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"ما حارت الأشياء من حولك، مهما ظننت أن أقدارك ستتجه لمسار لا ترغبه، تذكر أن الله حكيم رحيم يرحمك ويسيّر حياتك للخير والرضا وسيرضيك."

al-aqsa mosque

İstanbul📍

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Crescent moon and star on mosque backdrop

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Elham Rokni, b 1980, born in Iran, lives in Israel.

"I was born in Iran in 1980, just after the Islamic revolution, and grew up in Tehran. My family immigrated to Israel when I was nine years old, knowing we will never be allowed to return to Iran again. During my adolescence, I assimilated into Israeli society, but the experience of migration, transition, and disconnection is still present in my personal life and artistic practice.

In my drawings, paintings, and videos I find myself repeatedly constructing and deconstructing memories, patterns, colors, and shapes that have to do mostly with my childhood from Tehran. Most of my drawing series - such as Wallpapers, Mosque RAL Green Nights, Abbas, Khalili Sisters and Rugs are based on family albums and images found online of places in the Middle East that I cannot reach, as well as generic, orientalist representations of the Islamic and the middle eastern world."

Thoughts on Guy Davenport?

A great essayist, the generalist to rebuke all specialists, whose dizzying associations gradually overlap and braid together until all of humane culture appears as a unity. He was almost the last of that type, after his friend Kenner, or, in a more strictly academic vein, the likes of Frye and Auerbach. But Kenner, Frye, Auerbach—or even Bloom, Steiner, Sontag—all feel much heavier, more armored and therefore crushing in their erudition, while Davenport had the lightest touch. He was a true belletrist, an amateur in the etymological sense, who seemed to be doing it for fun.

I'll give just one example, from the title essay in the soon-to-be reissued collection, The Geography of the Imagination. I quoted part of it here before almost a decade ago, so I assume it's been forgotten by now: a literally extravagant ("from Latin extra- ‘outside' + vagari 'wander'") exegesis of Poe, who stands revealed, by the time Davenport is finished, neither as a panting pulp scribbler nor a dipsomaniacal poète maudit but as an encyclopedist of Joycean proportions, except in miniature:

Poe titled the collection of his stories published that year Tales of the Grotesque and Arabesque. These two adjectives have given critics trouble for years. Grotesque, as Poe found it in the writings of Sir Walter Scott, means something close to Gothic, an adjective designating the Goths and their architecture, and what the neoclassical eighteenth century thought of mediaeval art in general, that it was ugly but grand. It was the fanciful decoration by the Italians of grottoes, or caves, with shells, and statues of ogres and giants from the realm of legend, that gave the word grotesque its meaning of freakish, monstrous, misshapen. Arabesque clearly means the intricate, nonrepresentational, infinitely graceful decorative style of Islam, best known to us through their carpets, the geometric tile-work of their mosques, and their calligraphy. Had Poe wanted to designate the components of his imagination more accurately, his title would have been Tales of the Grotesque, Arabesque, and Classical. For Poe in all his writing divided all his imagery up into these three distinct species. Look back at the pictures on the wall in his ideal room [in the essay “The Philosophy of Furniture”]. In one we have grottoes and a view of the Dismal Swamp: this is the grotesque mode. Then female heads in the manner of Sully: this is the classical mode. The wallpaper against which they hang is Arabesque. In the other room we had a scene of Oriental luxury: the arabesque, a carnival piece beyond compare (Poe means masked and costumed people, at Mardi Gras, as in “The Cask of the Amontillado” and “The Masque of the Red Death.”): the grotesque, and a Greek female head: the classical. A thorough inspection of Poe’s work will disclose that he performs variations and mutations of these three vocabularies of imagery. We can readily recognize those works in which a particular idiom is dominant. The great octosyllabic sonnet “To Helen,” for instance, is classical, “The Fall of the House of Usher” is grotesque, and “Israfel” is arabesque.”

But no work is restricted to one mode; the other two are there also. We all know the beautiful "To Helen," written when he was still a boy:

Helen, thy beauty is to me Like those Nicaean barks of yore, That gently, o'er a perfumed sea, The weary, way-worn wanderer bore To his own native shore.

On desperate seas long wont to roam, Thy hyacinth hair, thy classic face, Thy Naiad airs have brought me home To the glory that was Greece And the grandeur that was Rome.

Lo! in yon brilliant window niche How statue-like I see thee stand, The agate lamp within thy hand! Ah, Psyche, from the regions which Are Holy Land!

The words are as magic as Keats, but what is the sense? Sappho, whom Poe is imitating, had compared a woman's beauty to a fleet of ships. Byron had previously written lines that Poe outbyrons Byron with, in "the glory that was Greece / And the grandeur that was Rome." But how is Helen also Psyche; who is the wanderer coming home? Scholars are not sure. In fact, the poem is not easy to defend against the strictures of critics. We can point out that Nicaean is not, as has been charged, a pretty bit of gibberish, but the adjective for the city of Nice, where a major shipworks was: Marc Antony's fleet was built there. We can defend perfumed sea, which has been called silly, by noting that classical ships never left sight of land, and could smell orchards on shore, that perfumed oil was an extensive industry in classical times and that ships laden with it would smell better than your shipload of sheep. Poe is normally far more exact than he is given credit for.

That window-niche, however, slipped in from Northern Europe; it is Gothic, a slight tone of the grotto in this almost wholly classical poem. And the closing words, "Holy Land," belong to the Levant, to the arabesque.

Now I haven't read Davenport's fiction yet. Word on the street is that the best of it is a pederastic fantasia on themes from Fourier, but I could be wrong.

Ms Marvel episode 3: Spoiler-y Ramble

We got a mendhi and the wedding??? Plus a medley dance scene at the wedding? Yeh mera dil??? That was excellent. I absolutely loved all the wedding festivities. I liked that they included a bit about Aamir's financial situation, which is from the comics. I loved that Sana Amanat cameo'ed at the wedding!

So djinn and tonic huh? Uh the Clandestine/djinn reveal. I'll admit I'm a little disappointed and confused. Why would the show choose this path when Kamala is scheduled to appear on The Marvels? When the MCU is on the cusp of Secret Invasion? There's already been set pictures of her with the Kree. That would have tied together so well with her being an inhuman, or even just a hybrid for now. I also don't know how I feel about Kamala Khan being a djinn??? That's so... strange. It also doesn't fit with the MCU so there doesn't seem to be any reason for the change? I know there is more to the story. But how much more?? It's also really not making sense. Just some vague understanding that the planet may be destroyed if they open a portal? How does this portal fit with the larger MCU? Also why did Nimra Bucha say to remember that Najma means 'star'?

Ok.. onto my favorite part! We have a found a universe where Kamran doesn't betray Kamala at every turn! *squeal* I guess he doesn't have his cool powers but he does have some moves. I'm definitely team KamalaKamran. I'm sorry but Bruno needs to go to Caltech. I need one win on this show and it has to be a desi romance. But also that's all there is with Kamran? No powers and he didn't know about his mother?

Kamran arriving to save us from the white savior trope:

Nakia is a legend as always. I loved her standing up to the FBI. And I screamed when she found out about Kamala's powers. I'm so so so glad it happened so soon. Her wedding outfit was also just so beautiful. I'm so happy about her reaction and that she seemed upset Kamala didn't come to her and tell her. The agents stepping into the mosque with shoes?? Their disrespect towards ALL the Muslims. With all due respect this show does tackle Ismalaphobia but it is not the only thing it tackles and that's what makes it special.

I'm very excited to see Pakistan and what connection Laal Khanjeer has to everything.

Shout-out to Kamala and her wallpaper of Carol:

I've also just realized that N.I.C.E hasn't been formed yet?

For the millionth time I have to reiterate that this show is beautiful and has some of the most accurate representation of South Asian culture and religion that I've ever seen. I think those things make the show AMAZING and that the powers and origin is just secondary.

Edit: this hand is blue?? Like the Kree?

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Cami Duvar Kağıdı - Mosque Wallpaper

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