Cosmophilia
By Rahat Kurd
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About this ebook
What earthly use is the love of ornament? Slowing down to look closely at an inherited shawl made by hand, the title poem in Rahat Kurd’s Cosmophilia traces an object of luxury to the traditionally male art of Kashmiri shawl embroidery. The poet works with images from Kashmir, her maternal family’s place of origin, where the ability to make and appreciate beautiful things is both absolutely essential and taken for granted; where increasingly rare levels of artistic mastery are simultaneously prized and trivialized; where the struggle to carry on traditional art forms is strained by awareness of increasing obsolescence, severe political repression, and environmental degradation; a place both celebrated and dismissed as spectacle, as “paradise on earth.”
The question persists, throughout other poems in Cosmophilia, both as self-reflexive creative practice and existential dilemma. On the concrete streets of Vancouver, the anonymity and material ease of cities tug at the poet’s consciousness of frayed traditional ideals, both philosophical and aesthetic. Religious language and rituals considered in the aftermath of a marriage take on complex, subversive, and irreverent layers in a seven-poem sequence. Allusive, playful multilingual imagery inhabits long narrative meditations, free-form couplets, and the traditional ghazal, in elegiac or sharply satirical moods. Nastaliq, a centuries-old form of Persian and Urdu calligraphy, speaks to the author through the smoke-damaged voice of a fading celebrity confessional.
The emotionally powerful collection follows the elaborate, unexpected turns of the poet’s imagination, enlisting intricate details of memory and language and the occasional plain truth – “the hard solitude of the maker.” They intertwine political conflict and family history; they imagine Hamlet reluctantly confronting the partition of India and Pakistan. Cosmophilia translates multiple glittering facets of Muslim culture into, and reflects back from, the immediacy of embodied, urban Canadian experience.
Rahat Kurd
Rahat Kurd is a writer and poet based in Vancouver. Her most recent publication, The City That Is Leaving Forever (Talonbooks 2021), is a hybrid of correspondence and poetry exchanged between Vancouver and Kashmir over a five year period with poet Sumayya Syed. Kurd’s first collection of poems, Cosmophilia, was published by Talonbooks in 2015. Kurd draws on multilingual poetics and is especially interested in the ghazal tradition in Urdu and Persian literature. With writer and poet Meredith Quartermain, Kurd co-curated and co-hosted The Rhizomatic, a monthly online poetry series featuring a single guest in a deep-dive format, from September 2020 until June 2021. Kurd was the guest editor of the 2019 Summer Supplement issue of The Puritan online literary magazine, publishing poetry and fiction around the theme, “What does it mean to be a Muslim writer?” Commissioned by composer Brian Current , Kurd’s libretto “Light Upon Light” was performed as part of an oratorio, The River of Light, at the Vancouver Opera Festival in May 2019.
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Book preview
Cosmophilia - Rahat Kurd
SHISH MAHAL
I am the mirror palace of the annihilated.
In the arc of my splendour the shattered shelter –
In the vault that houses the lamp every glittering facet is mine.
Every facet a crystal of pain, formed in every heart that yields to me –
And every heart that yields its pain to me reflects mine.
BURNABY, EVENING, APRIL
the stranger passed here,
to let the stranger pass there.
– Mahmoud Darwish
I walk through shards of glitter today.
Through a glass and steel house of teenage desire –
expensively curated, easily bruised.
Then cars stream past, all threats and cold shoulders.
Asphalt and concrete mock my every step: Absence
sufficed you before. Is this poetry, the frail thread
that pulls you here now? Private lawns inhale their poisons.
Against the slant of gold light, compassion moves
its hobbled instrument. Spring evening on a downward slope
to your stunned absence, written in the faces of the women
to whom you splendidly belonged. Endurance,
written there too, forces back my disbelief; my glance,
faltering, to the floor. I walk today
not in the beginning of loneliness
but in dread of its return, as if the black coat
I’d slipped off and forgotten years ago
were to appear on that park bench, folded, waiting,
unmistakably mine. Someone knew I would pass this way,
stranger descending a wide bowl of earth ringed with mountains.
Their blue when dusk swells and blurs them
recalls blue domes of Shiraz, hills of besieged Sarajevo,
held breath of Srinagar at curfew, its mothers fearful;
its teenagers impatient to begin
the beautiful arguments we will never begin.
Our footprints won’t keep pace in any other dust.
We won’t trace our names on the walls of old Delhi,
we won’t warm our hands on the walls of old Kashan.
Except for the May night I read Faiz in Shahid’s English
and you delighted everyone with Faiz in his own Urdu,
we spent all the time we would ever have
describing borders of suspicion we’d circled in tedium,
hands up, passports high, on this unceded ground
I now profane with every step
I take in your absence.
Gold light grows fainter,
each rebuke more insistent, plainer:
Who would welcome you, after Burnaby?
What language, broken, avails you now?
In memory of Usamah Ansari, 1985–2008
COSMOPHILIA
It was hereditary for an embroiderer’s son
to be an embroiderer’s son.
– FRANÇOIS BERNIER
Travels of the Mughal Empire, 1663
1
We will never meet.
I will not live
to know her name.
I will sew my initials
into the fresh length of wool
she will inherit
when worn and faded.
In my smallest stitches
she will discern
with pleasure
the shine of silk filament.
Across half a century
our fingers will touch,
here, on the bright border,
when she reads
in the spacing of each leaf
curling backward off a vine,
the rhythm of my breath,
the blood-beat in my deft hand,
a collaboration
that insists and insists,
in the midst of snags,
tears, and ordinary despair,
on being looked at.
In circles and half-circles,
in tight arabesques or loose spirals
my lines expand out, almost double back;
as if in restless, rigorous thought
each complex elaboration
integral to the harmony of the whole;
not rushing any part of the particular,
not the curled tip of the smallest leaf.
Petal by petal, paisley by paisley,
I make summer creep and flourish
across a wintry field
to wrap her shoulders
in a single enduring embrace.
2
At nine, still slipping
shyly to the edge,
still learning how