A Muslim Man to a Woman
Childhood Sweetheart
IV. GHAZALS, SONNETS AND RUBAIYAT
Ghazal I
Avenues
Far
Flood
Rubaiyat
Ghazal II
Ghazal III
V. POLITICAL MUSING
To a Suicide Bomber
Suicide
A Poem for Neda
A Prayer for Gaza
A Prayer for Zia Rahman
Knife
Doors
Muslim Slave
Language
Home
Return
On Your Beheading of Your Wife
The World Does Not Hate America
Valentine War
Letter to Our Children
To the Muslims of the Twenty-First Century
GLOSSARY
I should like to thank the following people for their expertise in commenting on my manuscript: Joe Barbarese, Harold Shweizer, Carl Ernst, Renate Holub, John Carey, Terry Eagleton, Chris Fitter, Joe Meredith, Mughni Tabassum, John Farquhar and Tyler Hoffman. I should also like to thank Chris Barrett and Elizabeth Licorish for their kind help, as well as my former students Mary Ellen Bray, Sarah Skochko, Caitlin Marmion, Alicia DeMarco and Kevin Dickinson. I am grateful to Mr. Samuel Levin for his gracious comments. The cover was designed by Irfan Adrian Day, whose artistry once again shines above my words. I would like to thank Mr. Yahya Birt for his meticulous overseeing of this project. Finally, I am indebted, as always, to my wife Yasmeen, my sons Hishaam and Hasan, my mother Siddiqua Shabnam and the memory of my father, M.A. Khader Habib.
Rafey Habib
November 2009
From the still limited view of our century, the twentieth century was not a period convivial to religious verse and even less to expressions of religious devotion by non-Christians. There is little or nothing in canonical Modernism to suggest that writers like Hopkins, for instance, or even a Tagore had any lasting influence on the work of the century that followed. Minor precedents such as George Herbert were safely secured as expressions of Reformation Protestantism, and major figures like Dante and Milton were salted away in New Critical practice that taught us to read by separating form from content. Other than T.S. Eliot, whose religious views were the essential complements to his political and aesthetic ones, religious poetry written in English appears (if and when it does) as the expression of outmoded, quaint sensibilities. The regnant tonality of our poetry in fact is and continues to be irony.
The irony we find in these devotionals of Rafey Habib – closer to the subtle tragedy of High Romantic poetry than the comic intellectual ironies of Modernism – befits their occasions but also reveals the divided nature of the poet and poetry itself. On the one hand this is the record of an Islamic sensibility that proclaims itself on the opening pages:
God is the Light
Of the Heavens and of the Earth;
His Light is a parable, of
A Lamp within a niche; without the lamp, a glass
Haloed as a brilliant star, lit
From an olive tree…
– “Light: A Passage from the Qur’an”
In this dispensation, words are signs standing for other things, and those things are themselves evidence of the signature of creative intelligence on time and phenomena: Words, in this view, are
Symbols, stood in the still light;
Will not be understood
As words, signs for
Things…
The evidence of the presence of God is the liber mundi itself, the world as a book autographed by an intending creator, intension standing behind each object the way meaning stands behind each word.
But the history of personal belief in a poet’s mind is always apocalyptic. It is continuously shaped and inevitably compromised by personal experience, whose messiness and resistance to closure is what makes it so seductive. A totalizing myth resolves contradiction and anneals our confidence in the rightness of our lives, but a poet’s experience includes suffering what is contradictory and coming to love the slipperiness of language itself. A poet’s arguments are directed not to abstractions but to the things of the world:
A woman washing her children’s clothes
By the rocks of a stream,
Eyes dark, unquestioning:
The mild reflection is her only truth.
Along the shore a young man walked,
Gazing at the nearness of sea and sky,
Dust in his image …
– “Return (to India)”
Habib’s poems are thus the record of a sensibility at least thrice exiled or removed from origins. He writes as a Muslim in a Christian culture, as a native of Great Britain now living in the United States, and – most alienated figure of all – a poet who is trying to live the life of the spirit and the life of the mind at once. In poems like “The World Does Not Hate America,” he is uncompromising in his identifying himself and his family with twentieth century Modernism and with its explicit American expressions:
They don’t hate us: that’s a lie
Spewed
