Conflict poetry is not only an expression of experience but also an expression of action and unity, the most extreme and violent example being the poetry of jihad.
Battle Lines: Want to understand the jihadis? Read their poetry.
BY ROBYN CRESWELL AND BERNARD HAYKEL
“On October 11, 2014, according to Islamic State-affiliated Twitter accounts a woman going by the name Ahlam al-Nasr was married in the courthouse of Raqqa, Syria, to Abu Usama al-Gharib, a Vienna-born jihadi close to the movement’s leadership. ISIS social media rarely make marriage announcements, but al-Nasr and al-Gharib are a jihadi power couple. Al-Gharib is a veteran propagandist, initially for Al Qaeda and now for ISIS. His bride is a burgeoning literary celebrity, better known as “the Poetess of the Islamic State.” Her first book of verse, “The Blaze of Truth,” was published online last summer and quickly circulated among militant networks. Sung recitations of her work, performed a cappella, in accordance with ISIS’s prohibition on instrumental music, are easy to find on YouTube. “The Blaze of Truth” consists of a hundred and seven poems in Arabic—elegies to mujahideen, laments for prisoners, victory odes, and short poems that were originally tweets. Almost all the poems are written in monorhyme—one rhyme for what is sometimes many dozens of lines of verse—and classical Arabic meters…” (Read More at The New Yorker).
“The culture of jihad is a culture of romance. It promises adventure and asserts that the codes of medieval heroism and chivalry are still relevant. Having renounced their nationalities, the militants must invent an identity of their own. They are eager to convince themselves that this identity is not really new but extremely old. The knights of jihad style themselves as the only true Muslims, and, while they may be tilting at windmills, the romance seems to be working. ISIS recruits do not imagine they are emigrating to a dusty borderland between two disintegrating states but to a caliphate with more than a millennium of history.”
In the jihadi narrative, as in all successful narratives—poetry, prose…—shared and cathartic conflict is the driving force. It creates a conversation of conflict. How do you reply to the following jihadi poem by Muhammad al-Zuhayri, self-proclaimed as “The Poet of Al Qaeda”?
Wake us to the song of swords,
and when the cavalcade sets off, say
The horses’ neighing fills the desert,
arousing our souls and spurring them
The knights’ pride stirs at the sound,
while humiliation lashes our foes.
The above jihadi poem is written to a unnamed woman. In this exercise, become that unnamed woman, whomever you want her to be, and answer “The Poet of Al-Qaeda” in verse or prose-poetry.
Rae Bryant is the author of the short story collection, The Indefinite State of Imaginary Morals. Her stories and essays have appeared in print and online at The Paris Review, The Missouri Review, Diagram, StoryQuarterly, McSweeney’s, New World Writing, Gargoyle Magazine,and Redivider, among other publications and have been nominated for the Pen/Hemingway, Pen Emerging Writers, &NOW Award and Pushcart Prize. She has won awards in fiction from Whidbey Writers and The Johns Hopkins University as well as fellowships from the VCCA and Hopkins to write, study and teach in Florence. She earned a Masters in Writing from Hopkins where she continues to teach creative writing and is editor in chief of The Doctor T. J. Eckleburg Review. She has also taught in the International Writing Program at The University of Iowa. Rae is the director of The Eckleburg Workshops. Rae is a member of VIDA: Women in Literary Arts, AWP, NBCC, CLMP and Johns Hopkins Alumni Association. She is represented by Jennifer Carlson of Dunow, Carlson and Lerner.