An Afro-Pakistani Poet

Via 3 Quarks Daily, I read a profile of Noon Meem Danish, an Urdu-speaking poet from Karachi who is of African descent. The author of the piece, Asif Farrukhi, makes reference initially to some places I hadn't heard of:

Whether you think of Lyari as Karachi’s Harlem or Harlem as a Lyari in New York, for Noon Meem Danish places provide a context but not a definition. ‘I am what I am’; he explains his signature with a characteristic mixture of pride and humility. Off-beat and defiant, he was a familiar figure in the literary landscape of the ’70s and ’80s. His poems expressing solidarity with the Negritude and the plight of blacks all over the world were referred to in Dr Firoze Ahmed’s social topography of the African-descent inhabitants of Pakistan. Karachi’s poet Noon Meem Danish now makes his home in the New York state of mind, and feels that he is very much in his element there. (link)

Lyari, one learns, is a town in/near Karachi where many of Karachi's Africans (an estimated 500,000 of them) live. Their ancestors came to Balochistan as slaves via Arab traders (Noon Meem Danish defines himself ethnically as "Baloch," which was confusing to me until I made the connection).

The Afro-Pakistani community, perhaps not surprisingly, hasn't been treated particularly well, according to this essay in SAMAR magazine (skip down towards the end for some disturbing references to the extra-judicial killing of African youths). It's not surprising that Noon Meem Danish, given his penchant for poetry, would consider leaving.

Danish is pretty forthright about the difference in how he is perceived in Karachi vs. New York:

More than home, Karachi was for him the city of the torment of recognition. ‘I was black and in Karachi it was always a shocking experience when people would ask me where I came from. They would ask how come you are speaking saaf Urdu. I had to explain myself each time.’

Karachi University wouldn't hire him, but NYU did, and now he teaches at the University of Maryland (where he teaches in the foreign language department -- Urdu, I presume). It's interesting to think of someone of African descent emigrating to the U.S. because it's less racist than the place where he grew up, but there you have it.

You can see Noon Meem Danish reciting at a Mushaira on YouTube (he's at 2:30).

A Challenger in Pakistan

We're starting to see real signs that Pervez Musharraf's hold on power in Pakistan may not be absolute. Pakistan's suspended Supreme Court Justice, Iftikhar Muhammad Chaudhry gave a speech in front of thousands of supporters in Lahore yesterday, expressing dissent with the current government. Chaudhry has been under house arrest in Islamabad since March, and it isn't completely clear to me how he was permitted to address the public on the grounds of the Lahore High Court. But he's clearly become a popular icon of secular dissent with Musharraf's rule, and his speech has to be making authorities nervous:

Speaking to the crowd, including many lawyers, the suspended chief justice, Iftikhar Mohammad Chaudhry, said, “The concept of an autocratic system of government is over.” He added, “Rule of law, supremacy of the Constitution, basic human rights and individual freedom granted by the Constitution are essential for the formation of a civilized society.

“Those countries and nations who don’t learn from the past and repeat those mistakes get destroyed,” he said.

He said the government had no right to impose laws that violated basic human rights.

Mr. Chaudhry spoke at the compound of the Lahore High Court, under the scorching Lahore sun. Seventeen judges from the Lahore High court also attended. Many of the supporters covered their heads with newspapers to escape the heat. Banners urging the independence of the judiciary and denouncing the president of Pakistan, Gen. Pervez Musharraf, hung on boundary walls surrounding the compound. Political workers, who were not allowed inside, listened to the speech outside the boundary wall. (link)

Chaudhry was also greeted by thousands of cheering bystanders on the side of the road between Islamabad and Lahore; the fanfare was so intense that what is normally a four hour journey took twenty-five hours!

I briefly and irreverently mentioned this brewing crisis back in March, but a much more thorough analysis of the back-story of Justice Chaudhry's dissent by Anil Kalhan can be found at Michael Dorf's "Dorf on Law" blog.

As Anil maps it out, probably the most important issue is actually Pakistan's prosecution of the war on terror, specifically its policy of "disappearing" hundreds of people accused of being Al-Qaeda supporters. While Pakistan's hunt for terrorists has resulted in some important catches, including especially Khalid Sheikh Muhammed, its growing dependence on authoritarian practices has become increasingly unpalatable to many Pakistanis. And the presumed cooperation between the ISI and the CIA, the latter with its secret detention facilities, has to be galling to both Pakistan's secular liberals (they do exist) and the Islamists on the right.

There are other issues on the table too (human rights in Balochistan, and corruption surrounding the privatization of Pakistan Steel Mills), and Justice Chaudhry has apparently built up a reputation as an activist and a progressive over some years, as this detailed analysis suggests.

Of course, it's an open question as to whether Musharraf will continue to let Iftikhar Chaudhry speek freely. And one has to wonder whether the feeling of dissent represented by the support for Justice Chaudhry can be transformed into an actual political movement in Pakistan.

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As a final note, the following Faiz Ahmed Faiz ghazal was being played over the loudspeakers at Justice Chaudhry's rally. The Times gave it to you in English, but here it is in transliterated Urdu as well:

Jab Zulm-o-Sitam ke Koh-e-garaan
When the mountains of cruelty and torture

Ruii ki Tarah Urd Jain Gay
Will fly like pieces of cotton

Hum Mehkumoon ke Paun Talay
Under the feet of the governed

Yeh Dharti Dhard Dhard Dhardkay gi
This earth will quake

Aur Ehl-e-Hukum ke Sar Uper
And over the head of the ruler

Jab Bijli kard Kard Kardke gi
When lightening will thunder

Hum Dekhain Gay
We shall see (source)

Yes, Hum dekhain gai. That is probably about all that can be said at this point.

Peter Nicholson on Auden, and against the "Poetic"

The Auden centenary is coming up, and Peter Nicholson has posted his poem, "Asking Auden," from 1984 at 3 Quarks Daily (seems we're in a linking-to-3QD mood over here). He's also posted a short essay with some reflections on the function of criticism, specifically poetry criticism. The highlight for me is the following:

There is a problem specific to poetry: mistaken thinking about poetry by the general public. Misuse of the word 'poetic' is so common as to be beyond repair. Proper poetry dives into the world, takes in its multifariousness, its roughnesses and tragedies, its joy at beauty, even as the poet grabs on to the broken glass shards of the Muse's patchy visitations. 'Poetic' is not another word for nice, kind, sedate, palatable. Between top-heavy pronouncements from various spots around the publishing globe and the general public's indifference to the real poetic, falls the shadow, Cynara, of the individual writer's efforts to get him or herself understood on a proper footing.

It's true, as Robert Hughes said in Australia recently—a critic has to have a harsh side, otherwise all you get is blandout. That apart, critics will come in many guises. One will behave like Stalin, casting the unchosen to outer darkness. Another will gather in a sheaf of sensibilities with an almost creative zeal. A few imply they have read everything and therefore their commentaries come with an air of supernal wisdom. Nothing of the kind, of course. . . . Personally, I can't think of any critics with whom I am in general agreement about literature or art. When reading all these people you can get an interesting perspective, learn new things about art and artists, enjoy the erudition, if worn lightly. However, in art, it is essential not to let others do the thinking for you. Perhaps that's even more important with artists you admire and who write on art too. I often disagree with some of my favourite artists. Wagner seems misguided on all manner of subjects. 'Poetry makes nothing happen' and 'All art is quite useless' are two statements from Auden and Wilde that irritate me.(link)

(I had to look up "falls the shadow, Cynara". Did you?)

I like Nicholson's general point here. While good criticism can be helpful and insightful, it's almost never really "authoritative," partly because even benchmark critics have their own spots of extreme idiosyncrasy, and partly because every reader brings an essentially unique combination of taste, experience, and intelligence to the text at hand.