The sunshine, the bubbles, the cathedral, and the history of Cádiz inspire me. And in From Cádiz to Málaga I pay homage to Gloria Fuentes, Carlos Edmundo de Ory, Federico Garcia Lorca, and Allen Ginsberg. All these poets are connected through time, space, and words.
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Does our mother’s life then become the grisaille to our own? That monochromatic grey scale underpainting to which we add the color of our lives.
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In Blackout, Faiz mixes images of Muslim and Hindu sacred origins as a symbolic defiance of the Partition. In the lyrical and romantic poem Ya’d’ (Memory or Remembrance), the pain of separation from the beloved (Jan) and exile (fira’q & hijr) also represent a yearning for the pre-Partition problematic, undivided self. In these lyrical poems, Faiz constantly raises questions of ‘home’ and ‘exile’, that defy the space of separation of the two nation-states.
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For years my label for myself has been musafir, مسافر/यात्री which is the word for traveler in Hindi/Urdu. I grew up in India and since my father was a doctor in the Indian Army, I found myself in a new city and school every two to three years. It was a transitory existence, which I assumed – as any egocentric child – was how the world lived. Seven schools, a couple of universities and many, many homes in many cities later I found myself in a city and home in California, where I have now lived the longest. And the musafir is still here.
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Abu is in the letter, arguing voraciously about politics with his fellow Pakistanis on the ship. Mummy promises her mother that he will add a line or two at the end of the letter, but true to the man I knew, he decides to let Mummy have the last word.
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