Interview by Margaret Obank*
Sargon Boulus has the rare experience of being an Iraqi poet who has been part of the American poetry since the late sixties. Today he is passing this on to the new generation of young Arab poets through his poetry.
He is one of the most important Arab poets today. He started publishing poetry and short stories contributing to Shi’r magazine of Yousef Al-Khal and Adonis in Beirut. When he went to the US, he was ‘lost’ the Arab world until he re-emerged in the mid-80s with his Arrival in Where-City collection of poems.
His poems and translations have appeared in numerous Arab magazines and newspapers, and he published four collections of poetry. Now in his early fifties, Sargon seems still to have all the energy and vibrant imagination of his youthful days in Iraq and Beirut.
Besides writing poems and short stories, Sargon is well known as an accomplished translator into English and American poets such as Ezra Pound, W. H. Auden (he is soon to publish a complete an his translations of Auden together with extensive notes and an introduction on Auden’s life), W. S Shakespeare, Shelley, William Carlos Williams, Allen Ginsberg, Sylvia Plath, Robert Duncan, John Robert Bly, Anne Sexton, John Logan, and many other poets including Rilke, Neruda, Vasko Popa and Ho Chi Min.
Since the mid-80s, he has been on the move between San Francisco, Paris, London and Cologne a last year has lived in Schoppingen artists’ village in Germany, where I visited him last September. We spent a day under the Sh?ppingen sky, eating, drinking and talking about his life, his childhood, his views on poetic form and his endless experiments with the Arabic language.
I keep going back and forth into the past. The discovery which comes usually late is that most of the material that has made you and still works on you, even today, lies somewhere there, mostly in childhood, so that, in a way, I think that whatever happened to you in childhood, your circumstances, the place you lived in, the time, the happenings, these shape you up, especially if you are a poet, if you are a writer, and later on you would come back to this material and discover that that is your real capital. So I keep going, as I said, in these late poems back into that time, to shape them up anew, see them in a new way, kind of bracket in the perspective, tighten it and bring out the deepest possible meaning in those scenes and happenings and family background.