While you excel in worshipping anxiety –
didn’t you notice that your arteries have failed to pump your insomnia up to the eyes?
Didn’t you notice?
That the hearts of those abandoned on the pavements of the night
have split from your vision so many times?
The patterns of the night continue their work
until dawn appears on the edges of clouds gathering
on the ceiling of your imagination.
Didn’t you also notice –
how you enjoy interpreting the arteries of women
and the bodies tossed on the roofs of memories from long ago?
Your pages have been soaked with the sludge of exegesis
and not one word has been read
these pages have exhausted all languages known to earth
in order to offer a name that matches your definition of self
your name – like an inkwell pregnant with possibilities
your build defies all definitions of its organs combined.
Come stand to where the thunder can see you so that your emaciated body may dissolve
and your soul be resurrected as a cloud followed by rain
pouring down life to where your name is not even a dream
that won’t come to pass as long as you’re unable to abandon the definitions
of dubious pleasures and drunken nights
and those who call out the sacred names of love.
Come – for the night is long for the beloved,
not long enough to write about pleasure
or bodies saturated in the smell of peaches
absorbed in all the forbidden pleasures of the night.
Come – to where the cloud chooses to shift your sickly form
and snatch your soul from its exile –
from a heart that had openly declared the absence of love
and from the mirages of the assumed homeland you thought you belonged
to every grit of its earth.
Since when does the wind honor traffic laws?
Did the wind ever stop at your red light?
How long have you coaxed it to stop
so you could gather a few words
or find some news no longer fit for print?
Your eyes will confess that insomnia
has violated the secrets of the night
and the night too won’t keep silent for long.
Your heart is an idol to which your arteries have absconded
And they no longer offer your veins as sacrifice
as tribute to the throne of beautiful gods
Your name means nothing to me
it cannot deliver me of all the sins of drought
and it cannot supplicate the night so that I can walk free from its isolation
your name is a lost number –
a weight that has broken your back!
The poem “The Name of a Masculine Dream” is from the book “Instructions Within”. It was translated into English by Mona Zaki. It is published here with the consent of M Lynx Qualey, arablit.org, a website for Arabic literature in English. This website has many more translations of Ashraf Fayadh’s poems into English, but also into other languages. Please click here for further translations. M Lynx Qualey also mentioned in a post on 15 February 2016 that Ashraf Fayadh’s “Instructions Within” will soon be published in French and English translation.
2. Fatemeh Ekhtesari (Iran)
I press my head down
It’s the result of insomnia oppressing me
I press my head to you and to my miserable memoirs
The night is pressing me too
But I’m so tough
Now it’s the sound of your scream coming
And there is blood
And there is the smell of tear and tear gas
A soldier is pressing my head down by his boots
Someone is pulling the trigger
Now there is a gun between my eyebrows
I feel the blood pressure in my head
The cowards have run
I press a cold hand in my cold hand
Someone was calling my name all the night
I feel the pressure of a lump in my throat
My throat is wounded
And I hear you screaming in the ear of someone who is all dead
I feel the pressure of life
And its wounds
And its marks
And I feel the pressure of the graves upon the solitude of dead
I press my fists to the wall and I swallow my cry
You are still screaming in the wild howls of the wind
I press my head down
A vessel is pressing a nerve
And I press a bottom to flash my life back
To go back to a scene where I’m opening a window towards light
Where everybody rise out of the graves
Where I hold a warm hand in my hand
And we are laughing in our homes and in our rooms
There I hear the sound of peace
And my heart beats normally
And that’s a better day with a green background
This poem is taken from a collection of poetry “When a breeze takes a shortcut” which includes poems by Iranian poets and by Radek Hasalik, a Czech poet. I am very grateful to Fatemeh Ekhtesari who allowed me to publish this poem in my blog. If you want to read another of her poems in English have a look at the Versopolis.com website.
3. Mohammed al Ajami (Qatar)
Prime Minister, Mohamed al-Ghannouchi:
If we measured your might
it wouldn’t hold a candle
to a constitution.
We shed no tears for Ben Ali,
nor any for his reign.
It was nothing more than a moment
in time for us,
a system of oppression,
an era of autocracy.
Tunisia declared the people’s revolt:
When we lay blame
only the base and vile suffer from it;
and when we praise
we do so with all our hearts.
A revolution was kindled with the blood of the people:
their glory had worn away,
the glory of every living soul.
So, rebel, tell them,
tell them in a shrouded voice, a voice from the grave:
tell them that tragedies precede all victories.
A warning to the country whose ruler is ignorant,
whose ruler deems that power
comes from the American army.
A warning to the country
whose people starve
while the regime boasts of its prosperity.
A warning to the country whose citizens sleep:
one moment you have your rights,
the next they’re taken from you.
A warning to the system – inherited – of oppression.
How long have all of you been slaves
to one man’s selfish predilections?
How long will the people remain
ignorant of their own strength,
while a despot makes decrees and appointments,
the will of the people all but forgotten?
Why is it that a ruler’s decisions are carried out?
They’ll come back to haunt him
in a country willing
to rid itself of coercion.
Let him know, he
who pleases only himself, and does nothing
but vex his own people; let him know
someone else will be seated on that throne,
someone who knows the nation’s not his own,
nor the property of his children.
It belongs to the people, and its glories
are the glories of the people.
They gave their reply, and their voice was one,
and their fate, too, was one.
All of us are Tunisia
in the face of these oppressors.
The Arab regimes and those who rule them
are all, without exception,
without a single exception,
This question that keeps you up at night –
its answer won’t be found
on any of the official channels …
Why, why do these regimes
import everything from the West –
everything but the rule of law, that is,
and everything but freedom?
The poem “Tunisian Jasmine” was translated into English by Kareem James Abu-Zeid. It is also published here with the consent of M Lynx Qualey, arablit.org. Mohammed Al-Ajami also wrote a “poem from the prison cell” which English PEN published in an English translation for last year’s World Poetry Day. If you want to read it, then please click here.
It is a dangerous undertaking to write poetry. Each of the three poets about whom I will write in this post will probably agree with this statement. For this year’s World Poetry Day on 21 March 2016, I want to raise awareness for three poets who were punished for their poetry: (1) Ashraf Fayadh (Saudi Arabia), (2) Fatemeh Ekhtesari (Iran) and (3) Mohammed al-Ajami (Qatar).
1. Ashraf Fayadh (Saudi Arabia)
Ashraf Fayadh was born in 1980 in Saudi Arabia. He is a Palestinian poet and artist and a member of the Saudi-British group Edge of Arabia, a non-profit cultural initiative to connect artists and ideas between the Middle East and the Western World. Ashraf Fayadh curated a large art show in Jeddah in 2013 and was co-curator of the project RHIZOMA at the 55th Venice Biennale in 2013.
2013 was not only the year in which he was curator of significant exhibitions. It was also the year in which his ordeal started. On 6 August 2013 he was arrested following the accusation that he was “promoting atheism and spreading blasphemous ideas among young people”. Someone filed a complaint with the Committee for the Promotion of Virtue and the Prevention of Vice about his book “Instructions Within”, a collection of poetry which was published in 2008. He was released on the next day.
Ashraf Fayadh gave in an interview more background about the allegations: He said that the context was a personal dispute he had with another artist about contemporary art in a café in Abha, a city in the South-West of Saudi Arabia.
On 1 January 2014 he was rearrested. The exact charges against him were initially unclear, but his long hair was criticised and it was thought that his ideas contradict the values of the Saudi Arabian society. After his arrest he was detained in a police station for 27 days until he was transferred to prison.
His case went on trial in February 2014. The charges which were brought against him were very severe: apostasy (conscious abandonment of Islam) which carries the mandatory death sentence and in addition a violation of Saudi Arabia’s Anti-Cyber Crime Law by taking and storing photos of women on his phone. Ashraf Fayadh denied the accusations of blasphemy and apostasy and offered a formal apology to the court. In relation to the Anti-Cyber Crime charges he explained that he had only photos of fellow artists on his phone which were taken during the Jeddah art week. The prosecution had three witnesses: the man who had reported his allegedly blasphemous remarks and two officers of the Islamic religious police who had arrested him.
In May 2014 the General Court in Abha sentenced him to four years in prison and 800 lashes (for the charges relating to the imagines of women). He was cleared from the allegation of apostasy, because the court had accepted his apology. Ashraf Fayadh filed an appeal against the judgement, but the court of appeal dismissed it. To make things worse they also indicated that he should still be sentenced for apostasy. The case was then transferred back to the General Court.
The retrial took place in November 2015. On 17 November 2015, the General Court sentenced Ashraf Fayadh to death. This trial was unfair and violated International and Saudi-Arabian laws. Ashraf Fayadh did not have legal representation at court, because he could not mandate a lawyer without his passport which was seized by the police. The judge in the new trial did not even speak with him, but only gave the verdict: death sentence for apostasy.
Ashraf Fayadh’s arrest, trial and sentence were heavily criticised. Immediately after his arrest in January 2014 100 Arab writers and thinkers signed a petition and many others condemned his arrest in the social media.
The public outcry got obviously even louder after he was sentenced to death last November. Amnesty International and 60 other human rights groups and arts groups launched a campaign for him. In addition a large number of authors, artists and actors and also the director of Tate Modern joined the efforts for his release. Since January 2015 English PEN has been regularly protesting at the Saudi Arabian embassy in London for the release of Raif Badawi and Waleed Abulkhair. Since 27 November they have also been calling for the release of Ashraf Fayadh. The international literature festival Berlin had called for worldwide readings on 14 January 2016 to highlight his case. This was very successful and readings in support of his case were held in 44 countries.
Ashraf Fayadh filed within 30 days an appeal against the court decision which sentenced him to death. He claimed that there is no legal basis for the judgement, because of a number of formal errors:
He was arrested by the Islamic religious police, even so the arrest should have been done by the state prosecutor.
The allegations of apostasy were only based on the witness statement of the one person with whom he had the dispute. They were not corroborated by other evidence as required under the laws of Saudi Arabia.
On 1 February 2016 the court of appeal reversed the decision of the General Court. They overturned the death-sentence and replaced it with the following verdict: eight years in prison, 800 lashes (to be carried out on 16 occasions with 50 lashes each time) and public repentance. Ashraf Fayadh’s lawyer said that they again filed an appeal against this sentence.
Ashraf Fayadh is currently in prison. Sofar he has not yet been flogged.
2. Fatemeh Ekhtesari (Iran)
Fatemeh Ekhtesari was born in 1986. She is an Iranian poet and she is also a midwife. Her poems are often about women. On the one hand she writes poems about the female body with pregnancies, deliveries and abortions. On the other hand the poems are about the world of women including demonstrations and resistance. She also edited a modern poetry magazine.
Fatemeh Ekthesari belongs to the literary movement “Postmodern Ghazal”. Ghazal is a classic poetic form which consists of rhyming couplets and a refrain. Traditionally the theme of ghazals is unconditional superior love. Mehdi Mousavi who is a pre-eminent member of this literary movement explained that “ghazal” has a wider meaning in the term “Postmodern Ghazal”. It stands for all formal styles of classic poetry and is not restricted to the traditional ghazal. Poets who belong to this movement use classic poetic forms, but modernise them and write about contemporary themes in contemporary language.
Fatemeh Ekhtesari’s first book was published in 2010. She spoke in one article about her approach to deal with censorship. She put dots in her poems for all words which would not get past the authorities. After the book was approved and published, she added the missing words by hand before she sent copies to her friends.
In 2013 Fatemeh Ekhtesari took part in a literary exchange programme with Sweden with the title “A Resistance Movement on My Desk”. Six poets from Iran and six poets from Sweden collaborated in this project and translated together Persian poetry into Swedish. One of the highlights of the programme was the participation at the poetry festival in Stockholm and Gothenborg in September 2013.
On 6 December 2013 Fatemeh Ekthesari (and Mehdi Mousavi) wanted to travel to Turkey for a literary workshop. At the airport they were informed that they were banned from travelling and they were summoned for an interrogation.
Both of them did not go to the interrogation and two days later, on 8 December 2013, they were arrested by the intelligence branch of the Islamic Revolutionary Guards Corp at their houses. They were transferred to solitary confinement and spent 38 days in the Guards’ Ward 2-A at Evin Prison. Both had to endure psychological pressure and repeated interrogations which finally led to forced confessions. These confessions were the main evidence in the following trial. On 13 January 2014 they were released on bail.
Fatemeh has not only been prosecuted personally, but also her poetry is under attack. One of her books which was published with the permission of the Ministry of Culture and Islamic Guidance was removed from the Tehran Book Fair in May 2015.
On 10 October 2015 the Tehran Revolutionary Court rendered their judgement. Fatemeh Ekhtesari was sentenced to 11 1/2 years in prison and 99 lashes (and Mehdi Mousavi was sentenced to 9 years in prison and 99 lashes). The charges against her were:
Insulting sanctities through her poetry (7 years)
Publishing unauthorised content in cyberspace (3 years)
Propaganda against the state (1 1/2 years)
Kissing (the cheeks) and shaking hands with a member of the opposite sex who was not related (99 lashes).
Her lawyer said that it is not entirely clear which of her poems were deemed to “insult the sacred”. The poems which were mentioned in court did not relate to sanctities. All her books were published with permits issued by the Ministry of Culture and Islamic Guidance. It is therefore difficult to understand why the censors did not take offense and prohibited the publication in the first place, if some of the poems were really against the law. There is some indictation that she was accused to “insult sanctities” because she was previously in contact with the exiled Iranian rapper Shahin Najaif who used her poems for one of his songs. Iran sees in him an apostate. However, he sang the song which was based on her poems some years ago and a long time before the allegation of apostasy were made against him.
The charge of “propaganda against the state” has to be seen in the context with her trips to Sweden for the exchange project. The ruling claims that she cooperated in Sweden with the press and with “spies” and is responsible for “negative propaganda about Iran”.
Her lawyer sees severe violations of due process and a fair trial, because there are some indications that the decision was made before the court hearing.
Several human rights organisations heavily criticised the decision against Fatemeh Ekhtesari and Mehdi Mousavi. On 30 October 2015 PEN America sent a letter to the Iranian Supreme Leader Ayatollah Ali Khamenei. The letter is signed by 116 poets and writers and urges him to grant pardon for both poets.
Fatemeh Ekhtesari and Mehdi Mousavi filed an appeal against the judgement. The appeal is still pending. In January they fled Iran. For security resons they do not disclose in which country they are currently. They mentioned however that they have both applied for political asylum.
Fatemeh Ekhtesari shall have the final word. She explained in an article about a months ago her motivation for leaving Iran:
“Self-censorship was among the reasons I left Iran. I was becoming afraid of writing. I feared that anything I write would be used by IRGC interrogations against me.”
“I used to say I have to be in Iran, I need to be in close contact with my audience. I need to see their problems and feel their pain. But I was forced to leave behind the people that I love, the people for whom I’ve been writing poetry.”
3. Mohammed al-Ajami (Qatar)
Mohammed al-Ajami was born on 24 December 1975 in Qatar. He is married and has four children. He writes also under the name Mohammed Ibn al-Dheeb.
The background of his arrest and his sentence are the following: In 2010 Mohammed al-Ajami recited one of his poems in his house in Cairo (“The Cairo poem”). The recitation was in front of a small private audience. However, one of the audience members made a recording of the performance and posted it without his consent or even his knowledge on YouTube.
On 16 November 2011 Mohammed al-Ajami was summoned to a meeting with state security officials in Doha. When he arrived he was arrested. About two weeks later he was transferred to the central prison. The laws of Qatar allow a pre-trial detention of up to six months, however his detention exceeded the legal maximum and his trial was postponed five times. He was held in solitary confinement for a long time. For several months he did not have access to books, television or writing material. Mohammed al-Ajami’s family and friends were initially not informed about his whereabouts and for months they were not given any right to visit him.
On 29 November 2012 Mohammed al-Ajami was sentenced to life in prison. The charges against him were “incitement to overthrow the government” and “criticising the ruling emir.” The charge of “incitement to overthrow the government” could have even lead to the death sentence.
The whole trial was unfair. It was a trial behind closed doors. Al-Ajami was not allowed to defend himself and his lawyer was not allowed to plead or defend his client. His lawyer also says that the evidence was tampered with. The court heard as expert witnesses three “poetry experts” from the ministry of culture and education. They gave almost identical evidence and asserted that the poem insulted the emir and his son. Al-Ajami never denied that he was author of the poem, but always emphasised that he did not intend to insult anyone. In addition the offence of “incitement to overthrow the government” requires a public action. Because of the private nature of the reading this requirement was not fulfilled. During his interrogations Al-Ajami was forced to sign a false confession which stated that the poem was read in public in the presence of the press. In the final hearing in October 2012 Al-Ajami was expelled from court (for being unruly) and was not brought to court when the judgement was handed down.
It is not entirely clear for which poem Mohammed al-Ajami was punished. A lot of people think that the reason for his punishment is not “The Cairo poem”, but rather “Tunisian Jasmine”. In this poem he praises the Tunisian revolution and denounces corruption and oppression by Arab rulers:
“All of us are Tunesia
in the face of these oppressors.
The Arab regimes and those who rule them
are all, without exception,
without a single exception,
Excerpt of “Tunisian Jasmine”
If you want to read the whole poem “Tunisian Jasmine”, you find it in the following post. There is also a link to another poem which al-Ajami wrote in prison.
The judgement against Mohammed al-Ajami was heavily criticised by Amnesty International and many other human rights organisations and also in the social media.
Mohammed al-Ajami filed an appeal against the judgement. On 25 February 2013 the court of appeal reduced the sentence to 15 years in prison.
Another appeal to the Court of Cassation was not successful. The Court of Cassation upheld on 20 October 2013 15 year prison sentence. The court made his decision to uphold the decision in less than three hours.
Several human rights organisation continously called for his release and there were readings of poetry in solidarity for Mohammed al-Ajami. On 20 October 2015 the UN Special Rapporteur raised his case and declared that his arrest, detention and sentencing “seem to be solely related to the peaceful exercise of his fundamental human rights”. He added that the charges are “clearly incompatible with international standard, which protect the right to freedom of opinion and expression, including in the form of arts, and the take part in cultural life.” English PEN held a protest in support of al-Ajami on 25 February 2016 and delivered a petition to the Qatari Embassy in London.
After the decision of the Court of Cassation in October 2013 there were no further ways to challenge the judgement. The only hope which was left for Mohammed al-Ajami was a pardon by the Emir.
I have decided to include him nevertheless in my post as acknowledgment of his suffering and the unfair imprisonment for more than four years. His story and story of every other poet who is punished for their poetry shall be heard and shared.
Please read also the following post in which you find examples of Ashraf Fayadh’s, Fatemeh Ekhtesari’s and Mohammed Al-Ajami’s poetry.
I want to thank English PEN which allowed me to use the photo of their protest for Ashraf Fayadh and the pictures of Mohammed Al-Ajami in this post and of Ashraf Fayadh in the next post. I also want to thank M Lynx Qualey, arablit.org, who allowed me to use translations of the poems of Ashraf Fayadh and Mohammed Al-Ajami in the next post. Finally I want to thank especially Fatemeh Ekhtesari. She sent me the two photos I used in this and the next post, English translations of some of her poems and was patient enough to answer my questions.
A couple of weeks ago I heard about a classic Arabic poem by the poet Najīb ar-Rayyis. I want to share with you in the following post the poem (in an English translation), its background and how I heard about it.
O dark of prison, shade us,
for we dearly love the darkness.
After night there is nothing unless
a dawn of glory rises up.
Alas, o place of fame,
o dwelling of our faithful ones,
we offered young men to you
who have no fear of death
and we all gave our word to each other,
on that day we swore the oath.
We shall never break our word,
for we took righteousness as our faith.
O you guards, be lenient,
and hear the words we speak:
Let us enjoy the air,
to withhold it would be a sin.
By God, I shall never forget
the ills my nation is suffering.
I call you to witness, o stars,
that I have loyalty and love within me.
O clanking fetters, give me more
of that sound which saddens my heart,
for your voice gives a meaning
to mourning and oppression.
I was never an evildoer,
I never betrayed the regime;
far rather, the love of my country
holds fast a place in my heart.
1. The poem “Yā ẓalām as-siǧn” (O dark of prison shade us) was written by the Syrian Poet Najīb ar-Rayyis in 1922.
Najīb ar-Rayyis was born in 1898 in Hama, Syria. Hama belonged at that time to the Ottoman Empire. He was a journalist, editor and activist against the French mandate for Syria and Lebanon.
In 1919 Najīb ar-Rayyis went to Damascus and worked as journalist for several Syrian newspapers and a number of Lebanese newspapers. From 1928 onwards he was editor of the newspaper al-Qabas / القبس / ‚The fervour‘. This newspaper became soon a major publication for the Syrian national movement for independence and was highly regarded by the Syrian people.
Even before he became editor of al-Qabas he was famous for his articles which supported the national movement of Syria. His editorials for al-Qabas were respected for their strong criticism of the French colonial ruler. As a consequence the publication of al-Qabas was often forbidden or at least interrupted. Najīb ar-Rayyis paid a high price for his activism and his clear advocacy for Syrian independence. Between 1920 and 1943 he was several times in different prisons, penal camps and banished. Altogether he spent eight years of his life in prison.
After the end of the French mandate in 1946 Najīb ar-Rayyis was highly regarded. He was soon elected as a member of parliament under the president Shukri al-Quwatli. In parliament he was known to be a eloquent and courageous orator and defender of all matters of his country and the well-being of its people. After his service in the parliament he went back to his work as a journalist and wrote many further articles. He died in 1952 in Damascus.
2. The poem Yā ẓalām as-siǧn has to be seen in the same context as his work for several newspapers. It is one of the most famous works of Najīb ar-Rayyis. He wrote it 1922 during his banishment to Arwad – a Syrian island close to Tartus, Syria’s second largest port.
a) The 1920s were a significant time for Syria. After the First World War the Ottoman Empire was dissolved and there were two distinct developments. The colonial powers France and Britain divided the former Ottoman Empire 1918 between them. The French controlled parts of Ottoman Syria (mainly modern Syria and Lebanon) and parts of south-eastern Turkey. At the same time Faisal established the first Arab government in Damascus. In May 1919, elections were held for the Syrian National Congress who declared the independence of Syria in 1920. An independent Syria would conflict with the French idea of a colonial mandate over Syria (and Lebanon). On 23 July 1920 the Battle of Maysalun was fought between the Syrian and the French forces. The better equipped and trained French forces defeated the Syrian forces decisively. In the aftermath of the battle France divided the whole mandate territory in six parts and established between 1920 and 1922 six states. The poem was therefore written after this decisive defeat in Maysalun, when Syria was in the process of being divided into different parts and Najīb ar-Rayyis’ dreams of an independent Syria were shattered.
b) The poem follows the pattern of a classical Arabic Qaṣīda, even so it is shorter than many Qaṣīdas. In the Arabic version every half-line has three stresses and there is a rhyme at the end of every second half-line.
Also the contents and structure follows a Qaṣīda.This form of poetry consists of three parts. The first part contains the introduction. It is usually a nostalgic opening in which the poet reflects on the past. This part is known as nasib. Very often this past situation is a sad or tragic one. A common concept is e.g. that the poet reaches the camp-site, but the caravan of the beloved has already moved on. The second part can be described as release or disengagement (takhallus). It often describes a transition from the nostalgia of the first part to the second section. Typically the poet contemplates in this section the harshness of the land and life alone away from the tribe. The third part of a Qaṣīda contains the message of the poem. The message can take several forms, e.g. some moral maxim (hikam) or in our case the self-praise of the poet.
3. I heard the first time about this poem at the beginning of April. Asma Darwish, the wife of the Bahraini human rights activist Hussain Jawad mentioned it in a tweet. She wrote on 8 April in her tweet after her visit in prison the following: “@HussainMJawad kept repeating in visit today a verse of an Arabic poem: “Oh darkness of prison, approach. We do not fear the dark”. I was immediately intrigued by this tweet. I love poetry and was very curious to know the complete poem. However, one line of a poem in translation without any further information is not enough to find a poem.
Hussain Jawad was released on 19 May 2015 (conditional release). Within a week after his release he tweeted a picture of an Arabic text which was obviously a poem. I assumed that this text was the poem he was quoting in prison. I was now even more curious. I do not speak Arabic, but I definitely wanted to know the translation of this poem which seemed to be so important to him that it accompanied him in prison and that he wanted to share it with everyone a very short time after his release.
So how did I get the translation? I use very frequently a language forum (for English and German). Over the years I had learned that the participants in this forum are very resourceful. I thought it was worth asking for ideas how I could find a translation of a poem which I cannot read and of which I know neither title nor author. I was not disappointed – to the contrary the reactions exceeded all my expectations by far. Within a short time, someone contacted me and told me that he speaks Arabic and that he would be happy to make a translation of the poem. He is German, therefore he translated the poem into German. We then put the German translation on the forum. Together with another participant of the forum who is an English native speaker we made the translation into English. For each question or uncertainty of the English translation our translator from Arabic gave feedback and tried to explain the structure of the original Arabic sentence and the meaning of the words which are used with the aim to get an English translation which is as close as possible to the Arabic original.
I love the result and I am delighted that I have now a translation of this poem which I can share with you.
4. I would like to finish my post with saying thank you to both people who helped so heavily with the translation of this poem. Both do not want to be named, but I am really very grateful for their help. Both did far more for the translation than I.
The person who translated the poem into German wrote afterwards a Wikipedia article about it for the German Wikipedia. You can find this article here. Everything I wrote here about the poem and the background heavily depends on this article. There is also an article about the poet and the poem in the Arabic Wikipedia. If you are interested in the original Arabic version of the poem please have a look here.
If you had read my earlier posts you know that I mentioned Asma Darwish and Hussain Jawad before. In case you have not read it, please have a look here.
I want to ask every reader of this blog to take action for him. Please have a look at the urgent appeal for Hussain Jawad on the Strictly Legal Law blog of a friend of mine. You will find there more information about his case and a link to the Amnesty International urgent action for him which asks you to write to Bahrain and demand that all charges against him are dropped and that the allegations of torture are investigated. The next hearing in his trial is on 2 September and the charges against him are based on a forced confession.