The Prologue to renowned Tunisian poet Ali Znaidi’s Experimental Ruminations (Fowlpox Press, 2012), which consists
of two lines from Leonard Cohen’s Book of
Longing, suitably sets the tone for the poems, including a number of
sonnets, that are contained in this chapbook: “I followed the course / from
chaos to art”. That the current work is, most clearly, a work of art, can be
seen in the great care that is taken by Znaidi in presenting the poems, both
sequentially, within the book as a whole, and structurally, in terms of each
individual poem.
From emptiness emerges “full
dream”, as the first sonnet in the five that start this chapbook proclaims. The
sonnets, although not in traditional sonnet form, but written in free verse, as
many of Znaidi’s poems are, nevertheless have the intent of sonnets, in that
they focus on conveying an overwhelming emotion, which is, essentially, based
on a paradox that is implicit in the human predicament. The poet’s brave and confrontational approach
to life can be seen in the climax to Sonnet 2, where he welcomes the daylight
that follows on “the murk of the night”.
Znaidi’s sensitiveness to the
deeper workings of an artist’s mind are voiced in his third sonnet, which
compares smashed butterfly corpses adorning the walls, mural-like, as a result
of the insects having lost their way during a solar eclipse, to a canvas that might
astound even Salvador Dali. The greyness and bleakness of life to an individual
who longs for the greenness and freshness of the prairie is heightened by
Znaidi’s repetition of “grey” in Sonnet 4, where the monotony of the landscape
is only alleviated by the inner eye of the imagination.
The poet’s appreciation of the
vulnerability of the downtrodden is expressed through the startling
juxtaposition of “giraffe people” with “The little snail / [that] doesn’t like
to be trodden”. His urgent appeal to “autograph lovers” to “Please, think of
little snails!” is striking in its poignancy. That Znaidi is at home with
elements of domesticity can be seen in his “A Sonnet for a Clothesline”, where
a preoccupation with a clothesline embodies his concern with the linearity of
life’s progression over the fluttering transience of “[b]eautiful sparrows”.
The grittiness and depth of
Znaidi’s grasp on the fundamental wellsprings of life (which he holds in common
with Leonard Cohen, so little wonder for his appreciation of the
singer-songwriter, as evidenced in the Prologue) is conveyed in terms of “an
endless orgasmic trembling / of lust” in “A Dying Lust”. The elemental nature
of things stripped bare of the need to conform to the stifling demands of a
society that is concerned more with external show than inward emotions and
feelings is revealed in the personified encounter between clothing and the body
in “against suffocation theory”. A riveting contrast between maturity, in the
form of spent passion, and the lightness and fleeting happiness of youthful
fancy can be seen in “Snow Is Made up of Aphrodite’s Teeth”.
The seriousness of “A S/tar”,
which reflects how the world besmirches that which is essentially refined and
noble, is alleviated by the relative levity of “Stainless Wit in Every /
Direction”, which is an ironical reflection on the questionable uniformity of
structure that an electronic networking medium, such as Twitter, has on the
multifariousness of messages that it relays. Znaidi’s delight in playing with
words can also be seen in “A”, where homophones are bandied around with glee.
That the poet has a penchant for experimenting with poetic form as well as with
poetic diction can be seen in his use of “A Little Haibun”.
The political undertones of “a
new kind of brew”, in his awareness of the presence of “infusion+fermentation”,
show that his interests are anything but ephemeral. The immediacy of the visual
imagery that permeates Znaidi’s work is explored in the many aspects of the
colour blue that he evokes in “a blue composite”. In addition, the fecundity of
the poet’s sensual awareness of the body corporeal once more comes to the fore
in “Ease is a Pair of Stockings Torn Away”.
Ali Znaidi, a Tunisian secondary
school teacher of English, lives in Redeyef, Tunisia, and has had many of his
poems published in a wide range of magazines and journals worldwide. In
addition to Experimental Ruminations,
Znaidi has published three other chapbooks: Moon’s
Cloth Embroidered with Poems (Origami Poems Project, 2012), Bye, Donna Summer! (Fowlpox Press,
2014), and Taste of the Edge (Kind of
a Hurricane Press, 2014). His collection of flash fiction, titled Green Cemetery (Moment Publications,
2014), is of landmark importance, as it is the first Tunisian flash fiction
collection to be originally written and published in the English language. The
diversity of his interests and the fundamental universality of his concerns
make him a poet to be reckoned with on an international front.
Thank you very much for reviewing my poetry chapbook Experimental Ruminations. I am very grateful for you.
ReplyDeleteOnly a pleasure - I'm so pleased that you got in touch with me!
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