It is an unfortunate discovery certainly, that of a law which binds us where we did not know before that we were bound.
It does not take much to imagine the humanity of people you don't know.
English is a forgiving language. It's not like Classical Arabic and it's not like French. You can speak broken English and be expressive and no one will hold it against you.
Academic writing you have to get right. Fiction you have to get plausible. And there's a world of difference.
In translation studies we talk about domestication - translation styles that make something familiar - or estrangement - translation styles that make something radically different. I use a lot of both in my translation, and modernism does both. For instance, if you look at the way James Joyce presents Ulysses, is that domesticating a classic? Think of it as an experiment in relation to a well-known text in another language.
There were illegal poets like Muzaffar al-Nawab, this is the thing - Muzaffar was widely known and he didn't really have books. He would deliver these readings on cassette tape. Go on YouTube and listen to him. He's like a preacher. He's a really interesting figure in modern Iraqi life.
The truly astounding thing is the Baathist regime supports poetry like nobody else, probably in the world.
My whole thing in life is I just want freedom. I thought that money would give me that freedom. I was wrong. It bound me more than it freed me, because now I had more things to worry about, more people asking for money, I thought I had to buy a house and nice cars and different things that people with money are supposed to do.
I went to art school, I think it helped me a great deal because it taught me who I am.
Practice makes perfect. After a long time of practicing, our work will become natural, skillfull, swift, and steady.
The literati in their cellarsPerform semantic tarantellas. I wish I did it half as well as them.