I’ve Grown So Much, Father
By Abdulmajid Al-Turki
Poetic Texts that Transcend the Traditional Boundaries of Prose Poetry
By: Mohammed Al-Mekhlafi
A Yemeni writer and journalist
In the enchanting realm of prose poetry, the voice of the talented Yemeni poet Abdulmajid Al-Turki is recognized as one of the most poetic and distinctive. In his remarkable collection, “I’ve Grown Up a Lot, Father,” Al-Turki crafts poetic texts that transcend conventional boundaries, immersing readers in exquisite narrative landscapes
By infusing his poems with rich narrative dimensions, Al-Turki employs novelistic techniques in the construction of his poetic works. Readers are drawn into interwoven narrative scenes, where storytelling threads flow harmoniously alongside captivating poetic energy. The interplay of multiple voices, dramatic contrasts, and diverse narrative layers creates poetic worlds rich in human implications and profound meanings
Through this innovative blending of genres, Al-Turki imparts a personal and subjective character to his poetic elements. The text transcends mere aesthetic portrayal; it embodies a profound human vision, drawing strength from the poet’s openness to life’s complexities and contradictions. This voice stands out as one of the richest and most distinguished in contemporary Arabic literature
In this review, I will discuss two poems from Al-Turki’s collection. The first poem, “On the Roof of Our House in the Village,” serves as a poignant reflection on childhood and the violent rituals of slaughter during Eid al-Adha. The second poem captures the beauty and philosophical essence of nature in the poet’s mountain village, “Shahara”
The First Poem
On the Roof of Our House in the Village
On the roof of our house in the village
I stand with fearful eyes and small fingers clutching half a biscuit
The butcher’s knife gleams
And the ram’s eye shines
While my little wet dress sparkles too
The butcher hung the ram’s head on the wall
To watch its flesh being sliced and divided among the three families
A sweaty hand pushes me to tread on a large circle of blood
Legends say the blood of the sacrifice heals the cracks in the feet
And the villagers say: stepping on blood strengthens the heart
The children will grow to be killers
Their feet will be soft
And their hearts filled with fissures
The sweaty hand slapped me when I cried out of fear
It said: You are your mother’s child
How can you become a man if you fear the blood
I don’t want to be a man… I don’t want to grow up
“Iron’s grip” was my punishment
I swallow it every day to harden my heart
The Feast of Sacrifice came after a year
The butcher arrived with his gleaming knife
And that sweaty hand brought me to witness the slaughter
The hanging ram’s head looked at me
As I wished to lose my feet so I wouldn’t be stained with blood
In this poignant poem, the poet reveals the suffering of an innocent child confronted with the violent rituals of slaughter that occur during Eid al-Adha. Through masterful language and vivid imagery, the poet conveys deep feelings of fear, rejection, and a longing to escape these horrific practices.
In the first stanza, the child is depicted observing the scene with frightened eyes, clutching a cookie in small hands, set against the glint of the butcher’s knife and the blood-soaked ram. This stark contrast between the child’s innocence and the brutality of the scene creates a sense of anticipation and tension.
The second stanza expands on the description of the slaughter rituals and the popular belief in the sanctity of sacrificial blood. Here, the child’s psychological conflict is highlighted, torn between fear and rejection on one side and a desire to conform to these practices on the other. This tension serves as a warning against the dangers of raising children in a culture of violence.
The third stanza reaches a climax when an adult strikes the child, chastising him for his fear of blood. This moment reflects the societal pressures placed on children to conform to traditional notions of masculinity.
In the Final stanza, the child expresses a profound desire to escape these practices by wishing to lose his legs so he wouldn’t have to stand in blood. In this moment, feelings of helplessness and fear peak, as if the poet is crying out in protest against the violence.
This poem skillfully captures the innocent child’s struggle against societal violence and its brutal traditions. Using various rhetorical devices, including simile, metaphor, and contrast, the poet conveys this suffering with depth and urgency. The work powerfully embodies the child’s psychological conflict between fear, rejection, and the desire for submission, making it a significant piece with deep human implications.
The Second Poem
From here I came, like a high gasp… There were no ibexes in our village; we were the ibexes of these mountains
‘Shahara’… the city that sparkled like an idea upon the hilltops
These windows, we open them in the morning to greet the clouds, returning our hands damp, as if they had settled in the heart of water
Water has a heart, water carries a longing, and memories since it was but a thought in the mind of the clouds, a glimmer in the lightning’s eye
I stand before the sea and feel nothing like what I feel when I stand before the small ponds in Shahara. They are mere puddles, often filled with green algae, yet they can express what the sea cannot comprehend, making me feel their waves despite the apparent stillness of the water and as I stand only before the ponds of Shahara, I realize that water is my first grandfather
These trees that I grew up with, how did they manage to find a place and grow peacefully on this towering cliff
from a distance, the trees appear like a mythical beard on the dignified chin of the mountain, which awakened at the dawn of history to guard these sleeping houses nestled between the fingers of the sky and the tranquility of the earth.
This poetic passage captivates us with the beauty and profound essence of nature, along with the philosophical meanings it embodies. The writer paints a vivid picture of his mountain village, “Shahara,” revealing intricate details that reflect the richness of his vision and creative talent.
The writer begins by describing his presence there as a “high gasp,” suggesting a state of wonder and immersion in the beauty of the place. He emphasizes that this village has found its place at the heart of the mountains, indicating that it is not alien to them but rather a natural extension.
He describes the city of “Shahara” as “shining like an idea in the minds of the mountains,” imbuing it with an intellectual and philosophical character, as if it were born from deep contemplation. The writer bestows a sense of sanctity and greatness upon this mountainous village.
Next, he captures the interaction of the village’s inhabitants with their surrounding nature, as they greet the clouds in the morning, their hands returning wet. This close interaction reveals an organic relationship between humanity and nature as if they are a single fabric.
The writer senses the spirit and life of water, noting that it has a heart, emotions, and memories and that it existed as an idea in the clouds before taking form. He compares the sea with the small ponds in Shahara, concluding that the latter can express what the sea cannot articulate.
Finally, he describes the trees he grew up with as a “mythical beard on the chin of the venerable mountain,” granting them an aura of sanctity and grandeur as if they are part of the very soul of the mountain.
This poetic passage reflects the writer’s philosophical vision of nature, characterized by depth and an understanding of what lies beyond the surface. He perceives meanings and symbols in the simplest aspects of nature, revealing the wisdom hidden within, and bestows upon them an aura of sanctity and profound thought.
This creative poet does not confine himself to the written text; he lives within the very fabric of life. He uses language as a means to revive and embody reality, rather than for mere decoration or embellishment. Any language that does not pulse with genuine life remains simply a decorative language, no matter how beautiful the phrasing or how striking the imagery
Abdulmajid Al-Turki: A Poetic Voice of Our Time
Abdulmajid Al-Turki, a poet of remarkable talent, masterfully captures the nuances of human existence with eloquence and clarity. A true voice of our time, he articulates life’s complexities with a rare poetic finesse. Born in 1976 in Shahara, Ibb Governorate, Al-Turki has been a devoted lover of language and expression, embarking on a long and rich literary journey from a young age.
His professional career began in journalism as a proofreader at Al-Thawra, Yemen’s official newspaper. He later expanded his role as an editor for the cultural supplement of Yemen Today. This hands-on experience in editing and journalism significantly shaped his literary voice, sharpening his ability to blend precision with artistic depth.
Al-Turki’s creative journey took a defining turn with the publication of his debut poetry collection, “Water Confessions” (2004), supported by the Yemeni Ministry of Culture. Undeterred by the challenges of the literary world, he continued his poetic pursuits, releasing two more collections in 2016: “This Is Me”, published by Arwaq Publishing, and “The Book of Dying”, issued by the Egyptian General Book Organization.
His literary contributions reached a new milestone in 2023 with the release of his fourth poetry collection, “I Have Grown So Much, Father”, published by Badr Al-Turki Foundation in Jordan. This diverse and evolving poetic output has cemented his place as a distinguished figure in contemporary Arabic poetry.
Beyond the written word, Al-Turki has actively participated in numerous cultural and poetic forums across the Arab world. From the New Text Forum in Cairo (2010) to prestigious poetry festivals in Syria, Tunisia, Iraq, Lebanon, Iran, and Kuwait, his presence has resonated widely, establishing him as a significant poetic voice on the regional stage.
Through his evocative verse and profound reflections, Abdulmajid Al-Turki has earned well-deserved recognition within literary and intellectual circles in Yemen and the broader Arab world. His poetic legacy underscores the enduring power of literature in expressing the depths of human experience, aspirations, and emotions.
