Synopsis
Dear God, Dear Bones, Dear Yellow
I was drawn to this anthology after reading Hindi’s most viral work titled “Fuck Your Lecture on Craft, My People Are Dying,” which is an active rejection of poetry’s relationship to privilege in literature. In this collection, the speaker explores her experiences as a queer Muslim, being away from her family in Jordan, and how cultural taboos translate across nationalities. Her work falls under the category of political poetry, grappling with sensationalist portrayals of violence as entertainment for Western audiences. Ultimately, this book is about the intersection between mixed identities and how traumatic experiences can be a tool for art, activism, and ultimately, making peace.
Review
While it was refreshing to hear from a Palestinian American poet, I had some issues with the author’s form. There is something so deeply personal about these pieces, but the flow felt rather stilted, making it difficult to fully connect with. As for the structural elements, some poems were formatted as paragraphs, while others followed traditional form, but these choices didn’t feel intentional. This collection veered heavily into politics, which is important and a valuable reflection of the speaker’s lived experiences, but it was ideological to the point that I think Hindi’s skills were overshadowed. Her style is charged and confrontational, which is appropriate for the topics she addresses but can be alienating to readers. The highlight for me was her tender memories of her grandmother, which offered a valuable contrast between two cultures that are often at odds. I think Hindi is onto something. She is intensely vulnerable and approaches very relevant topics with an unconventional perspective, but has a lot of room to grow.