision/visions, yours, what impression/s do you hope they make in that endeavor?
Kazim Ali: I like that you chose brief poems. I am trying to write long poems now. But time is brief, breath is brief, the body is brief. God and planet are brief. Stone some sing sounds who survives sages and ages but for me I’ll not believe it same for leaves same for sun and swarm, who comes together? Naught. Not the night sky that the cosmonauts sail. Not Kazim. Not the same. Kazim not, Kazim knot, not what called to me, naut what I was named.
Q: 4) Recommend two age-old poets/writers and two contemporary poets/writers you feel are vital in your own life and work. Briefly state why.
Kazim Ali: The old school has to be comprised first of Lalla, the 14th Century Kashmiri wandering poet and saint. She whispered and she wondered in oral couplets. Because they were written down across centuries they disjoin, not in theme but in language– old Kashmiri lies alongside language from four centuries after. Then you know the truth in not the words but the shape of breath to which they are sung. Second I choose Emily Dickinson, weird Emily, bright one, not the one you know who has been selected. The Soul selects her Own society.
And for contemporary poets, I’ve too often told about who I love and who loves me. So I’ll say two poets I have read in the last year for the first time whose work pleases me in its craft and alarms me in its subject so that I should be frightened and pleased. They are Zubair Ahmed and Kiki Petrosino.
Denuded and abandoned I recite
but what do I want
To rise again from the ocean
or be buried alive in the surge and sleep
To be a fearsome range in a single body
or to wind my unity down into depth
Missing in action, ghost-like
bobbing in the distance
Singing psalms to terrify myself
So long liberation
My time in the world was
only a gesture
My body a lonely
I never knew
The Fortieth Day
Seeing your way clear
of endless storm
A raft carries you across
the unstruck sound
You leave off the body
no one’s playing
Every one looking for some thing
newer than death
Lost in the summer afternoon
The house’s upper floors disappear
What is it for me to be
At the beginning of a new life
When I knew nothing
Of the old
Kazim Ali is a poet, essayist, fiction writer and translator. His books include several volumes of poetry, including Sky Ward(Wesleyan University Press, 2013),The Far Mosque, winner of Alice James Books’ New England/New York Award, The Fortieth Day (BOA Editions, 2008), and the cross-genre text Bright Felon: Autobiography and Cities (Wesleyan University Press, 2009). He has also published a translation of Water’s Footfall by Sohrab Sepehri (Omnidawn Press, 2011), and (with Libby Murphy) L’amour by Marguerite Duras (Open Letter Books, 2013). His novels include Quinn’s Passage (blazeVox books), named one of “The Best Books of 2005” by Chronogram magazine and The Disappearance of Seth (Etruscan Press, 2009), and his books of essays include Orange Alert: Essays on Poetry, Art and the Architecture of Silence (University of Michigan Press, 2010),Fasting for Ramadan (Tupelo Press, 2011). In addition to co-editing Jean Valentine: This-World Company (University of Michigan Press, 2012), he is a contributing editor for AWP Writers Chronicle and associate editor of the literary magazine FIELD and founding editor of the small press Nightboat Books. He is an associate professor of Creative Writing and Comparative Literature at Oberlin College. (kazimali.com)