Magin_Edward-thesis

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EM: So strictly image, and the sounds of words are not important. Is it true? You
translated that he said that he is writing about the images he creates with the words. So
the sounds of words―even they’re not important.
MQ: He doesn’t care about sounds of words, he says; it’s not something
important for him. He can make ugly words beautiful with a new sense. In practical life
he can, out of thorns, make a beautiful rose.
EM: Kurds have a specific way of presenting their poetry when they speak it.
Can he speak about this tradition?
MQ: This is something of the individual. Everyone has their own style for
reading poetry. He says, I read it one way, another person reads a different way. But the
point is how to read this thing. For him, he has his own style of reading, and he is well
known for putting music with the words. But now there is something bad in our society
for poetry, which is reading just by eyes. Poetry is not just to be read by eyes but by
mouth to the ear. That’s the way it should be.
EM: Before people were writing poetry, when he lived in the village―did people
have poetry that they remembered, and maybe fathers shared with children, and they
spoke this way?
MQ: He says in Kurdistan, in winter, the nights are very long. So when winter
would come, everything would stop. You could not work outside. You would eat and
drink and at night everybody would sit down. There were poems, of course, poetry, and
there were stories, and there were poems for crying, for making fun, for nationalism, for
everything. And, of course, their fathers would retell poems to children, or the
grandfather or grandmother. There was something like that. But they would not say, for
example, this is Nalbend’s poem or Cezîrî’s poem. They just recited the poem.
EM: Who are the other, most popular, poets that write in this ‘new style,’ nî xaz?
MQ: He says, those poets who write in my style, modern poetry, are Şamal
Akrêyî, Hizirvan, Mustafa Silîma, Şikrî Şabas, Dr. Arif Hêto, Şaban Silêman recently,