محمود درويش بالانجليزي

محمود درويش
Biography
Darwish was born in the village of al-Birwa in the Western Galilee.[4] He was the second child of Salim and Houreyyah Darwish. His family were landowners. His mother was illiterate, but his grandfather taught him to read.[5] After Israeli forces assaulted his village of al-Birwa in June 1948 and expelled the villagers, the family fled to Lebanon first in Jezzin and then in Damour.[6] A year later, they returned to the Acre area, which was now part of Israel, and settled in Deir al-Asad.[7] Darwish attended high school in Kafr Yasif, two kilometers north of Jadeidi. He eventually moved to Haifa. He published his first book of poetry, Asafir bila ajniha or Wingless Birds, at the age of nineteen. Darwish left Israel in 1970 [8] to study in the USSR. He attended the University of Moscow for one year,[3] before moving to Egypt and Lebanon.[9] When he joined the PLO in 1973, he was banned from reentering Israel.[5] In 1995, he returned to attend the funeral of his colleague, Emile Habibi and received a permit to remain in Haifa for 4 days.[10] Darwish was allowed to settle in Ramallah in 1995,[10] although he said he felt was living in exile there, and did not consider the West Bank his "private homeland."[8]
Darwish was twice married and divorced. His first wife was the writer Rana Kabbani. In the mid-1980s, he married an Egyptian translator, Hayat Heeni. He had no children.[5] Darwish had a history of heart disease, suffering a heart attack in 1984, followed by two heart operations, in 1984 and 1998.[5]
His final visit to Israel was on July 15, 2007 to attend a poetry recital at Mt. Carmel Auditorium in Haifa,[11] in which he criticized the factional violence between Fatah and Hamas as a "suicide attempt in the streets".[12]
Literary career
Darwish published over thirty volumes of poetry and eight books of prose. He was editor of Al-Jadid, Al-Fajr, Shu'un Filistiniyya and Al-Karmel (1981). His first poetry collection to be published "Leaves of Olives" included the poem "Identity Card", written in 1964:[13]
Put it on record./ I am an Arab/ And the number of my card is fifty thousand/ I have eight children/ And the ninth is due after summer./ What's there to be angry about?

Put it on record./ I am an Arab/ Working with comrades of toil in quarry./ I have eight children/ For them I wrest the loaf of bread,/ The clothes and exercise books/ From the rocks/ And beg for no alms at your door,/ Lower not myself at your doorstep,/ What's there to be angry about?

Put it on record./ I am an Arab./ I am a name without a title,/ Patient in a country where everything/ Lives in a whirlpool of anger./ My roots/ Took hold before the birth of time/ Before the burgeoning of the ages,/ Before cypress and olive trees,/ Before the proliferation of weeds./ My father is from the family of the plough/ Not from highborn nobles./ And my grandfather was a peasant/ Without line or genealogy./ My house is a watchman's hut/ Made of sticks and reeds./ Does my status satisfy you?/ I am a name without a surname.

Put it on record./ I am an Arab./ Color of hair: jet black./ Color of eyes: brown./ My distinguishing features:/ On my head tje 'iqal cord over a keffiyeh/ Scratching him who touches it./ My address:/ I am from a village, remote, forgotten,/ Its streets without name/ And all its men in the fields and quarry.

What's there to be angry about?

Put it on record./ I am an Arab./ You stole my forefathers' vineyards/ And land I used to till,/ I and all my children,/ And you left us and all my grandchildren/ Nothing but these rocks./ Will your government be taking them too/ As is being said?

So!/ Put it on record at the top of page one:/ I don't hate people,/ I trespass on no one's property./ And yet, if I were to become hungry/ I shall eat the flesh of my usurper./ Beware, beware of my hunger/ And of my anger!
Darwish's work won numerous awards, and has been published in 20 languages.[14] A central theme in Darwish's poetry is the concept of watan or homeland. The poet Naomi Shihab Nye wrote that Darwish "is the essential breath of the Palestinian people, the eloquent witness of exile and belonging...."[15]
Writing style
Darwish's early writings are in the classical Arabic style. He wrote monorhymed poems adhering to the metrics of traditional Arabic poetry. In the 1970s he began to stray from these precepts and adopted a "free-verse" technique that did not abide strictly by classical poetic norms. The quasi-Romantic diction of his early works gave way to a more personal, flexible language, and the slogans and declarative language that characterized his early poetry were replaced by indirect and ostensibly apolitical statements, although politics were never far away. [16]
Literary influences
Darwish was impressed by the Arab poets Abd al-Wahhab al-Bayati and Badr Shakir al-Sayyab.[6] He cited Rimbaud and Ginsberg as literary influences.[5] Darwish admired the Hebrew poet Yehuda Amichai, but described his poetry as a "challenge to me, because we write about the same place. He wants to use the landscape and history for his own benefit, based on my destroyed identity. So we have a competition: who is the owner of the language of this land? Who loves it more? Who writes it better?"[5]
Attitude toward Israel
Darwish is widely perceived as a Palestinian symbol [8] and a spokesman for Arab opposition to Israel. He rejected antisemitism: "The accusation is that I hate Jews. It's not comfortable that they show me as a devil and an enemy of Israel. I am not a lover of Israel, of course. I have no reason to be. But I don't hate Jews."[17] Darwish wrote in Arabic, but spoke English, French and Hebrew. According to Israeli author Haim Gouri, who knew him personally, Darwish's Hebrew was excellent.[18] Four volumes of his poetry were translated into Hebrew by Muhammad Hamza Ghaneim: Bed of a Stranger (2000), Why Did You Leave the Horse Alone? (2000), State of Siege (2003) and Mural (2006).[8] Salman Masalha, a bilingual Arabic-Hebrew writer, translated his book Memory for Forgetfulness into Hebrew.[8] In March 2000, Yossi Sarid, the Israeli education minister, proposed that two of Darwish's poems be included in the Israeli high school curriculum. Prime Minister Ehud Barak rejected the proposal on the grounds that Israel was "not ready."[19] It has been suggested that the incident had more to do with internal Israeli politics in trying to damage Prime Minister Ehud Barak's government than poetry.[20] With the death of Darwish the debate about including his poetry in the Israeli school curriculum has been re-opened.[21]
Political activism
Darwish was a member of Rakah, the Israeli communist party, before joining the Palestine Liberation Organization in Beirut.[22] In 1970 he left for Moscow. Later, he moved to Cairo in 1971 where he worked for al-Ahram daily newspaper. In Beirut, in 1973, he edited the monthly Shu'un Filistiniyya (Palestinian Affairs) and worked as a director in the Palestinian Research Center of the PLO and joined the organisation. In the wake of the Lebanon War, Darwish wrote the political poems Qasidat Bayrut (1982) and Madih al-zill al'ali(1983). Darwish was elected to the PLO Executive Committee in 1987. In 1988 he wrote a manifesto intended as the Palestinian people's declaration of independence. In 1993, after the Oslo accords, Darwish resigned from the PLO Executive Committee.[23] Darwish has consistently demanded a "tough and fair" stand in negotiations with Israel.[24]
In 1988, one of his poems, Passers Between the Passing Words, was cited in the Knesset by Yitzhak Shamir.[5] He was accused of demanding that the Jews leave Israel, although he claimed he meant the West Bank and Gaza[25]: "So leave our land/Our shore, our sea/Our wheat, our salt, our wound." A specialist on Darwish's poetry Adel Usta, said the poem was misunderstood and mistranslated,[26] while poet and translator Ammiel Alcalay wrote that "the hysterical overreaction to the poem simply serves as a remarkably accurate litmus test of the Israeli psyche ... (the poem) is an adamant refusal to accept the language of the occupation and the terms under which the land is defined".[27]
Despite his criticism of both Israel and the Palestinian leadership, Darwish believed that peace was attainable. "I do not despair," he told the Israeli newspaper Haaretz. "I am patient and am waiting for a profound revolution in the consciousness of the Israelis. The Arabs are ready to accept a strong Israel with nuclear arms - all it has to do is open the gates of its fortress and make peace."[9]
In July 2007, Darwish returned to Ramallah and visited Haifa for a festive event held in his honor sponsored by Masharaf magazine and the Israeli Hadash party.[18] To a crowd of some 2,000 people who turned out for the event, he voiced his criticism of the Hamas takeover:
"We woke up from a coma to see a monocolored flag (of Hamas) do away with the four-color flag (of Palestine)."[28]
Quotations
Why are we always told that we cannot solve our problem without solving the existential anxiety of the Israelis and their supporters who have ignored our very existence for decades in our own homeland?[36]
We have triumphed over the plan to expel us from history.[37]
"I thought poetry could change everything, could change history and could humanize, and I think that the illusion is very necessary to push poets to be involved and to believe, but now I think that poetry changes only the poet."[38][39]
"We should not justify suicide bombers. We are against the suicide bombers, but we must understand what drives these young people to such actions. They want to liberate themselves from such a dark life. It is not ideological, it is despair."
"We have to understand - not justify - what gives rise to this tragedy. It's not because they're looking for beautiful virgins in heaven, as Orientalists portray it. Palestinian people are in love with life. If we give them hope - a political solution - they'll stop killing themselves."[3]
“Sarcasm helps me overcome the harshness of the reality we live, eases the pain of scars and makes people smile. The sarcasm is not only related to today’s reality but also to history. History laughs at both the victim and the aggressor.”[4]
"I will continue to humanise even the enemy... The first teacher who taught me Hebrew was a Jew. The first love affair in my life was with a Jewish girl. The first judge who sent me to prison was a Jewish woman. So from the beginning, I didn't see Jews as devils or angels but as human beings." Several poems are to Jewish lovers. "These poems take the side of love not war,"

Published work
Poetry
· Asafir bila ajniha (Wingless birds), 1960
· Awraq Al-Zaytun (Leaves of olives), 1964
· Ashiq min filastin (A lover from Palestine), 1966
· Akhir al-layl (The end of the night), 1967
· Yawmiyyat jurh filastini (Diary of a Palestinian wound), 1969
· Habibati tanhad min nawmiha (My beloved awakens), 1969
· al-Kitabah 'ala dhaw'e al-bonduqiyah (Writing in the light of the gun), 1970
· al-'Asafir tamut fi al-jalil (Birds are Dying in Galilee), 1970
· Mahmoud Darwish works, 1971. Two volumes
· Mattar na'em fi kharif ba'eed (Light rain in a distant autumn) 1971
· Uhibbuki aw la uhibbuki (I love you, I love you not), 1972
· Jondiyyun yahlum bi-al-zanabiq al-baidaa' (A soldier dreaming of white lilies), 1973
· Complete Works, 1973. Now al-A'amal al-jadida (2004) and al-A'amal al-oula (2005).
· Muhawalah raqm 7 (Attempt number 7), 1974
· Tilka suratuha wa-hadha intihar al-ashiq (That's her image, and that's the suicide of her lover), 1975
· Ahmad al-za'tar, 1976
· A'ras (Weddings), 1977
· al-Nasheed al-jasadi (The bodily anthem), 1980. Joint work
· The Music of Human Flesh, Heinemann 1980, Poems of the Palestinian struggle selected and translated by Denys Johnson-Davies
· Qasidat Bayrut (Ode to Beirut), 1982
· Madih al-zill al-'ali (A eulogy for the tall shadow), 1983
· Hissar li-mada'eh al-bahr, 1984
· Victims of a Map, 1984. Joint work with Samih al-Qasim and Adonis in English.
· Sand and Other Poems, 1986
· Hiya ughniyah, hiya ughniyah (It's a song, it's a song), 1985
· Ward aqal (Fewer roses), 1985
· Ma'asat al-narjis, malhat al-fidda (Tragedy of daffodils, comedy of silver), 1989
· Ara ma oreed (I see what I want), 1990
· Ahad 'asher kaukaban (Eleven planets), 1992
· Limaza tarakt al-hissan wahidan (Why Did You Leave the Horse Alone?), 1995. English translation 2006 by Jeffrey Sacks (Archipelago Books) (ISBN 0-9763950-1-0