This is the first anthology of contemporary Burmese poets published in the United States and it includes the work of Burmese poets who have been in exile and in prison. The poems include global references from a culture in which foreign books and the Internet are regarded with suspicion and where censorship is an industry. The poets have been ingenious in their use of metaphor to escape surveillance and censorship, writing post-modern, avant-garde, performance, and online poetries. The anthology reveals the transition of Burmese poetry from traditionalism to modernism, as well as the development of Burmese poetry over the second half of the twentieth century, as Myanmar has changed. Through their wildly diverse styles, these poems delight in the freedom to experiment with poetic tradition.
Ko ko thett’s poems — described by John Ashbery as “brilliantly off-kilter” — bring oddball lists, linguistic inventiveness, and sardonic humor to the brutal contradictions of life and history in and outside of his native Burma. In some poems he muses on chairs or metaphors or potatoes, while elsewhere, and often with the same, dispassionate tone, he turns his gaze on a strangulating bureaucracy or the horrific treatment of prisoners. Thett writes in Burmese and in English. In this second volume to appear in English, most are English originals but thirteen will be presented bilingually on facing pages.
Beatrice Minda examines private interiors in the context of historical events in her work. In Myanmar, which was isolated for decades by a rigid military dictatorship, she photographed houses and living spaces in both cities and remote regions. She captured the traces of the inhabitants lives and the signs of change. In Dark Whispers the ambivalent aspects of the British colonial period and its consequences are reflected and illuminated by texts on the history of the houses as well as historical photographs and are complemented by a sensitive text by Burmese poet Ko Ko Thett. Mindas photographs focus on the atmospheres of past lives and the forms of representation with which the inhabitants once sought to fulfill themselves. Often they are objects that have remained untouched for decades and bear witness to the cosmos of a vanished world. But there are also large gaps between then and now. An uncanny emptiness animates these spaces. Dark whispers echo through them-a memento mori to the many unspoken words of Burmese history.
