A lot can happen in a decade. Before September 11 and the War on Terror, “opening in an atmosphere of hope” the Birmingham-based but truly international group Writers Without Borders was formed, co-founded by the late Dr Roi Kwabena.
The initial vision of the Birmingham Poet Laureate, political activist and cultural anthropologist “To give writers in exile a voice” was embodied in the poetry and performances of his fellow members last night, celebrating their 10 year anniversary as part of the Birmingham Book Festival.
Currently standing at thirty members with their countries of origin spanning Rwanda, Iran, Kurdistan, Pakistan, South Africa, Croatia to name a few; for many westerners these countries often represent images and words of past or ongoing social unrest, civil war and political upheaval.
Objective journalistic reporting has sought to document the events over the years which eventually define a people and their culture from this detached perspective, however unfairly. The authoritative tone of a newspaper article or televised statement attempts to convince us that within their regurgitated facts lies the truth- when I look up these two words they are even considered direct synonyms for one another- but official figures of fatalities are no replacement for words motivated by personal experience and observation or truthful emotions.
To use a quote my sister drew me to from writer and journalist Robert Fisk’s Pity the Nation, “it’s difficult to find a Lebanon that had not become shackled to a cliché, to a deadening form of words that killed off Beirut and its people more assuredly than any Lebanese militia leader or occupying army could destroy the country.”
While some poetry of the night had a clear political or ideological message, many more were honest reflections on the realities of the human existence that are common to all. As poet Vivian Yates put it “Speaking in harmony from our common humanity”.
Even between descriptions of a village in Kurdistan by Mardin Ibrahim or Patricia Sinzi Bamurangirwa’s poem interspersed with liberated dance that seemed so foreign and exotic to me, I found a personal connection in Martin Underwood’s Saving the Seeds. The poem was dedicated to the work of ICARDA, a company my mother worked for during its inception in Syria over thirty years ago and whose centre I visited on a recent trip to Aleppo.
So the words of the poems have the ability to tear down boundaries and build connections, to instil emotions and prompt action but as they are merely pen to paper- they will never be able relay objectively what the eyes can see or the ears can hear without having first been moulded by the thoughts of the writer- to deny the subjective voice of the writer is to only hear half the story.
*This title owes itself to a line from the poem Writers without Borders by Michael George, performed on the night
