Translation: Poem: Mustafa Stitou

© Pieter van der Meer /
Tineke de Lange

I'd originally planned to post this poem 5--yes, five--years ago, but like the 75+ other draft posts in my queue, some from almost 10 years ago, time to do so eluded me. As a result, it's been waiting to be completed, so here goes. It's by Mustafa Stitou (1974-), a Dutch poet of Moroccan birth. I first came across his work when I picked up a copy of his second book Mijn gedichten (My Poems, 1998) at a little Amsterdam poetry store during a trip to the Netherlands in the late 1990s.

I'd taught myself basic Dutch--enough, in fact, to fool a postal worker there, but with such a heavy German accent that she thought I might be from that country--and was convinced that I might be able to read, if not translate Stitou, Astrid Roemer (1947-), and other Dutch-language writers of color, especially immigrants from the global South, but of course, learning the basics of a language to be able to read street signs and order food and be fluent enough to read, let alone translate, are two different things. And this is true even for languages like Dutch and English, which are linguistically quite close. When I think of the current immigration and refugee crises in Europe, the failures of integration and the ongoing social and political marginalization of black and brown Europeans, it strikes me that hearing their voices is even more important now than ever.

All of which is to say that I nevertheless decided to try to translate at least a few of Stitou's poems, whose linguistic inventiveness and play intrigued me. He has won a number of major Dutch poetry prizes, and continued to publish, with his most recent book, Tempel (Temple), appearing in 2013. Below is a poem about teenage love from Mijn gedichten; such is my Dutch that any infelicities are mine, but I think you get a sense, however imperfect, of his artistry. (When I return to JC I will look for the original Dutch, which isn't online, to recheck it.) You can find more of his work in the original and translation if you click on his name above.

PALPITATIONS

You

 bright


  transparent and immaculate
     little sight

glim
 glimpsed
  in puberty

through the present moment

laughed at me
one time
 or five

by all the swarming voices
 that besieged me
  --my pooljourneydaydreaminess

even with
 the lightning feeling
  while my humor grew
   immature!

Going bald from the world to drift
without party kilos
 my life's evening complete?

In the Almere Music District you stepped off

But I definitely didn't see you
that spring
 among the talk show
    audience

Train nymph
 are you writing my life?
I can really cook

Copyright © 1998, 2016, from Mustafa Stitou, Mijn gedichten. 

Translation © copyright John Keene, 2011, 2016.

Reviews: Lee's Go Set a Watchman & Miranda's Hamilton: An American Musical

Harper Lee and her novel cover for Go Set
a Watchman (Photo by Chip Somodevilla/
Getty Images. Courtesy of VICE & HarperCollins)

As I wrote yesterday, during my quiet stretch here I have been writing for other publications, and just before my last July blog entry, the double obit for E. L. Doctorow and Ornette Coleman, I posted a review of Harper Lee's new (old) novel at VICE, "Harper Lee's Go Set a Watchman Reveals the Limits of the Liberal Imagination." Two paragraphs:

As a counterpoint and complement to the compelling fantasy of Mockingbird, Go Set a Watchman possesses real value. What was often latent in the later novel is on full display here, ranging from the middle-class whites' classism, self-absorption, and entitlement to a racial-epithet-packed screed that would not appear out of place on a forum like Stormfront. Reading Go Set a Watchman also made me wonder how it might have been received by critics and the public if it had appeared in the late 50s, and whether there exists another work of fiction from these years by a young white Southern writer that so baldly lays bare the complicity of the mass of white Southerners, particularly the social elites and middle class, in maintaining white supremacy.

In its focus on liberalism's limitations, and its conclusion in Jean Louise's sentimental emotional accommodation with her father's and family's views—"I can't beat him, and I can't join him"—the book also feels very contemporary, since we still encounter unironic invocations of America as a "post-racial" society in the public discourse, despite constant  indications to the contrary.

There's more at the link above. Oh--and I definitely recommend reading Lee's new (old) book.

***

Ensemble and Lin-Manuel Miranda (at right)
in Hamilton (photo by Joan Marcus)

Recently I had the excellent fortune to see Lin-Manuel Miranda's masterpiece, Hamilton: An American Musical, which has made a smooth transition from the Public Theater, where it debuted to acclaim, to Broadway, at the Richard Rogers Theater. I could rhapsodize about Miranda's artistry at length, but VICE fortunately has word limits and editors, so you can read my distilled thoughts about this work at "The Best Musical of the Year Is a Hip-Hop Show About Alexander Hamilton."

Not only do I talk about all the kinds of hip hop (from freestyle to chopper) Miranda manages to incorporate, but I also devote a few paragraphs to the multiple political implications of this work. It's not a long review so please do check it out.

One quote:

Hamilton also offers one of the best and most compelling counternarratives to the increasingly extreme conservative rhetoric around immigration. Alexander Hamilton, Miranda never lets the audience forget, was an immigrant from a small island, with a sketchy education, no money, and few prospects, and became the target of constant social and political antagonism. Even factoring in the neoliberal undercurrent of the hardworking, self-made man the musical espouses, Hamilton artfully hammers away at the idea that power should be concentrated in the hands of an elite, or that opportunity should not be extended as widely as possible, repeatedly connecting this thread to larger ideas about race and class. Many of the musical's catchphrases, including "We are a movement," "Rise up," and "The world turned upside down," would sound as fitting at a protest as they do on Broadway.

Above all, GO SEE HAMILTON! It just may rock your bells, and your world.

Haitians Heading to Brazil

Today's New York Times brought a bit of news I hadn't read anywhere before, which is that Haitians have begun to emigrate from their still post-earthquake ravaged nation to Brazil, which over the last decade, under center-left governments, has become an economic powerhouse. The self-described "Country of the Future" is now one of the countries of today, with 5.2% unemployment drawing not only educated professionals from Europe, Latin America and the United States, but laborers from across the developing world. 

According to Simon Romero's Times article, "Haitians Take Arduous Path to Brazil, and Jobs," around 4,000 Haitians arrived in Brazil since the 2010 earthquake, usually traveling via Ecuador, which has looser vias policies, and have thus arrived at border posts at the edge of Brazil's Amazonian states of Acre and Amazonas.  Romero states that some of the Haitians have been robbed during their journey to Brazil and the wait for legal entry to Brazil has placed some in conditions not unlike what they experienced at hom, but the immigrants are willing to take the risk because of the continuing dire conditions in Haiti, where rebuilding in the capital and other devastated regions has moved at a glacial pace, and because of the job opportunities at Brazil's hydroelectric plants and in its burgeoning industries. I would imagine that the new infrastructure for the 2014 World Cup and 2016 Olympics are also going to provide opportunities, though despite its economic advances, still has a large population of impoverished and barely working-class people, especially across its historically economically disadvantaged northeast.

From Douglas Engle's NY Times clip

Brazil has provided the new arrivals with vaccinations, clean water, and two meals a day at the border posts like Brasiléia, where they stay until granted humanitarian visas, but I imagine if the flow of Haitians and other potential immigrants increases, Brazil will begin to step up border security and patrols. The video clip by Romero and Douglas Engle that accompanies Romero's article says that the local reception of the Haitians has been fairly positive, though a Brazilian also notes local alarm at and some prejudice towards the large number of arrivals, because they're foreign, speak a different language and are "black," though he, like Romero, notes the Haitians have caused "no problems." Some Haitian immigrants have already settled in cities like Manaus, the largest city in the Amazon, and Porto Velho, while others are being courted by companies located in states such as Santa Catarina, in Brazil's rich southern region, and others, like one polyglot cited by Romero, hope to settle in São Paulo, the center for Brazilian industry.

From Douglas Engle's NY Times clip

Jay Forte writes in the Rio Times that Brazil's government has issued new limited work visas for the Haitians, on humanitarian grounds, thus allowing the immigrants work in Brazil instead of remaining stranded at the country's northwestern ports of entry. The immigrants will receive a Cédula de Identidade do Estrangeiro (CIE), or Foreign Identity Card.  Brazil has already spent about 1 billion reais, or about $US 557 million on relief and reconstruction since the Haitian earthquake occurred on January 12, 2011.  The visas will be granted through the Haitian embassy in Port-au-Prince, and allow up to 1,200 Haitians to enter per year. Once they have their status legalized, Haitians will be able to bring immediate family members such as spouses or partners, parents, and children under the age of 24.  According to Forte, in 2009 former Brazilian President Luiz Inácio "Lula" da Silva signed a law granting amnesty to all foreign nationals living without documentation in Brazil, with the possibility of residency status in two years; among the largest groups of undocumented residents in Brazil are, in descending order, nationals from China, Peru, Bolivia, and Korea.

From Douglas Engle's NY Times clip

The Haitian immigrants Haitians are choosing Brazil, as both Romero and Forte note, at the very moment that Brazil is withdrawing the last of its peacekeeping forces, initially sent after the coup, allegedly orchestrated by the United States and France, that ousted democratically elected president Jean-Bertrand Aristide in 2004. Brazil's forces, which anchored the United Nations Stabilization Mission In Haiti (UNSTAMIH), had number as many as 2,200, the largest of any of the countries contributing military personnel, but with the expiration of the UN mandate, extended to October 2011, Brazil's and the other countries' forces were set to leave. I am curious to see how Brazil responds to the Haitian immigrants over the longer term, and whether the new government of Dilma Rousseff, a member of the Worker's Party and ideologically to the left of former president Lula, will continue to show the same openness to immigrants, especially if the economy loses its punch or if the volume of those seeking jobs dramatically increases. I also wonder whether the United States, long the primary destination, alongside Haiti's neighbor the Dominican Republic, of Haitian immigrants, will lose its appeal to Brazil over the long haul. The ties between the US and Haiti date back to the American Revolution, but since the Haitian Revolution, the US has repeatedly and often disastrously meddled in Haiti's internal and external affairs.