A day spent at the Hortus Botanicus in Amsterdam.
Such peace and tranquility in the heart of a busy city is unusual. The meditative spaces and careful corners are crafted here with such sensitivity.
A few days back my aged taxi driver Abdullah informed me of how Hafez was far from being a purist, he was a diluter of true Persian culture, writing in an Arab form. He quoted Ferdowsi and said, “now he is the man to study for pure Persian literary gems – go read Ferdowsi and take some time away from Hafez.” I nodded remarking that maybe my summer read should indeed be the Shahnameh. He smiled, “It has no words from Arabic in it, not even remotely.” “Yes, I must immerse into it, not just the bits and pieces that I pick and choose like Rostam and Sohrab.”
After some chit-chat about Dutch weather and an Indian Summer, he started nodding his head to some internal music: “No don’t spend time on kings this summer,” he said, “read Khayyam and go all romantic.” I laughed, “Nightingales, Wine and Roses!” I exclaimed. We chuckled like conspiring children.
In the meantime my eight-year old looked out of the window.
The moment we got off, Bambi crossed his arms, “Listen Mom no talking to strangers. How many times do I have to tell you?”
“After having us cycle along starry night bike paths, Dutch artist and innovator Daan Roosegaarde has now turned his attention to the power of water. Just over one quarter of the Netherlands is below sea level and the sea is kept at bay by a network of dykes, dams and other water defences. But what would happen if they weren’t there? ‘Waterlicht is the dream landscape about the power and poetry of water,’ Roosegaarde says on Studio Roosengaarde website. ‘Innovation is within the DNA of the Dutch landscape via its waterworks and creative thinking, yet we almost seem to forgotten this.’ The installation Waterlicht consists of wavy lines of light made with the latest LED technology, software and lenses. It was created for the Dutch Rijn & IJssel waterboard and was at the Museumplein in Amsterdam for three nights earlier this month.”
Read more at DutchNews.nl: Video: central Amsterdam under water in a poetic light display http://www.dutchnews.nl/features/2015/05/video-central-amsterdam-under-water-in-a-poetic-light-display/
Pictures from our visit to the Miffy art installation at the Museumplein in Amsterdam.
They never come back
like lost socks, hair-ties, countless ballpoint pens
Tupperware boxes handed out after parties
for that morning snack, extra mithai, tomorrow’s lunch
Monday night jolted me
A little boy in ‘trash pack’ pyjamas
“You be brave”
“No, you be brave”
“Do you think they will keep you here forever?”
“I will stay forever with you here”
As they placed the oxygen mask
I looked at him
His eyes were like saucers
“Now is not a good time to take a selfie”
Wednesday afternoon and I’m still foggy
Sleep comes and goes
I feel tranquil
You tasty temptress morphine
Clock hands, that’s all I remember, and a coiling blue orchid
Silent stones they call them
Not now, not now, not now
One by one
Pasta, cham-cham, dhokla, crackers, kruidkoeks
These boxes keep showing up at the door
Ringing the bell
Making themselves at home on the sofa
Pouring cups of tea
Those who read this blog regularly know my fondness for Amstel Park. I have befriended each hidden corner, nook and cranny, secluded benches and ponds. I have read under its trees, played hide and seek between its bushes, ran through the maze, broken ice on its neglected fountains, eaten ice cream, bandaged scraped knees, criticized the name ‘midget golf,’ hugged the rabbits, patted the pigs, clucked with hens, balanced myself on the train tracks, exchanged intelligent conversations, random ramblings, drunken songs and dragged branches home.
To you Amstel Park: “Acquainted with the Night” – a poem by Robert Frost published in 1928 in his collection West-Running Brook
I have been one acquainted with the night.
I have walked out in rain — and back in rain.
I have outwalked the furthest city light.
I have looked down the saddest city lane.
I have passed by the watchman on his beat
And dropped my eyes, unwilling to explain.
I have stood still and stopped the sound of feet
When far away an interrupted cry
Came over houses from another street,
But not to call me back or say good-bye;
And further still at an unearthly height,
A luminary clock against the sky
Proclaimed the time was neither wrong nor right.
I have been one acquainted with the night.
The big yellow table with two chairs in Amstel Park look like something out of a Vincent van Gogh painting. They will be placed in Dam Square on May 4th and 5th. The table and chairs symbolize the Freedom Luncheon or Vrijheidsmaaltijd, which will be served to hundreds of tables in the city. The table was conceived by artist Arne Hendriks. Hendriks views the table as “an instrument of solidarity.” The table is designed by Stichting Stadshout. The wood used is a 155 year old beech. It sticks out, the yolk yellow in the middle of murky green.
Saturday, January 10, 2015, I was to be in Paris for the day to meet poet and translator Marilyn Hacker. I had many questions about her experience with the ghazal and ghazal poets; she was generous enough to offer her day to me. On Monday 5th I booked my tickets to travel by the Thalys by Wednesday the 7th – Paris was not the same. Two hostage crises bolted through the city.
I stuck to my decision to travel. On the Friday – 9th – a day before my travel my friend asked me, “Why are you putting your family through this, traveling to Paris now?” I wanted to calm her fears. But I don’t think I was able to. I just could not think of anywhere I would have rather been than in Paris. That somehow the terror, fear, the tendency to self-preserve would not, and could not hold me back. Indeed I could have rescheduled but I did not want to. I wanted to meet Marilyn. I also wanted to see Paris, like when you approach your friend to hold her hand, to let her know she will be okay when things go wrong, not just in the summer when the air is crisp and flowers are in bloom, but in winter when it’s cold and the body struggles to stay warm. The combination of these two interwove to help me make my decision.
It was an unusually gray and stormy day. The Thalys had delays while the wind waged its battle I prepared my questions. Within me was this surging tide to go forth, to ask, to inquire, while this emotion presented itself there was also this ‘manthan’ (inner churn) – poetry in the midst of turmoil. Agha Shahid Ali toyed with the takallhus Shahid – witness and beloved. Marilyn had written that her name was not as meta as Shahid’s, when the jokes on Marilyn came out she left the room. Kashmir. Palestine. Poetry. Paris.
Online I read articles on the cities of the world and the need of the hour being introspection. Why indeed is the second generation of migrants turning elsewhere to answer their religious and cultural quandaries? Have the countries they were born and brought up not nurturing? Or had they been brain washed? Was there another kind of schooling that created the other kind – this kind – what kind? There is no straight forward answer. God needs protecting. Caustic, sarcasm, dripping ink in pen, then blood, lots of blood, blood everywhere on the pages, on tables, the floor, oozing from wounds, the American ghazal – of Adrienne Rich, Sharon Olds, Aimee Nehukumatahil talk of wounds, of hurt, Rich even says the way in which we murder is not the same anymore. Who is the gazelle today? Who the hunted, who the prey, who the hunter, who the almighty, Agha Shahid Ali “By Exile” wrote exiled by exiles, is this what is left of us? Birds fly over the landscape — Mahmoud Darwesh had asked where do birds fly after the last sky? Where do they go from here? And who are they? What hurts their heart? And what sort of God needs protection that too from creatures as fragile and faulty as us humans?
Bambi was sleeping on my bed when I left. He had kicked the duvet off, it half-covered his thin frame. His mouth was open. I could see his chest heaving steadily. His eyes twitched just a little. Was he dreaming? Would he ask for me when he woke up? Or would the iPad and Skylanders distract him enough for him to forget me just that bit – his forgetting me would hurt me. Ostriker had written in her essays in The Mother / Child Papers (1980) about birth and war time, the poignancy of the words raise a lump to my throat and I swallow it back with bad train coffee. The last time I was in Paris I was pregnant with Bambi.
A long-winding dark bent wooden staircase curled up three floors to her small door; Marilyn opened it with a warm and gentle smile. Her office-living areas were covered in books. On the prayer stand open was the Arab to French dictionary, we both look at it, I tease her, “Is this what you have been worshipping Marilyn, have you done your hundred Bismillahs?” She laughs, “Oh yes I’ve been praying to irregular verbs.” She makes me coffee upstairs in her kitchenette with a Lebanese flag, over buttery croissants and raisin rolls we discuss ghazals. Her mind is sharp, wise, knowledgeable, a polyglot; she switches from Rumi, to Darwesh, to Ghalib, to Mimi Khalvati with such ease and grace. Somewhere my own ideas stretched, some modified, and some get fortified. While I start to understand Shahid better, women and the ghazal remain deliciously complicated. As a researcher one tends to be clinical about the work we study, for the artist it is more organic, natural, and inexplicable. She talks about her inclination towards anonymity, the idea to remain unknown – nameless, her last poetry collection was called Names (2010), she does not use the takallhus sometimes she alludes to it but most of the time she drops it. She says she enjoys doing that. It is fun to work with forms, to see how it functions, how far you can go with it, how much will it stretch. The ghazal becomes play-doh in my head and I start imagining what color it would be. I ask her how she knew about the ghazal, it was through Adrienne Rich, and Shahid, about Shahid she says, “He was very loved.” I can imagine that Shahid in his living room surrounded by his friends reciting poetry while the fragrance of a good rogan josh wafts from the kitchen. We discuss the differing styles of Shahid and Roger Sedarat. We analyze what it means for me an Indian living in Amsterdam to come to Paris to talk about an Arabic but more Persian-Urdu poetic form with an American-Jewish female poet, we notice the irony of it, also noting of how people and forms travel.
Marilyn takes me out for lunch to her neighborhood café. Where we meander away from the ghazal to nation states, and borders, and Paris, her reason to live in Paris was that she kept coming back to it and one day she decided to stay, she liked it there, her life, the book stores, the ability to have several literary options at her doorstep and the fact that she had studied French Literature in her youth. We talk of Beirut and our experiences with the city. She talks about Mosul and Syria.
I leave her apartment at five. She gives me her new collection of poems – with new ghazals – A Stranger’s Mirror (2015) – it is not yet in the stores, and she insists that I would understand it. I accept it. She gives me another book for Bambi. It is The Honey Hunter (2013) by Karthika Nair and Joëlle Jolivet; it is set in the Sunderbans, close to where I was born. I think of Bambi, and home, Marilyn smiles at me like she knows what I am thinking.
I go to the North Bank and walk along with the Seine towards Notre Dame across the bridge of locks, it is teeming with people professing their love, kissing, locking their locks, I pray for the bridge to hang on to its knobs and not collapse under the weight of too-much metal. The Seine looks angry. The sky is dark gray. The gothic elements of the cathedral look menacing. Every store, each corner has signs for Charlie. The air is somber.
I arrive at the station early. The taxi driver from Notre Dame to Gare du Nord tells me that on Sunday the 11th there will be a big demonstration to show solidarity and unity for Charlie. He says it is important to show it – that through this demonstration people want to stand together for Paris. He grew up reading Charlie’s newspaper and he could not believe what happened in the last two days, he says he has lost his ability to react, “Charlie was always poking fun at everyone, even himself, and I grew up reading his pages, this is my Paris, these are people from my childhood.”
It is pouring. The rain – “Even the Rain” (thank you Rafiq Kathwari for a poem I carry with me everywhere) – I am soaking wet. The Gare du Nord station is cold. There is police and military everywhere. I have to sit there and wait. Gare du Nord is no waiting room. But I have Hanif Kureishi’s The Buddha of Suburbia (1990) for company. There is a lover’s tiff in the station, it gets physical, the military officers step in, it is like a dance, the officers don’t really do anything, but they watch, they don’t say anything, they observe other people watching the couple, the couple, the officers movements are orchestrated, slow and mindful in comparison to the fighting fish who seem random – jerky – slowly as the couple moves away, the officers move as well, their faces are expressionless.
The train back to Amsterdam has police doing checks – they are still looking for the girl my co-passenger informs me, she also points out — good thing you do not look like her despite your dark hair. I nod, not saying anything; I try to make my face expressionless. I don’t think I am good at this. For the rest of the journey I remain buried in Kureishi. By the time I reach home – it is the middle of the night, stillness, Bambi is in bed, Purab’s waiting. The day drains away in the shower, steam, quiet, words forming, Seine curling, qafiyas, radifs, buttresses and mornings. They always come. Like the radif. Somehow even when the sun does not shine, the day starts, life moves.