Hernow

By Shehu, Fahredin

Book Id: WPLBN0100301774
Format Type: PDF eBook:
File Size: 0.6 MB
Reproduction Date: 02/12/2018

Title:	Hernow
Author:	Shehu, Fahredin
Volume:	Volume I
Language:	English
Subject:	Non Fiction, General Works (Periodicals, Series, idexes, Almanacs, etc.), Transcendental
Collections:	Poetry, Authors Community, Education
Historic Publication Date:	2018
Publisher:	Inner Child Press International LTD

Member Page:	Fahredin Shehu
Citation APA MLA Chicago Shehu, B. F. (2018). Hernow. Retrieved from http://www.gutenberg.cc/

Description
Stop worshipping Time, as Time is God no more. Distant Earths rotate, but for you there is no East or West. To be Here, to be Now, to bark like a dog, to be sonorous like the sky. There you find yourself resembling nobody and name your self Fahredin Shehu. The last angel of love on earth, or trying to be one. Prof. Keijiro Suga Meiji University, TOKYO "Some poetry collections work on the emotions, some work on the intellect – HereNow works on all levels to beguile. These are poems that are deeply felt with something spiritual infusing them all. Spiritual not religious, though the poems often find a wellspring in Sufi approaches to Islam which underlines the journeys made, the reaching out from the personal, the familial to the universal. There is an immediacy here; poems are sensual with smell, taste, sound, touch taking you to the heart of being there. There are also fierce and angry poems that rail at injustice and offer love instead. One poem, Toward Hope, might well have been the title of the collection – “Say a word, oh poet/ the word as rocket to hit/ the hearts made of stone”. HereNow is such a rocket." Dr Patrick Lodge Ireand/ Walles When a writing by a non-English native author is of the caliber that is exceptional in its exquisite versatility, an editor faces a challenging task: To maintain the integrity of textual complexity while situating the mechanical aspects of language into the authentic authorial voice. Fahredin Shehu is a courageously visionary writer of passionate dedication to any subject of universal relevance he takes upon himself. He is acutely aware of and knowledgeable in lyrical symbolism, the Islamic as well as Christian spiritual and mythological traditions, and linguistic heritages. Shehu does, however, not merely display his keen awareness and knowledge through his written art when his individual poetic objects are concerned but rather enriches the long-established perimeters of poetry as a genre at large. Where, when and to what extent, then, does an editor join in? Fahredin Shehu is a writer who does not shy away from adopting a modernist approach for his lyrical compositions. Regardless of the name or the fame of an author, such tendency is too often misunderstood. The lack of punctuation, capitalization, a missing rhyme scheme, etc. but also the use of non-Western referents in any given verse are largely viewed by those in the field as “a mistake”. HERENOW displays a considerable number of poems in which the author does not allow such potential critique to standardize his writings. He does not deviate from his creativity. In fact, he is masterfully attuned to it. In sum: He eloquently and confidently assumes poetic license. It may be safely argued though that poetic license should not obscure important content. The entire work of a writer who is not a native of an English language-environment can easily be mistaken as being flawed, if that work’s content is not adjusted to fit into the broad context of the philological target. And, it is herein where the editor’s work comes in. HERENOW, thus, has only been subjected to minor changes in language use and to selected application of the traditional form in order to represent itself for what it originally was: An outstanding literary creation. hülya n. yılmaz, Ph.D. Liberal Arts Professor, retired from Penn State Director of Editing Services and Co-Chair, Inner Child Press International When a writing by a non-English native author is of the caliber that is exceptional in its exquisite versatility, an editor faces a challenging task: To maintain the integrity of textual complexity while situating the mechanical aspects of language into the authentic authorial voice. Fahredin Shehu is a courageously visionary writer of passionate dedication to any subject of universal relevance he takes upon himself. He is acutely aware of and knowledgeable in lyrical symbolism, the Islamic as well as Christian spiritual and mythological traditions, and linguistic heritages. Shehu does, however, not merely display his keen awareness and knowledge through his written art when his individual poetic objects are concerned but rather enriches the long-established perimeters of poetry as a genre at large. Where, when and to what extent, then, does an editor join in? Fahredin Shehu is a writer who does not shy away from adopting a modernist approach for his lyrical compositions. Regardless of the name or the fame of an author, such tendency is too often misunderstood. The lack of punctuation, capitalization, a missing rhyme scheme, etc. but also the use of non-Western referents in any given verse are largely viewed by those in the field as “a mistake”. HERENOW displays a considerable number of poems in which the author does not allow such potential critique to standardize his writings. He does not deviate from his creativity. In fact, he is masterfully attuned to it. In sum: He eloquently and confidently assumes poetic license. It may be safely argued though that poetic license should not obscure important content. The entire work of a writer who is not a native of an English language-environment can easily be mistaken as being flawed, if that work’s content is not adjusted to fit into the broad context of the philological target. And, it is herein where the editor’s work comes in. HERENOW, thus, has only been subjected to minor changes in language use and to selected application of the traditional form in order to represent itself for what it originally was: An outstanding literary creation. hülya n. yılmaz, Ph.D. Liberal Arts Professor, retired from Penn State Director of Editing Services and Co-Chair, Inner Child Press International Stop worshipping Time, as Time is God no more. Distant Earths rotate, but for you there is no East or West. To be Here, to be Now, to bark like a dog, to be sonorous like the sky. There you find yourself resembling nobody and name your self Fahredin Shehu. The last angel of love on earth, or trying to be one. Prof. Keijiro Suga Meiji University, TOKYO In Fahredin Shehu´s poetry I find a rare combination of passion and compassion. He is a learned poet who knows that true creativity in art is to know the traditions – his own first, and then the other important traditions –. Then the creative poet is adding something new into the traditions, something which was not there before his poem was created. This is how I met the Kosovar poet Fahredin Shehu both as a person who became my friend, and his poetry which has developed into something very important during the last years. Empathy is a word which I like to use when describing his poetry. Here we will find a closeness to earth, body, we find not just sensibility but also wonderful expressions of man´s lust. This is all combined with an awareness of the sacred. He is learned in symbolism and mythology, both from the Islamic and Christian traditions, but also from the rich folklore of his native part of Europe and wider. He can be direct, he can be overwhelming, but first and foremost he expresses a sincere belief in poetry as a power to heal the wounded souls and show us something more important than greed and wealth. We read about East and West, here are also the North an the South. But the poet knows that whatever and wherever this is on our small planet Tell us, people are very much alike – seen from the perspective of the Universe. There is happiness and hope in these poems written by a poet from a small country where the people have been suffering for decades by wars and suppression. Dr. Knut Ødegård Norway

Summary
Sonoric Cures There were sonoric cures we used to call “the medicines for the body and the soul. A kind of Silly Apocrypha, considered by some sages and well-preserved by Sufis of this region. Perhaps, they were handed down from the Chaldean heritage. God knows. It was war-time in Kosovo. We were accustomed with the acoustic contamination from the fighter-jets. I was reading Atma Puja Upanisadas by Osho; the craziest book for the most absurd times in order to escape madness. I wanted to be a cat for the first time in my life, since I could not walk around freely while cats were copulating by the wall of my aunt where I took refuge. Alicia Bernal was constantly calling me from The Philippines to migrate there. She wanted to rescue an artist. About 17 months passed after the time when Alicia got out of her bathtub, her left foot slipped on the shiny porcelain floor, and she hit her head, spilling blood all around her. She whispered, “Kyrie Eleyson”. The kind of death I have been longing to face for ages! What a loss for people from all continents whom she embraced for years! She was planning my flight for Christmas this year. A few years after she sent me a Gold Medal for Poetry as the Bridge to Nations. My happiness had reached the clouds upon hearing her intent. Reason and Woman always comprised my Goddess. She was my trinity. Fahredin Shehu

Excerpt
Sonoric cures, No-Place, The Dark Wind of the Universe, A Return Encumbrance Beyond the Calendar-Fast When the Night Arrives . . . A Turquoise Ink for Spiritual Letters Amid the Urban Desert

Table of Contents
Table of Contents Preface Foreword The Abyss of a Surface Down to the Garden The Pilgrims of Love’s Temple Slides from the Past Who Was Crazy, and, Who Was Stupid? Sobriety Beneath the Icy Desert While You Meander on the Grey Side of Shade A Gentle Mortification Layers of Fog The Bees of Aleppo Let There Be Word! Moments of Bliss We Knew Not the Separation Toward Hope If I could, . . . Two Measures for a Single Soul The Bride The Gift My Time, Their Burden vii Table of Contents . . . continued No-Place The Dark Wind of the Universe A Return Encumbrance Beyond the Calendar-Fast When the Night Arrives . . . A Turquoise Ink for Spiritual Letters Amid the Urban Desert Faces from No-Land That Strange Something . . . The Turret My Borough The Abyss of a Surface The Coffin of a Female Corpse Uncle My Fateful White Maltese My Father A Love-Path to Immortality An Emerald Dane I . . . HE . . . Who Is Busy with Love Listen, O Life! Faces from No-Place viii Table of Contents . . . continued The Weight of Pain I. II. III. IV. V. VI. VII. VIII. IX. X. XI. Innocent Acts of Consciousness So Be It! After the Flood A Years-Collector My Grandmother I Fear Not! The Blooming Acacia The Mirror Come on! A Drop of Happiness On Sound, Secrets, Love and Travesty A Love-Song That Wine . . . ix Table of Contents . . . continued Epilogue About the Author Contributions to Anthologies, Yearbooks & Journals What Others Are Saying . . . A Few Words from the Publisher