{"id":169150,"date":"2024-11-08T10:00:43","date_gmt":"2024-11-08T15:00:43","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=169150"},"modified":"2024-11-22T13:16:57","modified_gmt":"2024-11-22T18:16:57","slug":"ibrahim-blk-wttgnsn","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2024\/11\/08\/ibrahim-blk-wttgnsn\/","title":{"rendered":"On Mohammed Zenia Siddiq Yusef Ibrahim\u2019s <em>BLK WTTGNSN<\/em>"},"content":{"rendered":"<div id=\"attachment_169173\" style=\"width: 760px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-169173\" class=\"size-full wp-image-169173\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/11\/otis.png\" alt=\"\" width=\"750\" height=\"1000\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/11\/otis.png 750w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/11\/otis-225x300.png 225w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><p id=\"caption-attachment-169173\" class=\"wp-caption-text\">Otis Houston Jr., <em><a href=\"https:\/\/www.theparisreview.org\/art-photography\/7935\/untitled-cellphone-photograph-otis-houston-jr\">Untitled Cellphone Photograph<\/a><\/em> (2022), from issue no. 240 of <em>The Paris Review<\/em>. Courtesy of Gordon Robichaux, New York.<\/p><\/div>\n<p>I love density. Compression is nuclear. <em>Big family, small house\u2014no room<\/em> (Jeezy). <em>Used to act up when I went to school\u2014thought it was cool, but I really was hurt<\/em> (Meek Mill). <em>Free Gaza, we on the corner like Israelites<\/em> (Earl Sweatshirt). <em>It\u2019s opaque \/ and then it is violent <\/em>(Ibrahim, \u201cWittgenstein Tried to Warn Us About Lions\u201d). Poetry is a drama of gaps and leaps but also of gather and charge. One can\u2019t be too precious about it.<\/p>\n<p><a href=\"https:\/\/www.tigerbarkpress.com\/catalog\/p\/ibrahim\"><em>BLK WTTGNSN<\/em><\/a>, Mohammed Zenia Siddiq Yusef Ibrahim\u2019s forthcoming collection from Tiger Bark Press, is density itself, a kind of reconstructed surrealist epic of black critique that overwhelms with its range and slices with its imagination. Ibrahim\u2019s work has refreshingly little to do with the platitudinous, overly carved (to use my friend S.\u2019s phrase) contemporary poem that sometimes goes viral when bad things happen and people want to confirm their confusion or mystify their position. This book is bold, serious, and so funny, even when it flows like blood and smoke.<\/p>\n<p><!--more--><\/p>\n<p>The collection, described in its first part as an \u201cinvestigation,\u201d moves through the Austrian analytic philosopher Ludwig Wittgenstein\u2019s claim that the \u201csense of the world must lie outside the world\u201d and confirms something of its jagged fractiousness only to leap past it in invention. From a para-Socratic dialogue in which the disesteemed rapper and popular podcast host Joe Budden is compared to General George Patton to an encounter between the fictional meth lord Walter White and Wittgenstein, these poems are driven by an immersion in damaged life and the martial, mass-industrial emanations of its pop cultures.<\/p>\n<p>But Ibrahim\u2019s critical operation leverages collision over incision. In the book\u2019s restless, referential form, I feel the pulse of the internet, but also the geopolitical sprawl of violence within which the poems are always multiply located. That\u2019s how we end up with lines that seem tossed up from a weird weed dream (\u201cMy nigga, you\u2019re in a mental hospital because of Ludwig Wittgenstein?\u201d), passages of strange, ornate beauty (\u201cscience teachers from the \/ \u201950s who blow their brains out in a rust \/ sky desert just to spite the automatic \/ cathedrals of an atomic moon\u201d), and an anecdote about a pair of Lithuanian concentration camp inmates whose mutual hatred precedes and exceeds their incarceration.<\/p>\n<p>\u201cThe ridiculous and \/ messy; the slow drip into \/ The other,\u201d Ibrahim writes. And he\u2019s right. That\u2019s how we\u2019re living these days\u2014we should read about it so we can think about it.<\/p>\n<p>&nbsp;<\/p>\n<p><em>Benjamin Krusling is a writer and an artist. They are the author of the collection\u00a0<\/em>Glaring\u00a0<em>and the chapbook\u00a0<\/em>It got so dark. <em>Their poem \u201c<a href=\"https:\/\/www.theparisreview.org\/poetry\/8321\/pray-for-paris-benjamin-krusling\">pray for paris<\/a>\u201d appears in the new Fall issue of<\/em> The Paris Review<em>, no. 249.\u00a0<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cA kind of reconstructed surrealist epic of black critique that overwhelms with its range and slices with its imagination.\u201d<\/p>\n","protected":false},"author":2543,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[68386],"tags":[24555,67827,68800],"class_list":["post-169150","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-about-poetry","tag-featured","tag-issue-249"],"acf":[],"yoast_head":"<!-- This site is optimized with 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