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class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z" fill="black"></path><path class="in-bookmark-stroke" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z" fill="black"></path></svg></div></a></li></ul></div></div></div><div class="GridItem-buujkM eHLzLy grid--em"><div class="SplScreenContentHearLeadWrapper-jYfGAC kBeEbL"><div data-ttid="ContentHearLeadAsset" class="SplScreenContentHearLeBlock-nUOA cwQiEB"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset SplScreenContentHearLe-bGywFh gyNssY"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SplScreenContentHearLe-bGywFh gyNssY rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w, 960w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/><img alt="Kaveh Akbar" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 SplScreenContentHearGrid-kFpOdh fLkIyA"><div class="GridItem-buujkM kHPPIF grid--em"><div class="CaptnWrapper-jSZdqE iTuhkZ ptn SplScreenContentHearCaptn-iOfEOv ckLUKG"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">Akbar ptur how total, and totalizg, the physily of language n be.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph by Rafael Martínez for The New Yorker</span></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" 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this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="has-dropp has-dropp__lead-standard-headg">When the poet Kaveh Akbar was a young child, his father tght him to rece Mlim prayers Arabic, a language Akbar didn’t unrstand, and which his fay spoke only durg worship. Mimickg those ntatory sounds, he briefly embodied a foreign tongue. He uld hab the lyric bety of the words, he disvered, even whout graspg their meang. Akbar, who was born Iran, arrived the Uned Stat when he was two, a transn that imparted another lson lguistic ga and loss: while he picked up English, Farsi began to fa. In a poem lled “Do You Speak Persian?,” Akbar wr, “I have been so rels wh the words I already have. / / I don’t remember how to say <em>home</em> / my first language, or <em>lonely</em>, or <em>light</em>.”</p><p class="paywall">Poetry requir the oppose of such relsns, and Akbar is exquisely sensive to how language n functn as both prence and absence. In his most recent llectn, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Pilgrim Bell</a>” (Graywolf), words assume physil, palpable form—as reverberatns the mouth and ear—but n jt as easily take on a spectral ra, remdg of worlds and selv no longer wh reach. “The Miracle,” wrten short, parable-like paragraphs, opens wh a story om the life of Muhammad, which the Prophet, then an illerate merchant, is vised by the angel Gabriel, mand to “read,” and given his first revelatn. In Akbar’s retellg, this gift of knowledge isn’t benevolently btowed; ’s thst upon the recipient whout his nsent, the angel “squeezg out the air of prott, the air of doubt, cshg out of his cshable human body.” Language n illumate the world, but n also stroy a self. It may be both good and bad fortune, then, that no grand tth will be elucidated for the poet: “Gabriel isn’t g for you,” Akbar tells himself.</p><p class="paywall">In “the absence of cloud-partg, tmpet-blarg clary,” the poems ask what meang n be found—or ma—through partial revelatn, a world so often fed by misunrstandgs: wh others, wh God, wh ourselv. Sometim the lack of clary is leral. Flip through this book and you’ll notice formal and stylistic strategi that play at the edg of cipherabily. One poem is prted backward, forcg to eher hold up to a mirror or patiently letter by letter. (Farsi is read right to left, a remr that our notn of backwardns is always arbrary.) The six enigmatic poems that share the book’s tle are studd wh perds that keep terptg the speaker midsentence, as though his hurtlg tra of thought required speed bumps.</p><p class="paywall">This illegibily, Akbar’s hands, be a se of creativy. “Readg Farrokhzad a Panmic” begs wh an admissn:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>The tle is a lie;<br/>I n’t read Farsi.</p><p>ما هر چه را که باید از دست داده باشیم از دست داده ایم</p><p>I n make out:</p><p>“we lose,<br/>we lose.”</p><p>I type to a translatn app:<br/>“we have lost everythg we need to lose.”</p><p>In between what I read and what is wrten:<br/>“need,” “everythg.”</p></div></blockquote><p class="paywall">Akbar’s wrg, like his haltg translatn, pends on rourcefulns, a surrenr to a given set of materials, even those which elu unrstandg. The words he assembl are like so many puzzle piec, and meang is created even when they don’t f.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">In Akbar’s poetry, what the md stras to terpret the body often feels viscerally. “Pilgrim Bell” is strewn wh throats, lungs, teeth, clavicl. In Akbar’s first full-length llectn, “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Callg a Wolf a Wolf</a>,” om 2017, about stgglg wh dg and alhol addictn, he wr, “every step I’ve taken / has been om one tongue to another,” a nonsensil llisn of body parts—feet and mouths—that ptur jt how total, and totalizg, the physily of language n be. “Wolf” overflows wh pulsive speech, a enzy that replac, or reliv, the mania of toxitn. The rear mov through the narrator’s sensorium like a pball, richetg between strange visns and exuberant riffs:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p> I need to be broken like an unly mtang<br/>like bten sk supposedly people hymned before nam their mouths<br/>were zero ltle pleasure portals for takg grape<br/>leav cloudberri the fgers of lovers today words fly<br/> all directns</p></div></blockquote><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">And yet alongsi this wordplay we sense that Akbar’s ncern wh language is adly ser: to speak is to survive.</p><p class="paywall">In “Pilgrim Bell,” clstrophobic monologu open up, makg room for other sympathetic characters. “Reza’s Rtrant, Chigo, 1997” revolv around a joke Akbar’s father told him as a child about how to differentiate Persians om Arabs and whe people: “<em>we’re jt uglier</em>,” the punch le go. This is a lson yet another type of legibily, the kd wrten on the human face. It isn’t, at first, a fortable lson: for an eight-year-old, ’s a recipe for self-nscns. Still, this poem is also full of sensual texture and nostalgic pleasure. Akbar’s father’s se is “a warm nt / of lip”; his voice, “the first sound I ever heard.” If the ght qutn of bety wh muni of lor n sometim spire generic lls for self-teem, a rrective to society’s otherg gaze, this tongue--cheek o to “ugls” offers somethg possibly eper: a sense of self that is tly sensory.</p><p class="paywall">Jt as pa and pleasure vie Akbar’s search for inty wh his fay, so, too, do they shape his reckong wh divy. Like another transcenntally cled chronicler of addictn, the late poet Franz Wright, Akbar suggts that pa’s tensy thsts to the sublime—or, at least, replac God’s untouchabily wh somethg that we n feel our flh. In “V,” Akbar’s scriptn of a dive enunter echo John Donne: where Donne implor the Lord to “batter” and “ravish” him, Akbar imag that God has “bricked up my mouthhole.” Elsewhere, he speculat that fah, rather than origatg the unknown, “pass first through the body / like an arrow.”</p><p class="paywall">When dive wisdom is vlently imposed, the poet rponds by fg his own knowledge. “I live a great mosque,” he wr,</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>Built on top of a flagpole.<br/>Whatever happens happens.<br/>Loudly. All day I hammer the distance.<br/>Between earth and me.<br/>Into fah.</p></div></blockquote><p class="paywall">What he hammers and builds—this book—is betiful, but isn’t always durable, or endurable. He laments that his “savr” is often a “no-ll no-show. Cur menace.” In “My Empire,” he tilly observ, “The prophets me to participate sufferg / as if to an amement park, which mak / our sufferg the ma attractn.”</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">The qutn of who suffers and who watch is evably a polil one. “Pilgrim Bell” builds up to “The Palace,” the longt poem the book, and s most explic take on power Ameri. Here the sgular imag that distguish many of Akbar’s poems ocsnally give way to more predictable symbols: “There are no doors Ameri. / Only kg-sized hol.” Ined, Akbar himself seems aware of this rivativens. “It is absurd to say anythg now / (much ls anythg new),” he wr. But his practice of takg language apart, and harnsg the empty space around , mak even the most faiar words seem eerie and unexpected. Beneath the hyperbole of polics, Akbar unvers a simpler, awkward humany. His disveri may not always be “new,” and may not always feel right, but they’re the tth:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>Mistypg an email I wre,<br/>I lose you so much today,</p><p>then leave . ♦</p></div></blockquote><le-embed name="" attrs="[object Object]" childTyp="" ntentType="llout:"><hr class="paywall"/><h2 class="paywall">New Yorker Favor</h2><ul class="paywall"><li>The <a href=">day the dosrs died</a>.</li><li>What if you uld <a href=">do all over</a>?</li><li>A spense novelist leav a <a href=">trail of ceptns</a>.</li><li>The <a href=">art of dyg</a>.</li><li>Can <a href=">readg make you happier</a>?</li><li>A simple gui to <a href=">tote-bag etiquette</a>.</li><li>Sign up for our daily <a href=">newsletter</a> to receive the bt stori om <em>The New Yorker</em>.</li></ul></le-embed></div></div></div><div class="GridItem-buujkM fVLMby grid--em 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rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Novelist Whose Inventns Went Too Far" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Life and Letters</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">The Novelist Whose Inventns Went Too Far</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">After the Ao-Cuban wrer H. G. Carrillo died, his hband learned that almost everythg the wrer had shared about his life was ma up—cludg his Cuban inty.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>D. T. Max</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="On Killg Charl Dickens" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Life and Letters</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">On Killg Charl Dickens</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">I did everythg I uld to avoid wrg my historil novel. When I fally started “The Frd,” one prciple was clear: no Dickens.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Zadie Smh</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="How the War Ukrae Ends" 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