Dr. Ali Mohammed Yaseen / College of Islamic Sciences, Department of Arabic Language
Far from the flamboyant spectacle and empty applause sought by some self-proclaimed intellectuals and writers during the era of Baathist rule—known for its attempts to buy consciences and souls—the renowned poet of Karbala, Mohammed Ali Al-Khafaji, displayed a profound sense of the humane essence of culture and its ethical dimensions.
Al-Khafaji, deeply tied to the spirit and birthplace of Karbala, renounced the positions, wealth, fame, and prestige that his creativity could have brought him. He distanced himself from festivals and their media clamor, choosing instead a self-imposed exile and enduring alienation from a cultural and social reality that, in his view, bore no connection to human values or the true essence of creativity.
Although Al-Khafaji is culturally and poetically affiliated with the literary generation of the 1960s—publishing his first poetry collection, Youth and Mirage, at the start of that decade, followed by A Dowry for Her Eyes mid-decade, and his third collection, If Napalm Could Speak, after the 1967 Naksa (Setback)—his deliberate estrangement from Baathist media machinery left him largely overlooked when categorizing poetic and creative generations. His name is rarely mentioned among the 1960s generation, despite his active contribution to its works and events, underscoring the consequences of his principled estrangement.
Al-Khafaji drew his creative works from personal experiences and an acute awareness of places and moments, employing a language rich in metaphor and contextually charged with tension or conciseness. Yet his works always retained their poetic essence, presenting a distinct Karbala-born perspective on Imam Hussain’s revolution—a civilized viewpoint transcending the conventional narrative of lamentation and sorrow. Through this lens, he achieved significant recognition at cultural festivals and conferences, earning numerous literary awards. His play Hussain Comes Again won the Arab League Prize and had earlier secured the Iraqi Theatre Award in the 1960s. His play Abu Dharr Ascends the Ladder of Rejection received the UNESCO Prize in 1980 and was included in secondary school curricula in parts of North Africa. His poetic play And Sheherazade Saw the Dawn won the Iraqi Theatre Award in 1973, while When Dancers Tire, the Hall Dances claimed the Moroccan Writers’ Union Prize in 1974.
Al-Khafaji particularly excelled in poetic drama and his artistic exploration of the blessed Hussaini revolution. He masterfully leveraged the lessons, symbols, and values of the Karbala tragedy to inspire human emotions toward goodness, perfection, and transcendence. His works exemplify a creative synthesis of modern experimentation and the rich heritage of Karbala. He reinterpreted historical events artistically to align with contemporary needs, emphasizing their eternal relevance.
In plays such as Hussain Comes Again, He Went to Lead the Dream, and The Prize, Al-Khafaji’s experimentation reflected his personal inclinations and the social environment of the 1960s and beyond. Writing for him was an engagement between his awareness and historical conditions, amidst societal disillusionment and pervasive feelings of defeat. His theatrical works echo the revolutionary spirit of Karbala, particularly following the 1967 Naksa, articulating the nation’s yearning for a savior like Imam Hussain—a figure capable of awakening a numb consciousness and confronting the complacency of the times.
Al-Khafaji participated in numerous interviews and critical discussions where he underscored the profound influence of history—its events, figures, and symbols—on his poetic theater. His use of historical material creatively, alongside fluid poetic language, bridged the gap between his vision and the audience, ensuring the effective communication of his Karbala-imbued creative message. His works resonate with the wounded memory of Karbala—oppressed but never broken, silenced but never defeated.
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