Bøker av Anis Shivani

""Defiant, deft, bound to the imagination and the practice of the poet's craft, Anis Shivani's Confessions has given us much to appreciate. This startling work resists the easy spectacle poetry, and even confessions themselves, often offer the heart. Instead, Shivani's lucid perceptions expose, darkly, and incandescently, too, the aches and auguries of that which is spoken and unspoken through language. These inseparable collisions of ecstatic and ordinary life, the world and the word, intellect and instinct, are visceral in discovery and intimacy. We, too, become fortunate travelers hurtling inside the prowess of Shivani's polyphonic acts. Confessions is the voice of an expansive mind, deeply conscious and deservedly celebratory of its own free textures and countries." - Rachel Eliza Griffiths, author of Mule & Pear and Lighting the Shadow"--

What is it like for a cat to observe and live with humans? How does a cat experience human beings in their various modes of existence, from early sedentary societies at the dawn of civilization to the throes of empire in ancient Rome or Victorian England, or in cultures that seem dark and mysterious to us now, such as the medieval witch-hunts or Egypt in the period when felines were worshipped? With its wise, wily, and wonderfully perceptive protagonist-the cat who ceaselessly adapts himself, changing his voice, demeanor, and ideals according to the temper of the times-this novel is a brief history of human civilization as much as it is a history of feline evolution. The cat is the most fascinating of human companions because it opens up a surreal window into the human soul. The protagonist of this crafty, seductive, mesmerizing novel convinces you that there are many more windows into understanding the nature of our own perception-via the cat's all-knowing gaze-than we ever realized. What we think of as history is often reduced to stale chronology and progressive linearity; but the cat in this novel provides a profoundly circular, unknowable, mysterious dimension to the idea of human history.

All we hear about are lawlessness and violence, without social history or political context to fill out the picture. THE FIFTH LASH AND OTHER STORIES gives us a portrait of Pakistan, and Muslims in general, struggling to reason their way into a better future. Paranoia, self-hatred, delusion, insecurity, serfdom, surveillance, and denial have been some of the prevalent psychological motifs of the last decade; it's important to step outside their journalistic confines and move into the lyrical borderline where responsibility follows a two-way street and causes and consequences become muddled and merged, and this is what the book seeks to do. The old securities everywhere are gone; identities are switched and tried on and abandoned faster than ever; the media landscape saturates individual consciousness, and makes lies out of centuries of tradition and heroes of plastic idols. THE FIFTH LASH AND OTHER STORIES daringly enters this phantasmagoric cauldron, where appearance and reality have seamlessly blended, to complicate the picture even further, to turn all we think we know about Islam and Pakistan on its head. The "e;truth"e; will never set you free, is the ironic signature of the original voice defining this collection. These new stories from Shivani (Anatolia & Other Stories), many set in Pakistan, parse the disconnect between public and private behavior, and the desires that must be muted in order for people to survive. In "e;Love in a Time of Communication,"e; Javed, a young worker at General Tires in Karachi, tries to get his parents a phone line while dreaming of love for himself. Social mores come into play often, such as in "e;The Abscess of the World,"e; which follows David, an American student, to Karachi to feed his fascination with Islamic law, while his Pakistani roommate at Princeton, Agha, looks to leave his past behind and work on Wall Street. In "e;The House on Bahadur Shah Zafar Road,"e; the course of young Abid's life, full of A-levels study, dreams of Oxford, and first love, contrasts sharply with that of the family's young servant girl who has become pregnant. "e;The Censor"e; traces the constantly changing rules about what is or isn't permissible on the public airwaves; numbered paragraphs offer first-person accounts such as "e;The new rules of kissing are, it's allowed if it's done Indian-style.... But no American kissing."e; Shivani is a perceptive writer who puts his finger on the contradictions his characters navigate to survive daily life. --Publisher's Weekly

Soraya is a series of 100 sonnets which take the exuberance of sound as the beginning (and end) point of meaning: it is a driven experiment in the baroque potentialities of sonic texture, poetic "technique" both provoked to the extreme and deconstructed in its very creation.