O my soul, be glad! Danger is the thing to stir a frozen soul, / A people’s
screwed-up virtue to unroll!’ ”^31 Such a trajectory is not a lonely one, and the
postwar period enlists new strategies and visions that, for their mixture and
complexity, cannot be easily couched in such categorizations as romanticism
or modernism. The recent multiple critique of the 1970s onwards, which
targets the “referential authority” of the past model,^32 appeared also in corre-
sponding poetry and readings of literary heritage, but with more focus on
rebels and dissidents.
Modernism and secular ideology
Revivalist movements as well as national occasions at large operate as
catalysts to recollect and enforce the rhetoric of the past as corrective to the
present. Secular ideology, especially its pan-Arab articulations, makes use of
the rhetoric, too, but its main thrust is focused on its representations of the
real. These are bound to be concerned with present sites of fragmentation and
disillusionment, especially since the defeat of the nation-state in 1967. Their
comparable poetic manifestations unfold in strophic forms, free verse experi-
mentation, and historical reconstructions. Like the modern Arabic novel,
secular poetic concerns deconstruct hegemonic representations and their
structural patterns of hierarchy and deference. Sufi poetic reclamations or
experimental initiations in esoteric lore become part of a larger effort to ques-
tion beliefs and appearances. In the Arab world of today, there is also the reap-
pearance of traditional war poetry that goes hand in hand not only with
fundamentalist pronouncements, but also with regional wars, shows of resist-
ance to hegemonic discourse, and the application of force in global politics.
The neo-revivalist movement of the 1990s onward reminds us, for instance,
of the late nineteenth-century revivalism, not only against a stagnant
Islamism, as represented by the Ottomans, but also more pointedly against
colonialism and its cultural incursions. The vacuum created by dictatorial
systems in the Arab world and their deliberate persecution and mass killing
of the secular left, along with the massive use of war machinery and force not
only against the Palestinians but also in Iraq, left the door open for religious
revival.
Yet, modernity properly began with the emergence of coteries, groups, and
schools that came into contact with Russia and Europe, and developed a new
consciousness of individualism and democracy, like the Dlwmn school in
Egypt (1912), with a publication under this name in 1921, and the following
one Apollo (with a journal under this name, too, 1932–1934). Soon after the
Second World War, another radical change under the rubric of the Free Verse
Movement took over the poetic scene, bringing into Arabic culture a new
consciousness of great complexity that appropriated both radical politics and
poetics, and approached tradition and history anew, questioning almost every
issue and generating since then further renewals and innovations.In a succinct
POETIC TRAJECTORIES: CRITICAL INTRODUCTION