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By exploding the springs of imagination and vision, Ahmed Abdul Hussein’s experience belongs to the prose poem in its inclination to evasion and emancipation from the limits of modern poetic traditions and rebelling against the linguistic familiar and conventional metaphors. But the poem remains in the grasp of logical and constructive systems; clear and tangible in an examinable and definable way. It seems that the poet, at the bottom of his heart, aspires to achieve a sort of overlap among genres in order to create a new text by the transmigration of genres themselves. That’s why he wanted to term “The Last Air” as ‘text’ not ‘poem’. The
Last Air is formed through a growing dramatic structure. It also borrows
many of the narrative techniques and builds the dramatic scene. This
makes the poem crowded with Eliot’s three voices of poetry. Besides,
this poem is controlled, to a larger extent, by the Eliotian poem
structure. It is associated with Eliot’s poem, ‘The
Love Song of J. Alfred Prufrock’; the hero, the mask here, suffers
from feeling defeated and annihilated inside the walls of emptied cities
where the compressed, canned, air is leaking out of his fingers. So, he
is left alone before the cross of his defeat. The
poem, then, becomes an elegy for the man who turns to a disabled clown
in an age packed with cruelty, nightmares and coercion. The
poet succeeds in investing the energy of the three poetic voices and in
coloring the movement of dramatic event. He is also brilliant
in benefiting from the narrative structure and the richness of
theatrical scene. In this way, the poem moves alternately with these stylistic and technical variations in a clever and deliberate artistic process (play). Consequently,
it succeeds in compensating its rhyme and rhythm losses by new rhyme
values; being interested in creating (the idea rhyme) and resorting to
some features of parallel and formalistic systems such as synonymous antithetical
parallelism might be the
most salient of which.
In addition, one can find some aspects of repetition and syntactic and
grammatical formality: No
evening is more cheerful than this evening. No
bells are more splendid than your hands knocking at the void. or
being fond of using some kinds of initial
alliteration
and repetition: This
is the beginning of darkness. This
is my last acquaintance with music. and
also: O
sister! This
is my shirt wet. This
is my coat, the poet’s coat in the wardrobe shivering of cold. Ahmed
Abdul Hussein’s experience remains an affluent and clever one. Despite
the absence of meter, it wins other alternative things that make it so
intimate. It is, as well as a previous poem I read for the poet, The
Disclosed Sleeping Substance, makes me wait from this poet more truth,
creativity and suffering in his coming experiences.
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