AR Dad – a poet of uncertain ideas
Poetry indeed precedes prose. When humanity was on its embryonic course of evolution, things were less mechanical and more spontaneous. If a band of sapiens lived in a small colony, they relied heavily on poetic rhymes and rhythm to optimally remember and smoothly perform quite difficult and challenging activities.
It just means that poetry occupies a very sagacious place in the history of mankind. Without poetry, the memory of sapiens would not have been what it is today. Humans can think a lot in poetic forms. He can learn a thousand lines in a few days of poetry, but the same is not true of prose.
William Wordsworth, the great English poet of the Romantic Age, says that poetry cannot be composed under duress, “the clear source of poetry must flow freely and spontaneously, it cannot flow through artificially laid pipes. . In a resplendent poetic mood the poetry flows like a flowing river, nevertheless, it is not to make things easy, there is a huge implication of the craftsmanship in the poetry that works mechanically.
AR Dad, born in Gwadar, is a dean of modern Baloch literature.
He writes on the first pages of his first collection of prose and free verse, at twilight, “poetry is my first love”. Apart from poetry, he has written extensively on modern Baluch poetry and its literary calibration. It is an abnormal short story writer who resuscitated the Baloch short story form with a mixture of Kafkaesque and Gogolian thought models. His translations are also worthy. Truly, as Fazal Baloch wrote in the pages of the Daily Era, he is a versatile modernist. Despite that, what I think is that he has a very serious predilection for post-structuralism and the postmodern way of breaking things up and then making fun of them.
AR daddy is a big reader of TS Eliot and Ezra pound; either was a modernist who bridged the gap between the spell of John Donne and Wordsworth. Donne was eminent for his metaphysical poems. Its imagery is complex and irregular. He moved away from traditional and distinguished verses and composed a psychological and sexual realism in his works. It becomes difficult to find Donne’s personality in his verses as there is an influx of metaphysics throughout his work. I don’t think AR’s dad is a poet associated with TS Eliot and Ezra pound, but he seems to be wildly influenced by Eliot and pound’s craft as their profession seems intimidating and intimidating.
I find a deep immersion and concentration of personality in the poetry of AR Dad. He is not impersonal in his poetry. The impulse of poetry categorically floods him. TS Eliot was a proponent of impersonality in poetry. The impersonal theory of Eliot’s poetry is that the poet, man and artist are two different entities. Eliot writes in his book Sacred Wood, “Poetry is not a relaxation of emotion, but an escape from emotion; it is not the expression of the personality, but an escape from the personality.
Tale of a night
If it’s a mist drenched shadow
Or sand clad in blue
Rest on the grave of my dreams
Come sail in the boat of my eyelashes
The ocean t-shirt scribbles the tale of the night
This poem confirms at first glance that Father AR is closer to modern Iranian poets led by Nima yooshij. Nima yooshij was the father of modern Iranian poems. He wrote down poems in symbolic terms by extracting materials from nature, namely trees, birds and others. Nima knew French and was strongly influenced by the pioneers of the symbolic movement in French poetry. Arthur Rimbaud eminent for his surreal and transgressive themes was one of the poets who introduced symbolism into the world of literature. The thread is the same with some modifications. The line mentioned above, “the boat of my eyelashes” is a very shaky line with a lot of uncertainty. At first it seems to be metaphysical, but with careful reading it unleashes other cardinal dimensions.
The language of dad’s poetry is uncertain and the idea because of the uncertainty becomes symbolic by default. AR papa always gives credit to idea and content rather than form. Russian formalists are more enamored of form than content. They believe that there is a huge distinction between form and content and that they have focused on the form or structure of a text rather than its content. On the contrary, the authors of the New American Criticism believe that the form and content of the text are closely related and cannot be analyzed separately. As mentioned above, dad has a deep predilection for Eliot and pound, so his poems are technically on the side of content and not form. He writes in an unstable, non-metric rhythm and the form becomes brittle and brittle and this greatly affects the foundations of the content. Eliot and pound both cared about form as their poems are composed very elaborately.
Dad says poetry to build a medium and an atmosphere of different events like a collage. Noon Meem Rashid, the pioneer of free verse in Urdu literature, once said in an interview that the nature of free verse is like a movie that ends after taking a plethora of different shots from different angles. The film once completed becomes a single entity. The same goes for Pablo Picasso. Before Picasso, there was a huge tradition of small details and strict rules on how to paint, but Picasso broke this rule and turned a new leaf in the history of painting. Dad composes poetry by taking pictures and then tries to reconcile them and make sense of them. This way of composing poetry is a modern technique. But dad often fails to come to terms with and bring an air of deep relevance to his free verse and prose. His leadership seems to be slackening, then the reins are out of his control. This disrupts the essentiality of the poem to the heart. And the poem goes towards the frame of the cliché. A poem is judged in its entirety and if a single line or episode disturbs the essentiality, then the poem is no longer counted as a high calibration poem. A big part of that caveat is that dad is focused on the content rather than the form which makes the poem and develops it.
The collapsed night
The night has collapsed
In the eyes of a tree
Very similar to fire
That crumbles on my palms
Very similar to the sun
It goes down in my soul!
Papa also seems to be very influenced by another modern Iranian poet, Ahmed shamlou, who wrote in the poetic tradition initiated by Nima Yoosij. His poems are full of natural things. He composes poems about dreadful nights where absolute silence reigns and the song of a frog. Here in this poem the collapse of the night is a very strange phenomenon which does not exist in the Iranian tradition or at least I did not feel it. This makes it a bit special but once again it is felt in the poems of Arthur Rimbaud and Paul Verlaine. Verlaine in his poems seems to be in a dream playing with symbols. And there, dad is really in a sensation. What the fire on the palm connotes and means is hard to say. Here the reader has to follow their own intuitive stimuli and make sense of them. The allegorical symptoms cannot be avoided in this poem. The eyes of a tree are a great allegory. Papa also translated and read Charles Baudelaire who had more or less said poetry in this tradition. When it comes to daddy symbols and metaphors, they are refreshing and used with relevant literary devices. The sun is a symbol of light and hope, but when the sun is too close it can burn you out all at once and here the protagonist of the poem is happy to announce that the sun is setting in his soul. In the same order, one can find deep meanings with rich symbols in daddy’s poetry. He has published two collections of poems to date. But the first volume is richer than the next.
Another way to understand dad’s poetry is to understand the relativity and subjectivism of postmodernism. When there is a lot of uncertainty in daddy’s poetry, then why shouldn’t I understand it through the prism of postmodernism. According to Britannica, postmodernism is a general suspicion of sanity; and an acute sensitivity to the role of ideology in the assertion and maintenance of political and economic power. According to the famous post-structuralist and post-modernist who pioneered the deconstruction of thought, Jacque Derrida, the meaning of a text is always deferred and never static. So, in the realm of poetry, meaning is always in a flow and cannot be controlled without effort. Likewise, Jean François Lyotard described postmodernism as “disbelief in meta-narratives”.
In poems with great uncertainty, the poem becomes a matter for the reader. It is up to the reader how he understands and makes sense. Nevertheless, the technicalities of poetry are necessary in a refined piece of poetry. The only thing that is a warning to me about postmodernism is that it breaks every meta-narrative and sits on its funeral with a sardonic posture.
In conclusion, it is safe to conclude by saying that daddy’s ideas are full of symbols and these symbols are quite fresh and freakish. However, the problem lies in the form and the lack of authenticity.
When the form becomes inauthentic, then there is uncertainty and the reader persists in making sense of the form with regard to the content. A poem must be definitive. A poem is not supposed to waver and tremble in essence. For me, however, there are several dimensions to read and then to write in AR Dad’s poetry. These are a few that have sparked interest.
The writer is a student, based in Turbat. He tweets at @ shahabakram6 and can be contacted at email@example.com