ghareeb

where else could a poet vent his feelings than at the feet of His Maker

[miswakk]

Where is thy sun ?

Thou say: I know not of a sun

Then where is thy light

Thou say: I know not of a light

A blind man says: there is no sun

So do we decline the existence of light ?

The blind does not see

Even though the sun is within he

[rvguernica]

#39 Transfiguration

You are too beautiful to be spared— you must die to yourself.

Unveil your glittering chastity without form,

And let the void be the instrument of your visioning;

Let the marvelously alien be your own secret church

From whose reaches resound your deepest incantation:

Orphanus sum, I am an orphan, and I bloom renascent.

published in Pandemonium Journal

[tanyushenka]

Rapture, 1999 @ Shirin Neshat

[the-night-picture-collector]

Masao Yamamoto, Nakazora, 1999

[fewthistle]

Paris Cats at Night. 1954

Photographer: Robert Doisneau

[luzfosca]

Ferruccio Ferroni. Dancers, 1954

[scattredthoughts]

وہ عجب گھڑی تھی کہ جس گھڑی لیا درس نسخہ عشق کا کہ کتاب عقل کی طاق پر جیوں دھری تھی یونہی دھری رھی

It was a strange moment when the lesson of Love was learnt; as if the book of intellect was helpless in enlightening us -Siraaj ad-din Siraaj

[yours-sincerelyy-deactivated202]

دل به دل راه داره

— There is telepathy between hearts

A Persian expression used to explain how and why two hearts feel in the same way

[violentwavesofemotion-deactivat]

Abbas Kiarostami, from “A Wolf Lying in Wait; Poems,” published c. 2015

[divinelove370]

“وَعن مذهبي فى الحُب مَالِي مَذهَبٌ، وَإن مِلتُ يوماً عنه فَارقَّتُ مِلّتي”

—

[tribeca]

“The Battle of Algiers is still one of the only works of war cinema that thoroughly understands the architectural character of a city in combat, at once meticulously structured (through checkpoints, barriers, and routine patrols) and conspicuously impromptu (through the increased presence of bombed-out structures, burning cars, and rubble piles). The familiar layout of Algiers, with its automobile-lined boulevards, neoclassical structures, and wide open spaces, begins to readjust before our very eyes into an arena of chaos, debris, and collateral casualties. Watching the film now, after so many other popular films and latter-day television series have faithfully duplicated its look and feel, it is all too easy to take for granted just how revolutionary a filmmaking document Pontecorvo had created, a visual groundbreaker made all the more monumental for the atypical coherence of its storytelling.”

Read: BOTH SIDES NOW: ON THE POLITICS OF REPRESENTATION IN GILLO PONTECORVO’S THE BATTLE OF ALGIERS by Matthew Eng

[mad-prophet-of-the-airwaves]

The Battle of Algiers (1966, Gillo Pontecorvo, Italy/Algeria)

[screenshottery]

Disputed spaces in The Battle of Algiers (1966, Gillo Pontecorvo, dir.)

[weltenwellen]

Franz Kafka, Letters to Milena

[abudinges]

haneen: longing, desire

[dharmarainbow]

“The artist who has arrived at some perfection in his art, whatever his art may be, will come to realize that it is not he who ever achieved anything; it is someone else who came forward every time. And when the artist produces a perfect thing, he finds it difficult to imagine that it has been produced by him. He can do nothing but bow his head in humility before that unseen power and wisdom which takes his body, his heart, his brain, and his eyes as its instrument. Whenever beauty is produced in art, be it music, or poetry, or painting, or writing, or anything else, one must never think that man produced it. It is through man that God completes His creation. Thus there is nothing that is done in this world or in heaven that is not divine immanence, which is not divine creation.”

~Hazrat Inayat Khan~

[poetictouch]

عبد الحليم حافظ يقرأ أبيات من قصيدة/أغنية قارئة الفنجان للشاعر نزار قباني أثناء مقابلة مع الفنان سمير صبري بحضور الفنانة نيللي:

مقدورك أن تمضي أبداً في بحر الحب بغير قلوع

وتكون حياتك طول العمر كتاب دموع

فبرغم جميع حرائقه

وبرغم جميع سوابقه

وبرغم الحزن الساكن فينا ليل نهار

وبرغم الريح وبرغم الجو الماطر والإعصار

فالحب سيبقى يا ولدي أحلى الأقدار