Ten years ago, I read Eliot Weinberger’s anthology, World Beat: International Poetry Now (New Directions, 2006). Looking back, I’m grateful, because that volume (re)introduced me to Israeli Aharon Shabtai, Iraqi Dunya Mikhail, and Chilean Nicanor Parra, all of whom I have read over and over since then. I encourage anyone to read Mikhail’s “The War Works Hard,” Shabtai’s “As We Were Marching,” and Parra’s “Seven Voluntary Labors and One Seditious Act.” In his introduction, Weinberger offers a sobering yet hopeful case for us engaging poets outside the U.S.: “All translation sends the essential message that one’s own culture is not enough, and that the way to avoid intellectual stagnation is to learn from other ways of thinking about, perceiving, luxuriating and despairing in the world. This book appears at a moment when the United States is particularly self-absorbed. Less than a fifth of its citizens have passports; a third of its high school students can find the Pacific Ocean on a world map; its rulers dream without embarrassment of a global empire. Poetry, though not the salvation of the world, presents a small alternate model: an endless net of individual dialogues between writers, and between writers and readers, regardless of governments, nations, and communal identities. Its books are a way out of one’s world and a way into the world at large.” Twenty years ago, I received a doctorate from the Graduate Theological Union in Berkeley. I rarely read theologians these days, and I eagerly take joy and refuge in the poets. Weinberger’s books helped facilitate this shift for me.
