| Exiled things in a game
A short look at Mehr’s works
Kamran Mir Hazar’s poems
Here you discover exiled things in a game. Mehr’s book is a collection of the world’s scattered ruins and scattered poems, which portray the homeless, and turn into an electron — minute particle by minute particle, like every homeless and exiled person; transcending to the physical space and then to the volatile space, only to get scattered. Physical ordering by pictorial signs or experienced things comes first and then it turns into disordered signs and objects.
It is the nature of Mehr’s book, which helps other particulars to grow into poems. Exile as the basic element that gives readers the possibility to play. The words engineered are open and when the reader comes partakes in the game, it can turn into an open end. This possibility creates the new ordering of poems, started from one’s deepness. The poems are not a worry about scattering in signs, even in pictorial parts. In the teeth of scattered signs and orderlies this particular makes the new organic poem, with the new hybrid signs space. The new dimensions and association are put under test. That asyndeton and astaticism are elements to design the home, what works each vagrant to do.
Mehr’s book is a protest — a presentation of Afghan literature and Afghanistan freedom of speech. It’s the first step towards Afghan avant garde poem, belonging to the language production and literature progression. Now we know that the new generation of literature has started in Afghanistan. Afghanistan is a traditional country and the writers and poets here rarely dared to change the progress of literature. If we look carefully at the present Afghan literature, it’s easy to understand that literature was in form from ages. Afghan literature went into immigration like innumerable children, women and men, but writers couldn’t take it outside the homes. Some of them became the parakeets of Afghan military groups and the Iranian government. They create dependent literature to some Iranian organisations inside the government, like Tablighat Islami, Ershad and certain Afghan military groups. They couldn’t create the literature’s basic elements. They did some actions against the free literature foundation. Some of them helped to glorify the military atrocities. They eulogise Iranian leaders by superficiality penning poems and becoming Mollas and Akhoonds. The method of poetry for them was some Iranian poem ostentation inside the government. All of their actions and literatures finished after ending the military group’s life and their rule there. Some Afghan writers went to Pakistan and continue to write classical poems and stories. They are dependent on classical Persian poems. They didn’t indulge in literature progression. After near 70 years of New Revolution in Persian literature they still are classical writers. The classical literature is helping somebody’s rule and government in the third world. All these are endeavouring of caricature poems and stories of some Iranian writers and poets who wrote 50 years ago.
Some Afghan writers immigrated to European countries, America and Canada. They are much aloof from Persian language and its development. They couldn’t create new literature outside the Persian language, and unlike other exiled Iranian writers that they couldn’t do well.
Mehr’s book is a difference voice, which is not dependent on the government and military groups. It is not a set of classical poems. The poems are fearless portrayals that can contest the Iranian present literature by any count, and herald the new generation of literature in Afghanistan. The techniques are up-to-date and rubric to the original verse. Welcome this new, brave writer, welcome the new Afghan literature.
Mehr’s book is a set of multicultural poems like a multicultural Afghanistan (see: ‘Three Narratives of Vagrancy’ by Kamran Mir Hazar on RAHA website). Mixed myths in Afghanistan help the poet to create multicultural poems with some differences: Firstly the myth in Afghanistan that the traditional history contains Indian, Chinese, Crecian, Iranian and Islamic cultures. Mehr demolishes these myths, with a new but unique form of poems. Secondly Mehr’s book is created by different myths too. The elements in Mehr’s book’s myths are from the new lifestyle. Mixed objects are like Afghan people who are vagrant men and women in different parts and every nook and cranny of the country. They gave difference cultures from other countries. We can say his poems are created by myths in a vagrant form. Extra-vagrant they maybe, but the poems have the capacity to instigate nostalgia and eternal affliction. They cry for justice, peace, and freedom. A story for peace and extra-myths, the poems aim to live like human beings.
In the end each poem adopts a great nostalgia.
Mehr means love and myth in Old Persian. A month in Persian calendar is called Mehr. When we want to describe Mehr we should say that there contains some important semantics. First is the God in Mithraism, the symbol of bearing, changing and balance and justice that means affection, love, kindness and warmth. Mehr’s book Contain all of these.
Mehr Book is a collection of the avant-gard and deep stracture poems in Persian.They are joined by nostalgia and myths .