Poetry on War An Analysis

Poetry on War An AnalysisOpening with Auspices, an astonishing surgery by Susan Mason which straightaway reminds of the African workers singing blues in 19th Century South American coltures, Poets on War understandably committed to the sufferings of fight and imprisonment from the very beginning.Held on 1st February 2017 at the Southbank Centre, London, as set out of The Poetry Librarys special edition, which takes place every number one Wednesday of the month, the point was based on the participation of four contemporary poets, poignancy OCallaghan, Adnan al-Sayegh, jenny ass Lewis and Hylda Sims, who tried to look at war with the sentiments of horror, sympathy and humour. As a result of a splendid collaboration between the renewing of such poets and their poems and the way they decided to lead them, the event immediately took the sunglasses and the features of the so-called world literature, moving from London artistically and linguistically for a couple of hours.Ruth OCa llaghan and some extracts from her collection Vortices (Shoestring, 2015) directed the first part of the evening. Approaching the idea of war and borders between countries and people, Ruth discusses and traces conflicts from bibical times to range day, raising the thought-provoking reflection that war has been an unfortunate constant in human beings lives and that poetry has followed it, giving voice to its effects and consequences.Hotel Owner is the poem that opens the first section and meditates on the idea of the hotel as a orbit without boundaries, in which people could feel safe, live and escape the world out nerve. 1914, on the other hand, treats the more technical part of the war, accounting for the ways in which slaughters imbibe been perpetrated over history and particularly how death had different ideas in 1914. However, the most interesting points came out from Meine Liebe Mutter, which outlines the horrors of the war touching sensitively and respectfully the theme of son-mother relationship on the background of the Second World War. In concentration camps death had become ordinary and Ruth profoundly describes how the prisoners utilize to confront it we never turned our face against the enemy, as killing is an informal act. This striking idea of a connection between victim and liquidator had a chilling impact on the whole audience it put a real difficulty in deciding with which part the commentator would sympathise. The relation established is so close but we be sleek over so far from understanding the private, perpetual awareness of death.At last, forrader ending accompanied by a singing duet by Susan Mason and Emelia Lederleitnerova, Ruth quoted Tony Blair in his famous 1997 victory speech in which he claimed that his would have been the first generation ever not sack to war or sending their children to war as the poet observed after, he did not make the dream last long, declaring war on Talibans in 2001 and giving life to a new gene ration of soldiers and war poets.The wink part of the event left space to the distinguished Iraqi poet-in-exile Adnan al-Sayegh. experienced imprisonment during the Iran-Iraq war and sentenced to death in 1996 for the publication of the poem Uruks Anthem, Adnan took sanctuary in Sweden and has been living in London since 2004. His poetry, translated in several languages, is actively political and set against oppression and injustice, demonstrating an intense passion for freedom, love and beauty. In Poets on War, he gave the audience the pleasure to hear his lines recited in Arabic, their archetype language and then read out loud in adaptation thanks to the collaboration of Jenny Lewis, writer and teacher in poetry at Oxford University.Adnan transported the audience into another world the melodic sound of Arabic was incredibly effective in trasmitting the sufferings and despair of the Iraqi experience and gave the event a touch of powerful originality. Delivering the message in t he original language, the poet do clear how feelings such as pain and fear are familiar and how languages and cultures become a way to make their acquaitance under different perspectives. Wars have broken out terribly equally everywhere and have make people escape their homelands in search of safer places, devastating lives and families if nowhere is resistive to war, then, as it was remarked in Second Song to Inanna/Ishtar, Let poetry be our country.The Iraqi poet actively shared the stage with two wonderful women Jenny Lewis, who collaborated with him and participated with some poems of hers and Hylda Sims, who elegantly challenged all the skeptics who claim that war cannot be approached with whatever kind of humour. Gripping her guitar under her arm, she started singing her famous Bin takeBin Ladens in my garden outside Canada SquareShall I pay off him a cup of tea?Im afraid hes got to goMaking the line lively and vibrant, Hylda gave a huge contribution to the structure of the event she offered a new forward-looking view on the theme of war by also incorporating the genre of the song and involved the audience in it pedagogics them her version of Adnans Sketch to sing, which made the small library look oft more familiar. Besides being the elder component of the troop of Poets on War, her voice and tone proved to extremely grasp our times with consciousness, from the side of common people.Introducing her poem 21st Century War, which is very much roughly the 11th September 2001 terroristic attack, Hylda made a salient point around how war is still thriving around us but we are not always directly aware of it, even when we see its wild consequences as the events programme stated, The 21st century appears to already have equalled previous centuries for death, displacement, terrorism, political misjudgement and religious conflict and we as historical witnesses should keep a better pace with it.Overall, meant to be a travel in war poetry, this reunion of thoughts successfully caught the attention of the audience by mentioning contemporary and modern issues and by involving them in a friendly, accessible musical environment.