On a bright winter morning we made a pilgrimage to the hill of Al Rabweh, on the outskirts of Ramallah, where the poet Mahmoud Darwish is buried. An ambitious memorial garden is planned, but at the moment it’s a construction site littered with diggers and cement mixers. The oversize tombstone is crated up in plywood. We were welcomed by cheerful building workers and joined by Palestinian families paying their respects and taking snaps. Sitting amid the pines overlooking the tomb (and a nearby waste ground populated by stray dogs), we spent an hour reading Darwish’s State of Siege, a sequence of poems he wrote in response to Israel’s 2002 assault on the city. Here he called on poetry to ‘lay siege to your siege’ but observed bitterly that:
This land might just be cinched too tight
for a population of humans and gods
Darwish was six in 1948 when his family fled their village in western Galilee. When they returned a year later they found the village destroyed and their land occupied. Since they had missed the census they were denied Israeli citizenship and declared ‘present-absentees’, an ambiguous status that Darwish was to transform into a metaphor for Palestine and much more.
He was 22 when he read his poem ‘Identity Card’, with its defiant refrain ‘Record: I am an Arab’, to a cheering crowd in a Nazareth movie house. Repudiating Golda Meir’s assertion that ‘there are no Palestinians’, his poems played a key role in the Palestinian movement that emerged after 1967, fashioning a modern Palestinian identity using traditional poetic forms in a renewed, accessible Arabic.
Repeatedly arrested and imprisoned, Darwish left Israel in 1970 and remained in exile for more than a quarter of a century. His political journey led from the Israeli Communist Party to the PLO, which he joined in 1973 (penning Arafat’s famous ‘Don’t let the olive branch fall from my hand’ speech to the UN). He settled in Beirut, from which he was expelled along with the PLO following the Israeli invasion of 1982, the subject of his inventive and harrowing prose memoir, Memory for Forgetfulness.
In the years that followed, Darwish wandered – Tunis, Cyprus, Damascus, Athens, Paris – broadening his poetic scope and deepening his insight. He was elected to the PLO executive committee in 1987 but resigned in 1993 in protest at the Oslo accords. ‘There was no clear link between the interim period and the final status, and no clear commitment to withdraw from the occupied territories,’ he explained. It’s said that when PLO leader Yasser Arafat complained to Darwish that the Palestinian people were ‘ungrateful’, the poet (remembering Brecht) snapped back, ‘Then find yourself another people.’
Oslo did allow Darwish to return to Palestine and in 1996 he settled in Ramallah, only to find himself under siege again six years later. In his last years he wrote more prolifically than ever, responding to the tragedies of Iraq, Lebanon and the violent conflict between Palestinian factions:
Did we have to fall from a tremendous height so as to see our blood on our hands … to realise that we are no angels … as we thought?
Did we also have to expose our flaws before the world so that our truth would no longer stay virgin? How much we lied when we said: we are the exception!
When Darwish died in 2008, thousands joined the cortege and there were candle-lit vigils in towns across the West Bank and Gaza. The Palestinian Authority declared three days or mourning and issued a series of postage stamps in his honour.
Being the Palestinian national poet was a heavy burden, one that Darwish bore from an early age, and though he chafed under it he never shirked the load. Instead, he succeeded in transforming the Palestinian experience into a universal one. The themes of loss, exile, the search for justice, the dream of a homeland, the conundrum of identity: all became, as his work evolved, human and existential explorations, without ceasing for a moment to be rooted deeply in the vicissitudes of Palestinian life. For decades he mourned Palestine’s losses, denounced its tormentors, celebrated its perseverance, and imagined its future.
And we have a land without borders, like our idea
of the unknown, narrow and wide
… we shout in its labyrinth: and we still love you, our love
is a hereditary illness.
Though preserving Palestinian memory and identity was his life’s work, Darwish conceived of this as a creative act of self-renewal: ‘Identity is what we bequeath and not what we inherit. What we invent and not what we remember.’ Among his last verses was this admonition:
We will become a people when the morality police protect a prostitute from being beaten up in the streets
We will become a people when the Palestinian only remembers his flag on the football pitch, at camel races, and on the day of the Nakba
Darwish was a ‘national poet’ who challenged as well as consoled and inspired his national audience. As he moved away from his earlier declamatory, public style towards a more personal idiom, elliptical and oblique, and at times (unpardonable sin for a ‘national’ poet) obscure, he met resistance. ‘The biggest achievement of my life is winning the audience’s trust,’ he reflected in 2002. ‘We fought before: whenever I changed my style, they were shocked and wanted to hear the old poems. Now they expect me to change; they demand that I give not answers but more questions.’
Even in translation, where we miss so much, Darwish’s voice rings clear. In his mature style there’s a seductive fluidity: he moves lightly from realm to realm, pronoun to pronoun (‘I’ to ‘we’, ‘I’ to ‘you’, ‘us’ to ‘them’), from the intimate to the epic, past to future, abstract to concrete. Metaphors topple over each other, abundant and inter-laced. This is poetry that fuses the political and the personal at the deepest level.
Throughout, his evocation of loss and exile, of coming from ‘a country with no passport stamps’, is poignant, elegiac but open-ended, conjuring resolution from despair: ‘We travel like everyone else, but we return to nothing’; ‘There is yet another road in the road, another chance for migration’; ‘Where should we go after the last border? Where should birds fly after the last sky?’; ‘In my language there is seasickness. / In my language a mysterious departure from Tyre’.
Guests on the sea. Our visit is short.
And the earth is smaller than our visit
… where are we to go
when we leave? Where are we to go back to when we return?
… What is left us that we may set off once again?
Yet, convinced that ‘Out of the earthly/ the hidden heavenly commences’, Darwish affirmed the richness and beauty of life, especially life in its ordinariness:
We have on this earth what makes life worth living: April’s hesitation, the aroma of bread at dawn, a woman’s point of view about men, the works of Aeschylus, the beginning of love, grass on a stone, mothers living on a flute’s sigh and the invaders’ fear of memories
In one of his late poems, Darwish pays tribute to his friend Edward Said, putting this advice in Said’s mouth:
Do not describe what the camera sees of your wounds
Shout so that you hear yourself, shout so that you know that you are still alive, and you know life is possible on this earth.
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