“Ketabe-E-Meher” by :Kamran Mir Hazar

Written by: Mozhgan Amiri

Translated from Persian to English: Soroush Gholami

RAHA/23/September/2003

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4. Metaphysics in a work:

It can’t be explained that how much the process of the presence of a word that takes shape in this level and forms and enters a text is correct or indicates the gone or brought of a word or write conventional documents.

What we use several times in a day is the way of a good use of language contract that we have accepted and what takes shape in the language itself is in fact the language personality that does not exist in any contract. We need words in their simple form in order to contact each other easily, while the language itself has the steadiness of active and energetic nucleuses in the fact of its cosmogony that can cause our feeling conflict when we observe a word in a more special presence.

It is possible to use the words “hate” and “love” several times, But in all these situations the face of our skin doesn’t go crimson and we haven’t experienced the sense of a rapid  heart-beating or the fast moving of blood inside our veins or getting frozen with this word.

What conduct this word in a different process from the process of affecting to a higher level are the suitable conditions of the environment. Reaching emotional situations between the reader and the writer is the suitable tense of expression and expression tone. Therefore everything must be like a necessary device so that we can be able to turn to creating in a higher level of language. This way of going must be known as a completely personal and private way. the way is hidden from other’s sight but the product of going becomes what we call it” artwork”.

As a result of this simple reason if each one has the capacity of going in order to take part in an active and creative action and tends to reach the purity of mind and is able to see  itself, can be a creator and turn to creating a work. This creation can be formed in painting, sculpture and can be created in music and etc, and can become a poem.

If we believe in the internal identity of a work we will find out that we can not separate

a language from its construction, its construction from the space of its presence, the space of its presence from the outer and internal layers of the work ,the  outer and internal layers of the work  and its multi-dimensioned image from its multi-dimensioned images in creating spaces in a complicated space and the complicated shape of the space.

 all of these become like the texture of a carpet that all of them together create something called” carpet” and none of them is a carpet by itself.

And now has this “supernatural” taken place in the book “Mehr”?

Whenever I follow a text –if you find out incidentally that the hidden and strange part of the image and most part of the sentences is putted between the explanations in a way-where I was only talking about the word construction, the explanation pulled itself over the illustration of the image. This is one of the reasons of the presence of the poem in supernatural level, because they can’t be separated from each other and the more you pay attention in writing sentences, the more pulsation of expression changes its situation.

It must be found in the other mind of a poet that how this happening occurs in a work-where a poet has entered the wild and uncontrolled language and does not fear its hugeness and tries to arrange the presence of his mind in the exchanging of this “being controlled” .     

Finding the first sign of  the “making tame” of this current energy is in fact  finding all the ways because all the language slightly and suddenly flows into the mind and the mind into the language and whenever the artist refers to the storage of words he will get satisfied.

It is possible for images to come out of their most primitive possible shape and show themselves with their most simple image, take part in an elective game and ordain the principals of the game according to their own contract. Here we don’t face any simple work, but we enter the tunnel of a work as easily as the same initial image and enter a more specified process of conception of the work.

 “Tending to roar

An appointment in untold tales of the time

And the emperor existing before the invention of alphabet

In the way that is not mentioned in any newspaper

The appointed wearing out accompanied with beasts making tame

In the seat of the time and the seat of the five senses

A bronze-colored face

In the way that is not mentioned in any newspaper….”

“This is the sign of the coming of a poet from the ocean who has the secret of the sorrowful whale,

Joining the radius and respiration in the world of drowning

With the olive-designed form of the water …….”

“Make me closer to your everlasting moment

And place me in your eyes

That I’m that overactive

Give me back to the anxious gentleness

And take me out through your hair….”

“And his cheek”

That causes sadness like the staggering of the drunk

How can I neglect his blue veins

And how can I get lost through his curly hair,

That the music and the color in the first frame are wonderful…”

“His eyebrows are placed in our poems each moment

, and also the way he looks

, and the way he walks

He is a big heart in the factory of creation

, an untold expression between fingers

And between the rotating and continuous kisses

And again he goes farther

Goes farther to the station that we have arrived in to see him off….”

“Death is living in the soul of the world

The identity out of all fantasies

Without feeling any pain

You will become a garden

That is watered by a virgin.

Death is the formed sense of the human-beings

And the time is equal with what human beings can do…”

these are samples of being multi-dimensioned in a language, the various corners of a movement and presence in the poem in observing other images, conveying the language  with(bar) of words even more ancient to the present time , reaching a new image from it                                                    

, making a universal space or in fact the heaviness of the presence of this space in words and Poems, and the evident and the hidden connections with the central nucleus without disconnecting or missing its slight movement or connecting itself to the previous or latter image hardly.

the connection lines prove the presence of something in the poem that is the same metaphysics or “being supernatural” and one of the reasons that the book ”Mehr” can be considered as a multi-dimensioned pyramid is the presence of elements and things in its miscellaneous quality.

As a discussion on poems and literature we can follow this category from other views that the book “Mehr” can be re-read for a discussion. titles such as: breaking the foundation of a language in the category of the  form and content, producing a word in a different definition, founding a language in the world new possibilities ,opening  a philosophical language of poems, and conducting ourselves to the level of its thought,. . .that it is possible to use the suitable samples which  have the capacity of these references and which will be used in other discussions and it is also possible to talk about the book”Mehr” with referring to the poems of the book “Mehr” and to found a way of discussion in literature and language in order to be able to turn our outlook and view forever and change our sight level in poems. The poem and the reader must be changing their step to observe the plurality of images and the complicated layers of language and tense and it must be begun with the poem.

A work must have energy from the beginning and have the characteristic of molting and conduct us to the considered place each time. Passing the tunnel of work must be activated in a metaphysical action, if not it will be cracked in the same first image.

We will follow this discussion with referring to the book”Mehr”.