Selections from the Poetry of the Afghans

Selections from the Poetry of the Afghans(1867) by MAJOR RAVERTY
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"Selections from the poetry of the Afghans ()" by Henry George Raverty

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Selections from the Poetry of the Afghans is a collection of Sufi poems. Seller Inventory APC Published by Win-Art-Books About this Item: Win-Art-Books, Condition: Very Good. No dj. We have 1. Seller Inventory mon Published by Nobel Press About this Item: Nobel Press, Selections from the poetry of the Afghans from the sixteenth to the nineteenth century.

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Pashto Best Poetry --Afsar ul Mulk Afghan--with Ghazi Nadan.23.12.2018

Raverty, is a replication of a book originally published before It has been restored by human beings, page by page, so that you may enjoy it in a form as close to the original as possible. This book was created using print-on-demand technology. Thank you for supporting classic literature. Seller Inventory AAV Neuware - A Grammar of the Pukhto, Pushto - Language of the Afghans is an unchanged, high-quality reprint of the original edition of Hans Elektronisches Buch is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres.

Selections from the poetry of the Afghans

Selections from the poetry of the Afghans: from the sixteenth to the nineteenth century. by: Raverty, H. G. (Henry George), Selections from the Poetry of the Afghans, by H.G. Raverty, [], full text etext at elexanonde.ml

Hans Elektronisches Buch newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future. Published by Hansebooks, United States About this Item: Hansebooks, United States, Nachdruck der Ausgabe von We did receive writings about experiences in the refugee camps of Pakistan from writers who had rebuilt their lives in the United States or in European countries. Reaching directly into the camps is a long-term project that may require its own space and analysis.

Basically the collection is divided according to the historic periods of crisis in Afghanistan and in the lives of Afghans. We have a few selections of pre-war Afghan life to give a very necessary slice of Afghanistan before the devastation of wars. Then we have writings during the Soviet invasion and the flight from Afghanistan to neighboring countries.

We have writings about life inside the refugee camps. Then we have writings about Afghans assimilating into their adopted lands. Our final chapter is devoted to the experiences of Afghans around the world after September We have found that many Afghan exiles write from a child's voice and preserve their last memories of Afghanistan because it is usually their most valued concrete link to the country.

We plan to include more oral histories as well in order to capture the lives of those who cannot read and write in English. This way we hope to create an intergenerational conversation among Afghans in the diaspora. Given the political situation in Afghanistan over the past twenty years, what types of literature, if any, are coming out of the country?

How do you think this will change now that the Taliban are not in power? Most of the literature is by Afghan exiles simply because they can afford time to write their ideas, have a press which will publish their work, and have the resources for such luxuries as paper and pen or a computer.

CNN conducted an interview with newspaper publishers in Kabul and their main problem was the damage done to their press during the war, the lack of ink and the lack of paper.

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These are necessities that weren't available in Afghanistan during the past five years and what was available was used for Taliban propaganda. Libraries were burnt down by the Taliban, so even reading material was destroyed. Also, hunger and poverty are two great deterrents to writing or any intellectual work. Surviving war has damaged the psychological well-being of writers and intellectuals.

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In the struggle to survive, they aren't able to compose poems or stories about their situation. Also the regime was so oppressive that there was no room for creativity under the Taliban, so Afghan literature in recent years is mainly a diaspora literature. Obviously, [living under the Taliban] has been a deep trauma that will be documented and written about in order to aid the process of healing. Perhaps more women will be writing and we can hear their lives in their words.

But this can't be done until there is stability in the region and there is democracy to allow self-expression. In this same CNN interview about Afghanistan's newspapers, an Afghan journalist said that for the past five years he had been documenting with his eyes and now he would be able to write it down and express all that he had seen. Afghanistan's literature will undoubtedly be deeply imprinted by the war and the various layers of oppressive regimes that have trampled the Afghan people and Afghan culture.

You mentioned that the Afghan diaspora in the US and elsewhere has played a crucial role in forming an Afghan literary identity.

How has the experience of living in the diaspora influenced Afghan literature? Afghan diaspora writers feel a strong attachment to Afghanistan, so much so that even Afghan American writing is more inclined towards Afghanistan than it is to dealing with immigrant issues. We have watched not only the destruction of the civil infrastructure of Afghanistan but the looting of our museums, burning of our libraries and the annihilation of our Buddhas.

We have seen several layers of extremism attempt to wipe out not only Afghan people but Afghan culture so that it would seem as if Afghan culture never existed or perhaps that Afghan culture would become extinct to make room for new regimes and ideals.

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So Afghan artists are more inclined towards preservation and recreation. While redefinition is a major part of our creativity as well, the call to preserve, to record, to reconstruct is a very strong inclination in Afghan artists and writers. Memory is precious for Afghans. Before September 11, most Americans had never even considered the existence of an Afghan-American community.

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Unfortunately, hate crimes have made the community more visible. How do you think the community has responded to this new visibility? The American Afghan community has been deeply affected by the September 11 tragedy. As a community of refugees, we came to America to escape this kind of violence and fear. Certainly Afghans became targets for violence. When I visited the community in Queens, the streets were empty of veiled women and I saw a young mother hush her children for speaking Dari, choosing instead to speak English with them in [public].

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For the first time, mainstream American people became aware of Afghans and Afghan Americans. Several Afghan websites were targeted with hateful threats and some even shut down from fear. I heard that some people were attacked for being Afghan. In an elementary school, a little Arab boy was beaten up for being misrecognized as "Afghan.

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We have remained relatively invisible and that anonymity has not always been a negative thing, particularly for our parents, who came as refugees and who were more interested in blending in than standing out. This was different from the attitude of the children of refugees who wanted to identify with an ethnic group, but weren't entirely sure of where to fit in: Asian, Middle Eastern, South Asian, Central Asian?