Eliza Griswold Quotes
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We know Jesus taught that if someone slaps you on the right cheek, turn to the left. We know that Mohammed was sacked from his village and stoned at Ta'if, but he quietly left for Medina. If both of these men, beaten, and bloodied-the incarnations of their respective faiths-asked God to forgive their aggressors, then who were today's religious leaders to advocate holy war?
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Speculation is a fool's game, but I've seen many political projections that look like the Taliban could hold most of the country, and possibly Kabul, within perhaps a short time.
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Poetry allows me to write about what I don't know, whereas journalism demands a higher level of certainty to be worthy of being written.
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The most dangerous thing I've ever encountered was a run-in with Boko Haram around 2007 in a small town in Nigeria. I got caught along with the photographer I was working with, the same one I worked with on the Afghanistan book, Seamus Murphy. We were caught in an attack by a mob after Friday prayers. And the level of violence was so extreme. It was more violent than any other mob violence I have ever seen.
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I was surprised by the level of sophistication of the Special Operation forces. Among them were anthropologists and PhD candidates. I felt because I understand the patterns of nineteenth-century jihad in West Africa that I was definitely going to be more advanced than they were in comprehending what the militant rallying cry was.
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The future of Afghanistan is incredibly dark, and decisions are happening incredibly quickly.
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I worked with two young women translators. One died and the other received a death threat from the Taliban.
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Islam doesn't have a monopoly on violence in Africa. And violence plays a particularly critical role in places where statehood is weak at best, such as the Maghreb.
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News isn't designed to talk about daily life in its nuances, but poetry is.
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The future of Afghanistan is incredibly dark, and decisions are happening incredibly quickly. Speculation is a fool's game, but I've seen many political projections that look like the Taliban could hold most of the country, and possibly Kabul, within perhaps a short time. I can't imagine how Afghanistan's fall isn't going to be ten times faster than Iraq's. The role of women in that space is terrifying, and the idea of retribution is a nightmare.
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Poetry is a popular genre in Afghanistan. If you turned on the radio, there would be a poetry program that would be as popular as The Real Housewives.
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If we think about folk forms, they belong to disenfranchised people, people who have not been allowed access to the poetry of literature or the leisure time that comes with the pursuit of poetry. Instead, this is ceremony. This is a highly charged way to create a sacred space that isn't necessarily about God, but is about human experience at its most profound levels - whether that's love or grief, separation, or homeland. All are altered states.
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In most of the world, poetry has such a different reputation than it does in Western culture. Poetry is a popular genre in Afghanistan. If you turned on the radio, there would be a poetry program that would be as popular as The Real Housewives. People aren't listening to poetry as if they're taking their vitamins. Instead, it's a popular vessel you can fill with anything. You could fill it with sass. You could fill it with rage. You could fill it with political statements.
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In most of the world, poetry has such a different reputation than it does in Western culture.
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Poetry isn't as relevant in the Western world as it is in Afghanistan. And not many people make time for something that doesn't feel relevant.
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My upbringing was pretty interesting. It was a rigorous, intellectual upbringing, but with the idea that we were a part of an important and legitimate enterprise. What that meant was sitting around the dinner table from a really early age with people from all different backgrounds who believed in God. When I was reporting in the wake of September 11th in Iraq and elsewhere, I felt I had the capacity to talk to people whose beliefs might sound outlandish to more secular journalists. I felt like I could be a translator between those two worlds.
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If we were to see Western landay poems, we'd see them out of disenfranchised populations, maybe out of the legacy of slavery. Spirituals, rap music - that would be the space we'd find American landays in.
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One of the things about landays is that they thrive in a modern context. Early on I went to this incredible Pashtun novelist, Mustafa Salik, who is a bestselling novelist in Afghanistan and works for the BBC in Pashto. With the question of the sanctity of the poems in mind, I asked him, "Aren't you worried? They've been posted on Facebook and such." And he said, "Just the opposite. This is a folk form; they survive and thrive as people share them."
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I was examining what religious identity meant in Africa. Along the edge of the Islamic world, what patterns were shaping identity? And the truth is, when I looked at the rise of violent forms of religion, no single identity was prevalent. It's central to note that in Nigeria, that tree is rooted primarily in Christianity. It's not just Islamic militants in the Middle Belt.
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It's important to understand that violent Islam is only one face of violent religion.
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You can't be wrong in journalism. Take a wrong turn in journalism, and you are writing fiction. You can take a wrong turn in poetry, and something wonderful can happen.
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The power of the voice in rap is about the expression of truth, rather than the expression of some kind of artifice.
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The power of the voice in rap is about the expression of truth, rather than the expression of some kind of artifice. Landays, they're about love and pleasure and oppression and levels of oppression within a family. And because of that, I think rap music is probably closely related.
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I think most good poetry is about suffering; I think that's what underlies the love in these landays pieces - suffering and longing.