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Analysis Of Mahmoud Darwish's Memory For Forgetfulness

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In 1948, Mahmoud Darwish was six years old when his interrupted childhood brutally confronted exile. Thousands of Palestinians were forced to exile due to the systematic occupation by the Israelis. For Darwish, severance from the homeland gave birth to his poetry, and commenced a love affair with location and dislocation. Throughout Mahmoud Darwish 's poetics is the linkage of individuals or occupied entities to the ideal of a universal struggle for freedom and liberty from oppression, and a link to the beauty of life and language through the creative process, thus affirming Wellek and Warren 's notion that: "the work of literature is an aesthetic object, capable of arousing aesthetic experience." (1984: 241). And it was Darwish 's creative work and precise language that transcended his experience not only as a Palestinian writer, but also as a writer who aroused the universal, while managing the aesthetic transmission of the oppressive side of the human condition under occupation. In his prosaic memoir, Memory for Forgetfulness, Darwish writes in hauntingly surrealist manner: "He 's looking for a pair of eyes, for a shared silence or reciprocal talk. He 's looking for some kind of participation in this death, for a witness who can give evidence, for a gravestone over a corpse, for the bearer of news about the fall of a horse, for a language of speech and silence, and for less boring wait for certain death. For what this steel and these iron beasts are

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