All posts tagged: Poetry

Requiem For The ‘Living Dead’: Ten Years After 7/5

Like a frightened flock of sheep, the people’s erratic dreams dividing unbroken Heavenly Mountains: A borderland Great Wall, a natural Wailing Wall Those unrecognized souls are the mud and night of other souls Only the cries of dreams, the tears on faces, like an expression of the heart, need no translation. 像惊恐的羊群 人们时断时续的梦境 隔着一座绵延千里的天山: 一座边地长城,一堵大自然哭墙 那些不被认识的心灵 是另一些心灵的泥淖和长夜 只有梦中的呼救、脸上的泪痕 像内心的表情,毋须翻译 — Shen Wei, an excerpt from “Ürümchi: An Abandoned Bed” (my translation) in the poetry collection Requiem I first heard about the poem “Ürümchi: An Abandoned Bed” from a now-disappeared poet, Perhat Tursun, in 2015. We were sitting in his apartment high above Consul Street in Ürümchi, smoking cigarettes and chatting in Uyghur. He told me that the poem’s author, Shen Wei, was one of the only Han intellectuals he truly respected. He said, “He was the only one who actually acknowledged what really happened during Qi Wu.” Like most Uyghurs, Perhat code-switched when it came to talking about the period of time that surrounded July 5, 2009. It was always just Qī Wǔ (七五) — the Chinese words …

‘The Night Is Thick’: Uyghur Poets Respond To The Disappearance Of Their Relatives

The horrifying stories of pain and suffering in internment camps filtering out from the Uyghur homeland have filled Uyghurs around the world with a deep sorrow. The Uyghur poet Muyesser Abdulehed said she could not help but imagine being one of the million who have spent time in these camps. The guilt of having escaped and survived is sometimes overwhelming. Many Uyghurs that I have become close to over the years have told me that survivor’s guilt invades their dreams and takes away the small joys in their lives. For many, these feelings of guilt, anger, sorrow, and fear coalesced during the uncertain rumors of folk musician and poet Abdurehim Heyit’s death — and his subsequent appearance in a forced video testimony. Uyghurs around the world took to social media to publicly demand the Chinese state release videos of their relatives to show that they too remain alive. They asked non-Uyghur allies to join them by posting images with handwritten signs with the hashtag #MeTooUyghur — an expression of sharing in the pain of Uyghur suffering. …

Singing Back to the Steppe: Kazakh Poetry Battles in Contemporary Xinjiang

  On a summer evening in 2015, when I was attending a friend’s wedding after-party in a small village in Mori in Northern Xinjiang, a professional aqin – an oral poet who improvises while performing – sat next to me playing his dombra (a Kazakh two-stringed instrument). He was singing a song with the refrain: “ahaw sar qiz, pisqan darbiz, darbizingning qizilin maghan jarghiz” (Hey, fair-haired girl, you are like a ripe melon, let me cut your red ripe melon). It was clear he was directing the song at me. I felt my face begin to turn red. I was tongue-tied. I didn’t know what to say or do. How do you respond to lyrics like that from a poet? A Kazakh girl sitting nearby tried to sooth my discomfort by making excuses for him. She said he was just joking around and that the lyrics were supposed to be funny. That is just the manner of a poet. A while later, the poet received a phone call from his leader to go entertain some visiting officials who would attend …

Uyghur Urbanism in Recent Modernist Poetry

  Self-Portrait in a detail of Yarmemet Niyaz’s 2013 painting “蓝色的旅律” A good while ago the anthropologist Stevan Harrell asked me to consider the unique position of Uyghurs as heirs to an urbanism that predates the rise of Chinese cities in Central Asia. He asked me to think through the ways in which this urban tradition has affected Uyghur social organization. I’m still thinking about this. Uyghur thinkers are too. They are thinking about the way new urban forms reorient their lives. They are grappling with the way certain spaces draw them in by reflecting their pasts while other forms face them with a blankness that does not allow them a way in. One of the most remarkable paintings at the first Uyghur contemporary art exhibition in 2015 was a mixed media piece in which the artist Yarmemet Niyaz inserted a small rectangular mirror onto the side of a bright blue house next to an old coal stove (Uy: mesh) that many people use in Uyghur oasis cities. The mirror interpellates the viewer. You can …