My dear friend and the stellar artist Laimah Osman and I collaborated for a show at Hampshire College Art Gallery called Of Soil and Tongues. The exhibit brings together 3 alums, including Miatta Kawinzi and lê thi diem thúy, to consider poetry in three-dimensional space--as a heard, performed, read, graphic, and embodied medium. It's curated by Amy Halliday and Jocelyn Edens and runs from June 1 to October 1, 2017. Laimah and I created two series of monotypes based on two of my poems.
These charged, elliptical poems make space for the unknown and unknowable, even as they vividly summon the tangible
body of the world. Shot through with sudden glimpses of violence and beauty, Sahar Muradi’s poems refuse us comfort
or closure. They offer only what is—yet, paradoxically, haunt us with the sense that we’re standing on holy ground.
—Joan Larkin, author of MY BODY: NEW AND SELECTED POEMS
There is an unfettered, inviting, and wryly unconventional voice at work in [ G A T E S ], one capable of making the necessarily
enigmatic turns scale demands when distances known and felt on numerous levels have to be closed in on. These poems
animate and search through multiple lived-in centers that are real and imagined simultaneously, always open, and always irreducible.
—Anselm Berrigan, author of PRIMITIVE STATE and NOTES FROM IRRELEVANCE
Sahar Muradi makes sense of the fragments of memory, the broken buildings of Kabul, Mazar, and Panjsher, the innocence of
childhood punctured by journey, a father’s illness, losing a language, and the politics of a war uninvited. Muradi beckons you, asks
how you “authored poorer nations with the hope of freeing / others. The architects of what’s left.” Indeed the political act of poetry
in this fierce collection is a pained beauty that does not look away as it rebuilds the human starting with the heart.
—Rajiv Mohabir, author of THE COWHERD'S SON and THE TAXIDERMIST'S CUT