Under the veil that buries my dear friend David Schoffman within his weighty, dyspeptic gloom, there is, if one examines closely enough, a faint glimmer of guarded hope or maybe even a blur of qualified joy.
There just might be some muted merriment or even maybe a bit of foolish optimism burrowed beneath his mystic disquiet. His cautious tranquility comes and goes and one must be patient and loving in order to sense exactly when his hard crust will soften enough to allow some light into his wounded heart.
For this reason, his recent collaboration with the poet Nassif Değirmenci is an event worth watching.
 |
| Nassif Değirmenci with his favorite chair, 2013 |
Highly esteemed for his beautiful Turkish translations of traditional Laz poetry, Değirmenci is less well-known for his original work in Shivrani (Daghestani) Arabic. Working principally in the Kesideh or 'purpose-poem' motif, Değirmenci's work covers large narrative themes with sweeping digressions and lush, descriptive imagery. In the Muweshih of the Virgin, probably his most ambitious work, the story of Nweh and her seven year betrothal to the vizier Tamim goes on for nearly 900 pages.
Schoffman first became interested in Değirmenci's work after seeing the TED Talk of Mosul-based film critic, Eugene Alfaq. The twenty minute lecture was ostensibly about "that which gets lost in cross-cultural translation" but ironically what it touched on more poignantly was the stuff that actually survives. He used Değirmenci's as a case study, citing him as someone who is comfortable writing in several semitic languages and who uses them all with great discretionary skill.
The following examples should be emblematic:
Değirmenci's 1997 sonnet Nartik was deliberately written in Hebrew in order to more freely express his ideas about lust and longing. Chavib, by contrast, was originally composed in Sayhadic precisely for the opposite reason. And to avail himself of its rhyme-rich vocabulary, History Lesson 2 was written in classical Akkadian (and translated by the author into Italian terza rima).
The list goes on and on.
But what ultimately drew Schoffman toward Değirmenci was their mutual and abiding passion for American jazz. They decided to work together on a series of classic improvisations, coupling David's colorful, geometric paintings with Nassif's discursively baroque verse.
The results so far are rather stunning. The painting below was a spontaneous response to one of Nassif's first attempts at writing poetry in English - a sestina entitled Grapeskin.
And so the effluvium of despair has temporarily lifted from the tortured shoulders of my dear friend David. Now if he could only find a durable remedy for his chronic hemorrhoids.
Schoffman first became interested in Değirmenci's work after seeing the TED Talk of Mosul-based film critic, Eugene Alfaq. The twenty minute lecture was ostensibly about "that which gets lost in cross-cultural translation" but ironically what it touched on more poignantly was the stuff that actually survives. He used Değirmenci's as a case study, citing him as someone who is comfortable writing in several semitic languages and who uses them all with great discretionary skill.
The following examples should be emblematic:
Değirmenci's 1997 sonnet Nartik was deliberately written in Hebrew in order to more freely express his ideas about lust and longing. Chavib, by contrast, was originally composed in Sayhadic precisely for the opposite reason. And to avail himself of its rhyme-rich vocabulary, History Lesson 2 was written in classical Akkadian (and translated by the author into Italian terza rima).
The list goes on and on.
But what ultimately drew Schoffman toward Değirmenci was their mutual and abiding passion for American jazz. They decided to work together on a series of classic improvisations, coupling David's colorful, geometric paintings with Nassif's discursively baroque verse.
 |
| David and Nassif in Değirmenci's Beirut apartment, June 2013 |
The results so far are rather stunning. The painting below was a spontaneous response to one of Nassif's first attempts at writing poetry in English - a sestina entitled Grapeskin.
 |
| Playing the Dozens, oil on canvas, David Schoffman 2013 |
And so the effluvium of despair has temporarily lifted from the tortured shoulders of my dear friend David. Now if he could only find a durable remedy for his chronic hemorrhoids.
No comments:
Post a Comment