{"id":356,"date":"2024-02-05T16:27:26","date_gmt":"2024-02-05T14:27:26","guid":{"rendered":"http:\/\/mariamartelli.ro\/?p=356"},"modified":"2024-02-05T16:28:35","modified_gmt":"2024-02-05T14:28:35","slug":"dear-god-dear-bones-dear-yellow-or-dear-poetry-how-are-you-so-powerful","status":"publish","type":"post","link":"https:\/\/mariamartelli.ro\/en\/dear-god-dear-bones-dear-yellow-or-dear-poetry-how-are-you-so-powerful\/","title":{"rendered":"Dear God. Dear Bones. Dear Yellow or Dear Poetry, How Are You So Powerful"},"content":{"rendered":"

I read \u201cDear God. Dear Bones. Dear Yellow.\u201d by Noor Hindi like one passes through a storm, intensely and hurried, and then I read it again with a close friend, N., slower, letting it simmer through us. <\/p>\n\n\n\n

It is powerful, superbly formed, disruptive of anti-arab narratives, diagnosing the reporting, journalistic eye and critical\u00a0 of America and its immigration policy, of what is requested of women, of migrants, of Arabs. It\u2019s composed of four parts, dealing broadly with Palestinian identity, living in the US, and Muslim womanhood from a feminist perspective, with the last part being a long poem \u201cPledging Allegiance\u201d, which blends many of the books\u2019 themes.\u00a0<\/p>\n\n\n\n

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There are two poetic series<\/strong> in the book which carry its strength beyond words. <\/p>\n\n\n\n

The first one is Breaking [News]<\/strong>, which consists of multiple poems bearing the same title, all of them analyzing the meaning of reporting. \u201cBut who is the audience of my looking \/ and how far does a hurt stretch \/ before it yellows?\u201d asks Hindi right before a Breaking [News] poem. Within them, the violence of journalism (of looking \/ of talking about people as if they are mere headlines) and its industry is criticized, while being acknowledged as a tool to make her people\u2019s voices heard, to bring about or ask for empathy, recognition and much more (\u201cI frame my subject\u2019s stories through a lens to make them digestible to consumers.\u201d). In Breaking [News], Hindi breaks the expectation of what breaking news is – breaks emotions into pieces and looks back upon the looking just as she looks upon the looked at. Though not part of this series, the poem \u201cGood Muslims Are All Around Us\u201d is also an act of discursive disruption through the collection of headlines that, simply by being put in this book, in this order, shows how \u201cGood Muslims\u201d are portrayed in the media as \u201cexceptions\u201d.\u00a0<\/p>\n\n\n\n

The second series follows the USCIS immigration trips<\/strong> with her grandmother, to achieve American citizenship. They are shattering documentations of the symbolic and epistemic violence of assimilation into America. Each of the four poems in the cycle is a stab at the heart, beginning with the first, in which the immigration officer crosses out Palestine as a country. \u201cTry again\u201d the officer asks, as if this is a sort of kindness – to be let into a country hostile to your people, a country that doesn\u2019t recognize your homeland. Subsequent violences followed, one of the harshest being the taking of the grandmother\u2019s headscarf, which was demanded when passing through security. \u201cI want her to want more from America\u201d Hindi writes, followed by the repetition of \u201cthey stripped me\u201d in Arabic.\u00a0<\/p>\n\n\n\n

In the last poem of the USCIS series, joy is smashed into anger<\/strong> as her grandmother passed the citizenship test for which she has been studying: when she gets out, her tears are brushed away as she asks for a picture with the statue of George Washington – so glad she can recognize him, glad she has passed. The rage at these multiple injustices, hiding within Hindi\u2019s lines, is subdued, yet always there (\u201cI want my rage to elicit love and more love. I want people to stop asking if I love this country. No. Ask if it loves me.\u201d).\u00a0<\/p>\n\n\n\n

Hindi’s words cut through language. In this collection titles repeat, we have images of the moon<\/strong>, of the mother <\/strong>taking or offering something, the color yellow <\/strong>again and again, ghosts ever-present and the impossibility of home<\/strong>. We have broad subjects seeping through the book – death, womanhood and being an immigrant in America, choosing a country that kills your people and a job that often calls them \u201cterrorists\u201d. Writing for survival and memory is not like writing for the sake of it, as the poem \u201cFuck Your Lecture on Craft, My People Are Dying\u201d clearly shows us (translated in Romanian here<\/a>). Metaphor is no longer useful when genocide is so close. And yet the book is visually rich with dreams of home – a dream hardly fulfilled, neither in Palestine nor America (\u201cHow we yearn for its olive trees. How it haunts our dreams.\u201d). It offers us the smell of pita bread in olive oil at the breakfast table, and a piercing humor when anger is tired (\u201cI wish for everyone to leave \/ me alone and talk to me \/\u00a0 at once. Please, \/ forgive me. All I\u2019ve ever wanted \/ is to be the poet laureate \/ of Flamin\u2019 Hot Cheetos\u201d). It\u2019s one of my favorite poetry collections, endlessly filled with sorrow, haunted and true<\/strong>.\u00a0<\/p>","protected":false},"excerpt":{"rendered":"

I read \u201cDear God. Dear Bones. Dear Yellow.\u201d by Noor Hindi like one passes through a storm, intensely and hurried, and then I read it again with a close friend, N., slower, letting it simmer through us. <\/p>\n

It is powerful, superbly formed, disruptive of anti-arab narratives, <\/p>","protected":false},"author":1,"featured_media":358,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[3],"tags":[33,25,29,4,26],"class_list":["post-356","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-english","tag-colonialism","tag-feminism","tag-poezie","tag-queer","tag-recenzie-de-carte"],"yoast_head":"\nDear God. Dear Bones. 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