Bastardi Puri by Walid BitarBastardi Puri by Walid Bitar

Bastardi Puri

byWalid Bitar

Paperback | April 1, 2005

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Walid Bitar's poems read as if transmitted in softly staccato impulses from some remote time-warp in the tenth dimension. They crackle with the static of unique ciphers hurled over huge distances and we don't know at first whether they are entreaties or imprecations. Certain poems threaten, others cajole; all buzz with an energy of language that sometimes splits open the husks of their forms. Weird images and weirder personages perch upon his stanzas, not only Rhodesian Ridgebacks in constitutional snits, Actaeons ogling Diana's physique, and Tarzan in quicksand but the poet himself, weirdest of all, whose remarkable voice plots constellations and libels the starry nights. To read Bitar is to take a round-trip ticket on the Drunken Boat. His unusual and distinctive voice is by turns caustic and capricious, attuned to `rain and its minions' but also painfully aware that `to whip is human, to be whipped divine.' Best of all, like a speechless man suddenly given language, `this ambassador from El Dorado' frolics and cavorts in his `underground patois' with startling originality and mischievous flair. This is a book of poems torn between the comic and the inconsolable, now `surrendering to polkas in some smoky dive' but also, and at the same time, `Eternity's pied-à-terre.'

Walid Bitar was born in Beirut in 1961. He immigrated to Canada in 1969. He has taught English, most recently at Lebanese American University. His other poetry collections are Maps With Moving Parts (Brick, 1988), 2 Guys on Holy Land (Wesleyan University Press/University Press of New England, 1993) and The Empire's Missing Links (Signa...
Title:Bastardi PuriFormat:PaperbackDimensions:96 pages, 8.77 × 5.57 × 0.38 inPublished:April 1, 2005Publisher:Porcupine's QuillLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0889842671

ISBN - 13:9780889842670

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Editorial Reviews

`Each poem in this collection bludgeons its readers into a confrontation with the paradox of postmodern living. Swooning amid the vertigo of Bitar's ``unaligned'' stanzas, the reader cannot remain within the comfort zone of language. It is often very challenging, but is, nonetheless, a highly rewarding experience for those who dare.'