The Narratolyric Writing

The Narratolyric Writing

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The Narratolyric Writing

The

Narratolyric Writing An Introduction

Anwer Ghani 2017

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The Contents The Contents ....................................................... 3 The Dedication .................................................... 4 Preface ............................................................... 5 Chapter (1): The Prosaism of the Prose Poetry....... 10 Chapter (2): The Narratolyric Prose Poetry ........... 12 Chapter (3): The Prosopoetry .............................. 18 Chapter (4): The Bifold Hybridization .................. 20 Chapter (5): The Anti-narrative and The Mirror Language. ......................................................... 22 Chapter (6): The Levels of The Text .................... 30 Chapter (7): The expression is An Attempt to find the beauty .............................................................. 36 Chapter (8):The literary expression ...................... 40 Chapter (9): Expressive mosaic in "Sublime Revenge". ......................................................... 46 Chapter (10): The Narratolyricality ...................... 54 Chapter (11): The rhythmicity of the Writing ........ 58 Chapter (12): Narrotolyric Writings Examples ...... 63 About the Author ............................................... 82

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The Dedication To the Narratolyricism’s Writers

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Preface "The Narratolyric Writing" is relatively a short introduction to a very wide world of the narrative lyricism. Here is a collection of essays about the core and the central idea of the narratolyric writing. It is a door into a new world.

It is clear that the existence is composed from formal aspect and intellectual aspect and everything in addition to its external appearance has an internal image. We have, with the external form of anything, an intellectual idea about him and we can say in a broad meaning that he has a body and soul.

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All the things differ in the power and clarity in its existence. Some of them are so obvious and the others are weak and inert. The differences between things’ existences we call it "the transfiguration". So everything has a transfiguration, and each of them tries to present with full transfiguration. In fact, our existence is an attempt toward the grand transfiguration, and everything has a degree in its transfiguration.

The writing, like anything has an external form and an intellectual ideation, and it always tries to appear with complete transfiguration in these sides and this is so obvious in literary writings. In fact the literature is an advanced degree in the writing’s transfiguration and 6

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every literary genre is seeking a complete transfiguration in its intellectual ideation in addition to its formal appearance.

In the poetry, there are the narrative and the descriptive poetry paralleling the dramatic poetry. In other side there is lyric poetry which opposite the narrative, and there is prose poetry which is opposing the verse.

The prose poetry is always seeking a complete transfiguration, and because the complexity of its hybrid nature, its prose as well as its poetry tries to reach the complete transfiguration with full elements.

Any piece will appear with weak prose poetry’s transfiguration, if it doesn't consent this situation; I mean 7

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the coexistence of transfigurations of prose and poetry. The high level of coexistent transfiguration of prose and poetry in a prose poem we call (the complete prosopoetry). The prosopetry has different transfiguration’s degrees, and the "Expressive narrative" with its narratolyricism is the highest in its level where we find the complete poetry in complete prose. That is to say; the body is prose, but the soul is poetry.

The storytelling, which is the narrative’s soul disagreeing the expressiveness which is the lyric’s soul. In expressive narrative, we make a new hybrid by transplantation where we get the soul of one of them and give it into 8

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the other. We transplanted the expressiveness, the soul of the lyric, into the body of the narrative, so we have the "expressive narrative" with narratolyricism, which is different from its usual meaning.

The expressive narrative represents a grand transfiguration of prose poetry by summation of the complete transfiguration of poetry with the complete transfiguration of prose. It is a magic and unprecedented appearance of prose poetry.

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Chapter (1): The Prosaism of the Prose Poetry The prose poetry is a poetry written in complete prose, and learns us that the poetry is not a visual matter, but an intellectual and an emotional substance composed of deep human pick up where the detection of deep relations between the things of the world. In the prose poetry, the poet expressed his deep sentience by a narrative style which resists the narrative properties. The antinarrative property of prose poetry is vital and important for the transfiguration of it.

In steed of the traditional opposition between the prose and poetry, we find the integration between them in 10

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the prose poetry, where the complete intellectual poetry written in a complete prose. The prose poetry is a final ideational poetry written in a usual daily prose, in sentences and paragraph. In the prose poetry the poetry comes with its deep pick up of human experience and concord imaginary and allegory intellectual practice within a pure prose language without any formal or visual deviations from the usual prose. Because of this, the prose poem should be written horizontally like a story or an essay, and not vertical like the free verse.

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Chapter (2): The Narratolyric Prose Poetry After the establishment of the prose poetry and the realization of the presence of the poetry without metrical or formal elements, the question about the nature of poetry becomes more obvious. There are poetry and fiction and there are lyric poetry and narrative poetry. In these manners of writing the superficial structure agrees with the deep one.

In the lyric poetry there are fragmentation and illogical construction while in the fiction and the narrative poetry, there are solidarity and logical construction, 12

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but in the level of final purpose and meaning, the fiction reaches its goal by a different way from that in the narrative poetry.

In all these writing patterns the deep structure identifies with superficial one regarding the logical or illogical construction and regarding the solidarity or fragmentation. We can see that the deep and superficial structures are prosaic in the fiction and narrative poetry but they are poetic in the lyric poetry. On the other side, the disagreement is possible between the two structures.

The deep structure can differ in its construction and semantic from the superficial one, where the superficial can be prosaic but the deep was

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poetic and the superficial can be poetic but the deep was prosaic.

In the era where the poetry was defined by the metric and verse, we can find the superficial poetic structure with deep prosaic in the epic, but this definition is not solid now, so the writing with superficial poetic structure and prosaic deep can be found in modernistic terms in that writing with a clear disclosure and was written with displaced, symbolic and metaphoric construction, but in fact this will not realize the true superficial poeticdeep prosaic system, and what I suppose for this system is the fragmented superficial structure which hides a clear and partial

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disclosure and this is merely a playing in the speech, not more.

The (superficial prosaic / deep poetic) system is obvious in the narratolyriv prose poetry which we previously call (expressive narrative) , where the superficial narrative gives the rising to the poetic deep construction, while in the narrative prose poetry, where the system is (superficial prosaic /deep prosaic), and the lyrism and the poetic elements occur in the semantic and emotional level. In other word, while the poetry was realized by the structure itself in the expressive narrative, it occurred in the narrative poetry in the semantic, analytic and poet-structural level.

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So the most important differential point in this view is the compatibility and the incompatibility between the superficial and deep structures. In all types of writing, the superficial and deep structures are compatible, except the narratoluric prose poetry (expressive narrative) where we find the incompatibility between the prosaic superficial structure and the poetic deep one.

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Chapter (3): The Prosopoetry The narrative to be expressive, poetic and different from non-poetic narrative should be characterized by prosopoetry, where the complete poetry occurred in midst of complete prose. The prospoetry in the narrative, or in prose in general, has many textual, pre-textual in the general language consciousness and post-textual features in the site of reading. These features include the continuous clausal structure, the logical structure without breaks or fragmentations, and the nonstorytelling narrative which resist the narrative. These features are 18

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responsible for the production of prosaic in the text. The features which are responsible for the production of poetry in the expressive narrative piece include the symbolic metaphoric, the inspirational anti-narrative, the wavy writing, and the faltering of meanings in the deep structural.

In the expressive narrative, the superficial structure is prosaic and narrative but the deep one is poetic and lyric.

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Chapter (4): The Bifold Hybridization In the literature, there are the prose and the poetry and in the middle there is the prose poetry. This the hybridization of prose poetry.

In the prose poetry, there are the lyric prose poetry and the narrative prose poetry, and in the middle there is the narrato-lyric prose poetry.

This is the second hybridization inside the prose poetry hybridization.

The following figure illusitrates this system:

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Chapter (5): The Anti-narrative and The Mirror Language.

The most obvious thing in Devin Johnston "Poem for the New Year", which was published in "Poetry Magazine" in its December 2016 issue, is the anti-narrative style.

Anti-narrative is the cornerstone of prose poetry, where the narrative has been set for symbolization and inspiration, and not for storytelling or events making. The time colored the anti-narrative speaking, but it is distracted and not logical.

In this poem, the anti-narrative appears with high transfiguration, which means that the poem is a 22

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prose poem, and not a free poetry written in prose. So the poem should be written in sentences and paragraphs, and not in stanza and lines. Although, the breaking may decrease the prosaic features of the poem, but the deep prose poetry with anti-narrative remains contact. This fact means that the prose poetry is not a shape or text style on paper, but it is the figure and type of existence in our deep thinking.

It is beneficial to mention the text of poem before any attempts to analyze the stylistic features, which are responsible for anti-narrative and prose poetry in it.

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(Poem for the New Year) Devin Johnston ( I’ve tracked myself from day to day / how many steps through a field of snow /how many hours have I slept / what have I eaten / what did I burn / calories or cigarettes /what birds have poured / through Bellefontaine /where mausoleums bear the names/ of Busch and Brown / Lemp and Spink /on marble white as winter endive/ when I can read my title clear / to mansions in the skies /what have I read /how many words/ what facts /statistics biometrics /what data aggregation / what news/ of wins 24

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and losses/ getting and spending/ each dawn a color wheel / to gauge the shifting moods /the daylight sunk in trees /an index of attraction / According to the Tao Te Ching / each day brings more /and more of less /less and still less / with no end to nothing /and nothing left undone /Even here in Bellefontaine /along a winding street /silence brings an interval/ of yet more distant sound /trucks along the interstate /a plane behind the clouds ) The poem was written in a vertical manner with lines and breaks, and what we do is assembling of the pieces to approach the prosaic soul of the text.

The style is, in its deep existence, a figure of the idea, and here we can 25

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see the deep idea of the poem appearing in a system of interrelated ideas. This system of disclosure forms mirrors in clauses and attributions, where every sentence with its idea reflects the soul of the other. This style we can mention it as an internal inter-textuality, but in partial or different affective expression, and we can call it (mirror language).

In fact the poetry, in its deep presence, is not the theme or the idea, but it is the expressional stye, the bulk of feelings and the affections which they try to reach the reader.

From the title and the first central words in the poem, we can see the idea of the poem; it is the (tracking and counting), and in fact the voice 26

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of counting is louder than tracking.

The poet appears so careful and precise in counting the pieces of his daily life.

The tracking and/or counting transfiguration stands in front of the reader's eyes by many vehicles, which form systems of foregrounds.

One of these devices, and in fact, one of the important devices here, is the anti-narrative. By the anti-narrative, the poet narrates his counting smoothly and precisely. The second counting device is the mirror language where the deep central idea appears in many subdivisions.

The mirror system of the text started with a question, which is not for questioning, but for counting. The second system is the partial 27

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answering, which form the middle part of the poem. This answering is not for answering, but for suggestion and decrepitude of thought. The third conveyance speech system is the conclusion, which forms the last part of the poem, and again, it is not for the description of the conclusion, but for inspiration.

In the poem, there are other devices by which the deep idea takes its full transfiguration. One of them is the lexical content. As we see, the poem was filled with counting words, which transfer the reader’s mind into the field of counting. In fact the deep idea, I mean the ( counting), appears in super-transfiguration where it presses on the writing to adegree where the word (statistic) 28

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appeared in the text, and this is a high level of transfiguration, which we can call it the "supertransfiguration".

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Chapter (6): The Levels of The Text From where does my text begin?

Does it begin from the paper, my mind, or the reader’s eyes? This question is not easily answered, but it may become easier if I understand the essence of my writing.

In fact, no one can say that the text is an element on paper, because this is a very superficial view which antagonizing the clear sentimental truth. We can see the conscious and the subconscious existence of what we name "text". What I want to say that the text has sold presence, but at the same time it is totally immersed in the doubt with lacking of fully 30

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understanding. Because the text has many intellectual existences, the original one is obscured. I see that there is a text in my paper and another one in my mind, and a third one in dear reader’s mind. Another one before all these levels or after all of them is possible.

Now what is the original text? And what is the mirror? In fact the process of text multi-formation exactly mimics the manner of mirror image, but the reflectivity and mutual effectiveness are central in this system. Each one of the over mentioned forms of the text is independent in its shape from its source, but at the same time it is dependent on it in its presence, and here is the creativity of our 31

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intellectual system which deals with writing. In real words this is the real creativity of the language system and you see this clearly.

So the system of the multi-formation of text in its existence characterized by two important features; first the dependency in its presence and the second is the independency in its shape. Of course, the differences between theshapes of the different existences of the text are minimal, and any of them always try to keep the deep message and central idea of the text.

What is obvious to me is that the text on paper is a reflection of what is in my mind, and the last one is the reflection to a collection of sentience’s components which I 32

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realize their effect on my response to what I receive from the external.

That external I shared it with the readers, but its meaning in my internal is different from that in the reader internal. This modification on external things and the difference in their meaning pointing our fingers to the real origin of the text, I mean the author’s internal which is formed from a mutual system of consciousness, sentience and awareness.

Anything in external has different meanings for every conscious creature and has a modified image in any intellectual presence, and my text is one of the external things in our world, but we should remember that these modifications are not free 33

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and totally independent. Our differences in the imagination of external and our modifications on its meaning are always under the effects of universal systems where everything we are in share, especially and importantly the language. In fact, the language is the most important and effective organizer of our thoughts and existences, and we can say that the origin of my text is our language, and its beginning stared from it.

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Chapter (7): The expression is An Attempt to find the beauty Our world is in its essence is a transfiguration of the beauty and all of us appreciating it. We can see the big impact of the colors and perfumes on our daily life, and in fact our existence is simply an incessant attempt to find the beauty.

The seeking of the beauty is an innate desire, and as we can't live without food, actually we can't live without the beauty.

One of the beauty’s pages in our life is the creative writing, which, by its admirable styles, enlivens the lands 36

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of hope and illuminates the areas of darkness. The beautiful writing can change our awareness about ourselves and the world in addition to its innovative features which make us fly with cheerfulness and jaunt with a delight.

These conscious and subconscious effects of the creative writing occur as a result of the strong relationship between the language and our minds. In fact there is an underestimation of the powerful effect of the writing on our minds ’ embodying and the final appearance of our existence. The language is the central tool in the organization of thought, and any conception about anything should be occurred through the meanings. That is to say, through 37

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the language. If we want to change any situation we can do that by the universal changes in our words about it, and sometimes this is the only way to make the change.

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Chapter (8):The literary expression In the speaking activity, there is always a content and the way by which this content has been expressed.

The content of the speech can be divided broadly into internal and external and into real and imaginary. And these content can be expressed in the usual traditional way or in an artistic fine way. The first is the traditional speaking while the other is the literature.

The external and internal literary contents can be expressed by reporting or narrative manner. The 40

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example of the reported external literature is the non-fiction creative writing, and the example of the narrative external literature is the fiction. The example of the reported internal literature is the lyric poetry, and the example of the narrative internal literature is the narrative poetry. All of that is obvious.

So the lyric poetry is an expressing the internal literary content in a reporting manner, and the narrative poetry is an expressing the internal literary content in a narrative manner. And obviously, not all the reporting expressions of literary contents are lyric poetry and not all the narrative expressions of literary contents are narrative poetry.

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While the internal and external and the report and narrative are well distinguished, the literary property of the speaking has a vague concept, but we can realize many characters which distinguish the literary speaking from the traditional one.

To understand the difference between the literature and the traditional speaking, we should understand the components of the " expression". The understanding of the expression components is the way to understand the differences between the literature and the traditional speaking and the tool to differentiate the various literary genres and their subdivision..

In fact the element which makes the writing or speaking appeared as a 42

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literary piece is the manner of expression. Usually the literature had been understood as a process of selectivity and betterment, but this not fixed. The fixed character in the literary writing is the special expressional manner.

In the way of speech letter, there is always a road which should be followed to transmit the letter from the speaker to the hearer. We can find easy three types of these "lettertransmitting roads". The first is the traditional road an it is the shortest road of reception of speech letter, the second is the error road where the deviation from the traditional road presents the errors until it reach the claver state and nonmeaning speech. This road we can 43

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call it the" error road", The third road is a road has been characterized by additional surrounding meanings which make the process of understanding take a long way in relation to the usual with more quantity of meaning per the unit of the articulation and present with a wider semantic field.

This road, which is characterized by the relative longevity and bigger meaning bulk and wider semantic field is the literary road. So we have three roads for speaking and understanding; the traditional, the error, and the literary road.

The differences in these characters of the literary road. I mean the longevity, the meaning bulk and the semantic wideness, give the rise to 44

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the literary genres. It is not right to think that these characters are present in the level of phrases or sentences only. In fact, each one of these properties has many features which can involve the words, the phrases, the sentences, the paragraphs, the whole text. The degree and the level of the transfiguration of each property give rise to the different literary genres.

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Chapter (9): Expressive mosaic in "Sublime Revenge".

Olfa Philo′s "Sublime Revenge" is a play written by a poetess, and because of that the lyric voice was loud. The play was written in a short message literary way and appears with the usual Olfa′s direct style with the concentration on deep disclosures. In "Sublime Revenge", we find the superficial polyphonic dialogue with deep monophonic lyric voice.

Olfa Philo is a Tunisian poetess and writer, and her writing was characterized by emotional impetus and clear text message. Here, I will 46

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try to pursue the stylistic elements in Olfa̓ s play, which was published on Amazon in 2015 in a book of 172 papers, and it was – as its synopsis said- written after experiencing difficulties at all levels caused by magic spells.

It is so clear that the play is a typical example of what we call the "affair literature", where the writing tries hardly to emphasize the deep idea and deliver the central message.The author tries everything to deliver our pure voice, and to bring our consciousness to the field of serenity.

In "Sublime Revenge" we can see our life expressed in short glimpse.

Because of the centrality of disclosure in this play, we find the "mosaic writing", where the 47

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sentences behave as mirrors. Each sentence appears as a reflection of another, and lastly all sentences trend toward the central ideas of the text. This manner of writing was called the "mirror language". The clearest example of the mosaic in this play had been presented in a system of polyphonic voices in scene (1), where the site of illusion has been represented by Satan’s voice.

"Satan: Damn you Mystery, what the hell are you doing?

Revealing all my cards, undoing all my traps!

Disclosing all my secrets, ripping all my webs!

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Alerting potential prey, warning all my victims!

Closing all my doors, jamming all my openings!"

We can see the mirror situation of these sentences by overturning the different aspects of a central idea with different expressional tool. The mosaic system of the text was expressed by a collection of different sentences pointing toward that idea.

The writing depends on a rhythmic system of different ways, which highlight the deep and superficial rhythmic characters of the play. One of the obvious rhythmic techniques is the repetition.

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The author used every tool to express her message, by direct and indirect language. So the utmost disclosure is present strongly in the play, which needs certain type of words and special textual techniques where the words and the sentences appeared in highly emotional impetus. This manner of literary disclosure we can call the "expressional extremism". We can see this in every part of this work.

The field of words in the text is not a free. In addition to the subconscious factors, and context elements, there are what we call "language consciousness", which is the most important factor in the specification of the text's shape and its words. The language like everything else has a 50

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consciousness and it always attempts to realize the optimal situation in its external existence. One of the features of optimal existence of the language and its words are the expressional lexicon, where the words appear in closer field and compatible semantic group. In "Sublime Revenge" we can see the clear expressional lexicon with fields of words belong to the deliverance, ethical and idealistic meanings.

The text was characterized by the high impetus of internal feeling, and the usage of suitable textual technique to show these feelings.

Olfa̓ s "Sublime Revenge" is a clear example of expressional dialogue where the author’s views and messages have been embedded in 51

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every piece with superficial polyphony and deep monophony, and this system is a clear feature of lyricism.

This essay was an attempt to approach the stylistic features of the lyric voice in Olfa̓ s "Sublime Revenge" and its expressional tools, but I should emphasize that there are many other aspects which can be followed in addition to the stylistic feature, especially the cultural context and the psychological revelation.

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Chapter (10): The Narratolyricality

In Literature, there are the poetry, the prose and in the middle, the prose poetry according to the characters of the superficial and deep structures of the speaking.

Every speaking or its writing has a superficial structure which is the first construction and the understanding level in the hearing or reading process, and a deep structure which is the analytic and semantic level in this system. While poetry characterized by rhythmic superficial and deep structures, the prose in contrary to this has characterized by unrhythmic 54

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superficial and deep structures. Bur in the prose poetry we find the unrhythmic superficial structure and the rhthymic deep one, and this the cause of hybridization in the prose poetry. So the pose poetry is a hybrid of prose and poetry and the rhymicity and unrhythmicity.

The prose poetry can be produced with a narrative or lyric manner. If the style is lyric in both superficial and deep layers, there will be the lyric prose poetry, while if the style was narrative in both superficial and deep layers, there will be the narrative prose poetry. But we can find the superficial narrative structure with the deep lyric structure. In this case there will be the hybrid of Narrato-lyric prose 55

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poetry, and this the second hybrid inside the first hybrid of prosopoetry. So the Narratolyric prose poetry is a hybrid inside a hybrid.

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Chapter (11): The rhythmicity of the Writing The speech can be rhythmic or unrythmic, and this division includes the literary and the nonliterary speech. And if you ask about the writing, it is clear that the writing is a symbolic vehicle to transfer the speech by a visual vehicle.

Every speech piece has a superficial and deep structure and each one of them can be ryhmic or unrhythmic, so we have four system as a result of the different compination of these elements.

1-The rhythmic rhythmicity / poetry 58

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2- The unrhythmic rhythmicity / prose 3- The unrhythmic rhythmicity / prosaic poetry 4- The rhythmic unrhythmicity. / poetic prose.

The rhythmic rhythmicity is responsible for the production the poetrty, while the unrhythmic unrhythmicity is responsible for the production of prose. In the unrhythmic rhythmicity, there are a unrhythmic (prosaic) superficial structure with a rhythmic (poetic) deep structure, and because the core and central of speech is the deep structure, there will be proetry with superficial prosaic shape and this is 59

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the prose poetry. In opposite to this, in the rhythmic unrhythmicity, where the superficial structure was rhythmic and the deep one unrhythmic, there will be a prose with poetic shape and this is a poetic prose.

From another aspect of the view, there is an imprecise thinking that the poetry is equal to lyricism and the lyric piece is always poetry. And this is not right, the lyricism can present in prose and the narrative can present in poetry.

In the lyric prose, the superficial structure of the poetic prose was lyric, and if the deep prose was narrative, there will be lyric narrativity ( lyronarrative writing), while in the narrative poetry, the 60

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superficial structure of the prosaic poetry was narrative, and if the deep poetic structure was lyric, there will be a narrative lyricism ( narratolyric writing)

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Chapter (12): Narrotolyric

Writings Examples

By Anwer Ghani

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A Colored Shadow

She whispers from there: Where will you find your story? The violet roses are sleepy, and the mirrors follow the white trees. The birds and the fabled river know that moment, which needs a smile and warmth.

I will drown in the yearning sea. I will hug that train where we met sleepy sounds, so from there, my story will begin.

She said: the river colors are descended from that balcony and they should kiss the eyes of flower 64

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seller. That colored shadow told me: when the moon sleeps in your lids, you will know a new kiss and you will see the cloud flowers.

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Farmer

I am an old farmer, so I know this earth perfume. I grew between its legumes like a butterfly loving the sunshine. Come here look at the Euphrates. He is sweet and clear. He doesn't know any spite. With a brown garment and a headband, he descended as a desert cavalier, so it is not strange to see all that sand covering his face. Also, I will tell you about Uruk, the sleepy city, which were the seven wise men built up its foundations. Come here; look at my palms, and see how they are coarse 66

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like our trees and lucent Ambergris which filled with honey. Because of this you find the darkness sits there, in that corner with its icy dress, killing my children.

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Strange holiday

The holiday is a very delicate thing.

We learned it in our childhood, as we learned to carry our bags. It is smooth like the skin of summery dream, making us a spring butterfly.

I was very happy when I saw his heart. Its waterfalls amazed me.

They were calm as girl braids. That holiday, which we saw him in someday, and we feel his sleepy hands. I see it clearly when it plants its field with wet tales. That holiday, which is coming from faraway town.

It stands with its silky coat in the middle of the street as a strange 68

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man. It dissolves in our veins as a passion letter. I was very wrong when I thought that it is an emigrant goose.

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The birds

Despite all of these dark clouds, and despite the absence of simplicity behind the skyline, I still like the sky color, and its wide space which make you feel that you are a light paper over the winds. The sky despite its changeable color, it likes the simple things. It bends to wipe a head of a wet bird. As this, as a paper in river, I want to live in simplicity, walking in my town alleys with breeze jests with my deep. I am now feeling boredom in this noisy city. The birds are few nowadays. I was trying to plant a tree from that type which blossoms in winter to make the birds live with no estrangement, or in a 70

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precise words to make myself live with no estrangement, because the color of my county becomes so strange. The birds told me that they are tired from waiting the runaway boats. They were whispering in my ears that the earth becomes red like the lipstick. Yes, the birds don't lie.

They are icy and strange creatures.

Listen to their chants which will make your soul remember the loyalty.

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Heritage

What a frustration; after all that warmness which overflowed me by falls of light, I find myself just a crippled shadow of war. I am the heir of green laughs. Here is my heart, look at it. Do you see anything except for drought? Here are my wails penetrating me like the feet of invaders which had drawn my rusty face. I am the corpse thundered by death fever. I lean down on barefooted roads as a stranger, nothing recognizes me but cold. In my darkened soul I cannot see but my groaning, my clothes are torn by stories by which I made a ragged shackle binding my lost islands. This 72

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is what I am: a dead mass dreaming of nothing. My ancestors inherited me insanity. I am, by their favor, just a heap of dark remnants, whose ghost rides on me as a blind horse so that I am good only in clashing with every palm tree, whose fruits are breezy honey. I do not see all that glory, but I see only a stone bleeding my feet, a harsh trunk cleaving my head, and my grandfathers' tales telling me what they saw when their heads were immersed in troubled water.

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Love

As a dazzled butterfly, I will end in the love of this earth. I will exit from its fissures with a crown of heavy years. Like this, like an old hunter, I will dissolve in the lake’s dream.

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Cloud tales

When we learned laughs, the moon lights sleep in our lids, and when I groped the face of a strange voice, the vehicles pass very fast. How you can imagine this? How you can count the cloud tales?

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A Slivery Air (Abstract Language)

This silvery air is delicate as a green apple. Under its wings, the town lives with quiescence, and the swans dance like sun songs. The field’s birds with their vivid colors bath over its swings with delight. Wet leaves fill the street with morning songs and moisten the girls’ hearts with the breeze. It comes from a remote land on a softness wing. Its sleepy river colors my blue dreams with pearl taste and its fragrance jumps between our breaths as butterfly.

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A Statement about Abstract Writing The poem tries to catch the exceptional deep moment, where the delight and the colored emotions were transfigured. The disclosure was depending on the feelings impetus more than the rational benefit of speech. It is like the abstract painting which is depending on the deep and pure meaning elements. In this piece there is a mixing of lyric voice with narrative, so this poem stands between lyric poetry and the prose poem.

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A Broken Mirror

We know that all these touches which descend from that balcony in a dazzled evening can't stay in our hearts without scorch. Our eyes are so small to see the life which sits with its hidden beauty behind our time as a strange man. Please tell me how the waterfall can wash my dream while I am a broken mirror and my soul combs her destruction at that corner without any hand. I

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am a crippled shadow, so don’t try to see my heart.

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The Yellow Bird

You can feel my pulse with its violet water and great tales of blind sand where the echo’s groans as a yellow bird exhausted by rain. It narrates his bright pain with wide eyes. The crying clouds are shameful because they dissolve his feather and bring an autumn whoop filled with a yearning death. Oh the bitter yearning, I am not happy and can't tell you about my fiery passion, but you should remember that yellow bird and his gray blood.

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Cloud tales

When we learned laughs, the moon lights sleep in our lids, and when I groped the face of a strange voice, the vehicles pass very fast. How you can imagine this? How you can count the cloud tales?

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About the Author Anwer Ghani is an Iraqi poet and author. He was born in 1973 in Alhilla city. His name had appeared in Adelaide, Zarf, Peacock, Eunioa, Otoliths, November Bees , and others.

Anwer Ghani is the chief editor of "Tajdeed" literary magazine.

Recently, he published "Antipoetic Poems", (Creat Spacee 2017), "TRUMP"; a poetry collection, (Inner Child Press 2017) and "The Narratolyric Writing"; essays (Smashwords 2017). He had, in Arabic, forty books in literature and religious sciences Website; https://goo.gl/pivQsa Amazon: Author.to/AnwerGhani

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Anwer Ghan is the presisedent of Arab Critics Union, the vice president of The Arabic Cultural House In India (ACHII) , the chief representative of the World Nations Writers Union (WNWU) in Iraq, and the member in international writers association (IWA) . In (2017) he held a certificate of achievement from Stratford University and K K Moddi institute. .

He is the founder of "Tajdeed Literary Institute (TLI)" and the annual "Tajdeed" Prize for expressive narrative.

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