By Kazim Ali
This groundbreaking, transgenre work—part detective tale, half literary memoir, half imagined past—is intensely autobiographical and confessional. continuing sentence via sentence, urban through urban, and backwards in time, poet and essayist Kazim Ali info the fight of coming of age among cultures, overcoming own and family members strictures to discuss deepest affairs and secrets and techniques lengthy held. The textual content is made from sentences that trade in time, starting from discursive essay to memoir to prose poetry. artwork, background, politics, geography, love, sexuality, writing, and faith, and the position silence performs in every one, are its interwoven subject matters. brilliant Felon is actually “autobiography” as the textual content itself turns into a kind of writing the existence, revealing secrets and techniques, after which, amid the shards and fragments of expertise, facing the aftermath of such revelations. brilliant Felon bargains a brand new and energetic type of autobiography along such texts as Theresa Hak Kyung Cha’s Dictee, Lyn Hejinian’s My lifestyles, and Etel Adnan’s within the center of the center of one other state. A reader’s better half is out there at http://brightfelonreader.site.wesleyan.edu
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Additional info for Bright Felon: Autobiography and Cities
I packed my things up and rented a truck and called Sean and Tim to come down from Boston and help me. And drove my things up to Rhinebeck. August 2001. Mornings I rose with the feeling of hunger in my stomach. As long as I could I held on to that feeling. Dad told me about one hundred and four books supposedly revealed by God. Books revealed not written means meaning there only needs uncovering. Four are named in the Quran so he does not discount the possibility of others, in other nations, other tribes, at other points in history.
In the one place everyone looks like me — has my name — I am the most foreign. An eternal sense: ever since there’s been history — a telling of what happened, there have been people who have lived at this river, at this place. The city as we drove from the airport seemed to become monstrous — from the plane it stretched horizon to horizon. The cities of the past — all built geographically on top of each other, but also historically, culturally, linguistically. There is no such thing as a “present” moment, nor of “this city” The people I see walking down the street exactly resemble the figures in the papyrus paintings, in the carvings.
It keeps these monuments in the immediate present — sacrilege also the way we walked amongst them, graffiti scarred, people touching everything . . Hard to discern what was original and what was reinforced construction. In this way the ancient is lashed to the present but simultaneously kept ancient for public consumption. | 33 I feel I am wandering a labyrinth but without a center, a bull, a thread. The terrific beauty of the young man in the church, sitting in the pew next to me, his hand resting lightly on his leg, the violence with which the priest took the candles of the schoolboys and blew them out.