Scene4-Internal Magazine of Arts and Culture www.scene4.com
The Steiny Road To Operadom | Karren LaLonde Alenier | Scene4 Magazine |  www.scene4.com
Karren LaLonde Alenier

Haji as Puppet: An Orientalist Burlesque

    So what if the proverbial suit-wearing

    snoots rolled their eyes?

    Criticism is dead.

    As if to make his point,

    Haji polls the crowd,

    asking who else could give a shit

    about standards

    in the 21st century?

     

    If such support isn’t enough to trump

    any old school critic who remains in the room,

    consider…

     

    from “Haji as Appropriator of the Islamic Republic”

    in Haji as Puppet: An Orientalist Burlesque by Roger Sedarat

 

 

Much talk happens in literary circles these days about cross-genre work something that Gertrude Stein did without putting a name on it. The Steiny Road Poet says this is partially why readers of Stein have trouble accessing her work—people resist what they can’t label, what they do not have a name for. And there is Stein’s work combining poetry, philosophy, science, history, fiction, theater, nursery rhymes, linguistics, mathematics, etc. in such a way that is chaotic, deceptively simple, and breaching the Fourth Wall to include the reader, just to name a few elements of her craft. She was a standards iconoclast. This is why academics who read and love Stein have jumped her from Modernist to Postmodernist.

 

Sedarat-Pic-16-03-14=cr

 

In Haji as Puppet: An Orientalist Burlesque, Roger Sedarat spotlights such Western writers as Wallace Stevens, Walt
Whitman, Ezra Pound, William Butler Yeats and pulls Emily Dickinson, T. S. Eliot, John Donne, and Henry David Thoreau out of the shadows. Stein is nowhere to be seen but her influence is everywhere present, including unusual repetitions, sound devices, theatrical elements such as breaching the Fourth Wall, heavy emphasis on attaching to the new century, use of nursery rhyme.

 

To approach Haji as Puppet: An Orientalist Burlesque, Steiny provides a definition of burlesque.

From The Free Dictionary:

bur•lesque
 (bər-lĕsk′)
n.
1. A literary or dramatic work that makes fun of something, often by means of outlandish exaggeration.
2. A ludicrous or mocking imitation; a travesty: The antics of the defense attorneys turned the trial into a burlesque of justice.
3. A variety show characterized by broad ribald comedy, dancing, and striptease.

 

[From French, comical, from Italian burlesco, from burla, joke, probably from Spanish,from Vulgar Latin *burrula, diminutive of Late Latin burrae, nonsense, from burra, wool.]

Now, on this book tour of Haji as Puppet, let’s look at the landscape of this jokey book. [Note: skipped pages, except for page 10 which is blank, indicate poems in standard poetic formats.]

    1. (p. 9) Quotes from Omar Khayyam, the Medieval Persian polymath, on the subject of puppets and from Bob Dylan, the iconic American folk singer, mention of a Persian drunkard. [Regular bookish element]

    2. (p. 11) A cast list where all the characters are named Haji. [This is an element for a play script and certainly unusual for a collection of poetry. Probably it should be noted that the first Haji seems to be the author Roger Sedarat.]

    3. (pp. 13 & 14) Outrageous advertisements about a Persian Pinocchio penis extender and a fake Mullah beard. [Possibly a postmodern element that introduces the outside world of commerce intruding on literary terrain. Postmodernism bucks what is acceptable.]

    4. (p.15) An introductory scene-setting instruction. [An experimental play element]

    5. (p.16) The author breaching the Fourth Wall to make a comment to his readership. [This could be either a play or film element. Steiny is thinking filmmaker Woody Allen.]

    6. (pp. 17-23) The first poem. [Regular bookish element]

    7. (p. 30) The author breaching the Fourth Wall to make a 2nd comment to his readership.

    8. (pp. 34-35) “Haji Hic Ups in the 21st Century,” a poem repeating a sound and physical action as a poetic device. [Postmodern poetic experiment using a low-brow device with the high-brow of poetry.]

    9. (pp. 36-38) “Faux Revolution, 2007,” a poem using social media and talking about the process of writing poetry. [Postmodern poetic experiment.]

    10. (p. 39) “When the Mullah Fell Asleep,” a poem that is both printed with typeset letters and handwritten. [Postmodern poetic experiment but the handwritten words which are in English have the appearance of Arabic script.]

    11. (p. 41) The author breaching the Fourth Wall to make a 3rd comment to his readership.

    12. (pp. 42-48) “Haji as Beer Boy,” is a poem in 10 “takes.” [This clearly is the language of filmmaking.]

    13. (pp. 50-57) “Iran as Spectacle (An Orientalist Burlesque)”—this sprawling poem includes five acts, a marquee headline with the name of the musical (IRAN!) featured in this play within a play, and sound-byte reviews that interrupt after the first act and which include historically inappropriate critics like former U.S. president George W. Bush and former Secretary of State Henry Kissinger. [Postmodern experiment with theater and publishing elements.]

    14. (p. 62) “This Little Haji,” is a nursery rhyme retelling. [In the tradition of Gertrude Stein who used nursery rhyme not so much to retell but for musical quality.]

    15. (p. 63) “Haji Defends His (T)ruthful (T)one” is a poem that plays around linguistically, letting the reader know that author thinks certain words are loaded with additional meaning. [Postmodern poetic experiment.]

    16. (p. 73) The author breaching the Fourth Wall to make a 4th comment to his readership.

    17. (p. 76) “Haji Haiku” is the author bowing to the contemporary literary interest in haiku.

    18. (pp. 78-79) “Haji’s Waterboarding” is a very self-conscious mini play where the author both is and is not a central character. The Inspector (torturer) asks in French who is Mr. Sedarat. [Combines play with interview in such a way that the reader is both in and out of the scene.]

    19. (p. 85) ) The author breaching the Fourth Wall to make a 5th comment to his readership. [This comment is, however, different from the others because it uses the omniscient narrator and Haji speaking. The others use the omniscient narrator only.]

    20. (pp. 86-87) “Return to the Circus Animals” is a poem in rhyming couplets. [Like “Haji’s Haiku,” this poem is a nod to what is traditionally known in the poetry world.]
     

Beyond the map of what’s coming and what to expect, Steiny suggests it is helpful to know—if you, Dear Reader, haven’t already figured this out—that Haji as Puppet is poking fun or critical commentary (take your pick) at government and culture both in the United States and in Iran. Will Sedarat have to go underground like Salmon Rushdie? Sedarat addresses this in “Faux Revolution, 2007” where Haji gives a reading in New York City’s Bowery Poetry Club.

 

    “…A poet caught in the performance of his life.

    You think it’s so easy standing up for yourself

    when the repressive regime you’re fighting

    has less blood on its hands than a land proclaiming

    idyllic freedom? Sure, he cried this 4th of July

    as the band played ‘God Bless America.’

    Later, at relative peace with hypocrisy,

    as suburbanites slept in their beds,

    he climbed out of his attic window

    and onto his roof, shouting,

    ‘Death to the dictator!’ and ‘God is great’

    as random fireworks rained overhead.

    Dogs howled. Rows of houselights came on.

    Folks emerged on their lawns in their PJ’s.

    Finally, a heavy-set neighbor

    in wife-beater and boxers yelled,

     

    ‘Hey buddy, you’re in Jersey! It’s a free country.

    Now shut the fuck up and let us get some sleep!’

     

    Here stands Haji, silenced on the stage.

    Nobody even takes his picture,

    the consequence

    of being

    in the wrong place

    at the right time.”

 

By the way, Sedarat nods to Plato wanting to banish poets from “the ideal Republic” (in “Haji as Appropriator of the Islamic Republic”) and how little poets can actually accomplish even if dictators are afraid of what poets say and other poets don’t step up to continue the battle against tyranny. Sedarat also spends a lot of time bashing poets—he’s quite equal opportunity in that respect:

 

    …How ridiculous, the parade of self

    at conferences like AWP, careerism

    of dribble and drabble,

    superficial belle-lettrists

    praise of hollow words,

    devoid of the divine. …

     

    from “Haji as Puppet”

 

 

Perhaps Sedarat’s most important tenets lie in these lines:

 

    …Thus he attempts to replicate

    this reductive spirit of self,

    received reality in the 21st century,

    rewriting Pound’s modernist maxim,

    “Make it new” underpinning most verse

    with an admonition of the tradition

    inherited in his own time:

    Let it be real.

     

    from “Haji’s Blue Guitar”

 

    …He sought to mine “the bone shop of the heart”

    But couldn’t make his own decadent art.

     

    A record of his struggle to be new

    Proved ultimately the best he could do.

     

    From “Return to the Circus Animals”

 

“Haji’s Blue Guitar” refers to the long poem by Wallace Stevens entitled “The Blue Guitar.” Steven’s poem has to do with the perception of reality and the nature of art, performance and imagination. Pound’s motto for writing was to make writing new. Sedarat is preoccupied by the quest to create something new in his writing but he says he fails because the best he can do is record his struggle.

 

The Steiny Road Poet who is merely acting as literary tour guide and not a critic because she is on the team of editors responsible for this intriguing work suggests, Dear Reader, it’s up to you to decide the value Haji as Puppet: An Orientalist Burlesque.

 

2017-HAJI-AS-PUPPET-front-cover

 

The book cover is by Iranian artist Nicky Nodjoumi whose work is in the collections of Metropolitan  Museum of Art, the British Museum in London, Guggenheim Museum of Abu Dhabi, and others.

Send A Letter
To The Editor

Share This Page

View other readers’ comments in Letters to the Editor

Scene4 Magazine — Karren Alenier

Karren LaLonde Alenier's most recent book is The Steiny Road to Operadom: The Making of American Operas.
She is a Senior Writer for Scene4.
Read her Blog.
For her other commentary and articles,
check the Archives.

©2017 Karren LaLonde Alenier
©2017 Publication Scene4 Magazine

 

Scene4 Magazine - Karren Alenier - The Steiny Road To Operadom | www.scene4.comWritings
Index of all of Karren Alenier’s
columns in Scene4
Click Here for Access

 

inFocus and Trending in This Issue

City Spires and Masts

Photo7-ShadowDance-crs-200

Paterson

paterson-2-cr.-200jpg

Postcards from New York

Scene-3-crs-200
Sc4-solo--logo62h

June 2017

Volume 18 Issue 1

SECTIONS:: Cover | This Issue | inView | inFocus | inSight | Perspectives | Special Issues | Blogs COLUMNS:: Bettencourt | Meiselman | Thomas | Jones | Marcott | Walsh | Alenier :::::::::: INFORMATION:: Masthead | Subscribe | Submissions | Recent Issues | Your Support | Links CONNECTIONS:: Contact Us | Contacts&Links | Comments | Advertising | Privacy | Terms | Archives

Search This Issue

|

Search The Archives

|

Share:

Email

fb  


Scene4 (ISSN 1932-3603), published monthly by Scene4 Magazine–International Magazine of Arts and Culture. Copyright © 2000-2017 Aviar-Dka Ltd – Aviar Media Llc. All rights reserved. Now in our 18th year of publication with Worldwide Readership in 127 countries and comprehensive archives of over 11,000 web pages (66,000 print pages).
 

Scientific American - www.scene4.com
Calibre Ebook Management - www.scene4.com
Penguin Books-USA www.scene4.com
Thai Airways at Scene4 Magazine