Cover of Martyr!
    Poetry

    Martyr!

    by Kaveh Akbar
    “Martyr!” by Kaveh Akbar follows Cyrus Shams, a first-generation Iranian American poet grappling with addiction, grief, and identity after his mother’s death in a U.S. government-related plane bombing. The novel traces Cyrus’s journey as he seeks meaning through art, faith, and encounters with figures like a terminally ill artist in the Brooklyn Museum. Themes of legacy, sacrifice, and the immigrant experience are explored through Cyrus’s introspective quest, blending personal tragedy with broader existential questions. Akbar’s debut novel is noted for its lyrical prose and examination of how individuals navigate pain and purpose.

    The chap­ter opens with the nar­ra­tor reflect­ing on their first expe­ri­ence with death, which they missed entire­ly, leav­ing them with unre­solved grief. This time, they aim to con­front their own mor­tal­i­ty head-on through their final art instal­la­tion, *Death-Speak*, which serves as a lit­er­al and metaphor­i­cal pres­ence in the face of death. The nar­ra­tor con­trasts their expe­ri­ence with Leila, who may have found clar­i­ty in death, while they remain bur­dened by the weight of liv­ing. The instal­la­tion becomes a way to reclaim agency and wit­ness their own demise, reject­ing pas­sive accep­tance in favor of active par­tic­i­pa­tion.

    The nar­ra­tor draws inspi­ra­tion from Farrokhzad’s poet­ry, par­tic­u­lar­ly the raw, unadorned expres­sion of sor­row and urgency in lines like “O Mus­lims, I am sad tonight.” They res­onate with the poet’s rejec­tion of arti­fice, see­ing it as a direct con­fronta­tion with the abyss of human exis­tence. This sim­plic­i­ty and hon­esty align with their artis­tic phi­los­o­phy, which rejects the notion of art as mere orna­men­ta­tion. Instead, they view art as a vital means of shared under­stand­ing, a way to store col­lec­tive knowl­edge and emo­tion beyond indi­vid­ual lifes­pans.

    The chap­ter cri­tiques the mod­ern com­mod­i­fi­ca­tion of art as dec­o­ra­tive, trac­ing its ori­gins to the whims of the wealthy who sought beau­ty devoid of deep­er mean­ing. The nar­ra­tor chal­lenges this tra­di­tion, argu­ing that art’s true pur­pose is to con­vey urgent, unfil­tered truths. Their instal­la­tion, *Death-Speak*, embod­ies this ethos by pre­sent­ing death in its unvar­nished reality—ugly, messy, and unavoid­able. The narrator’s con­fronta­tion with mor­tal­i­ty is stripped of pre­tense, mir­ror­ing Farrokhzad’s plain­spo­ken despair and reject­ing the expec­ta­tion that art must always aspire to beau­ty.

    The chap­ter con­cludes with a tense exchange between the nar­ra­tor and Sang, their for­mer lover and gal­lerist, who ini­tial­ly dis­miss­es the instal­la­tion as melo­dra­mat­ic. Their argu­ment reveals unre­solved ten­sions and Sang’s hurt over being kept in the dark about the narrator’s ter­mi­nal diag­no­sis. Despite her resis­tance, Sang ulti­mate­ly con­tributes the title *Death-Speak*, sym­bol­iz­ing their endur­ing con­nec­tion. The narrator’s deter­mi­na­tion to pro­ceed, regard­less of venue or approval, under­scores their com­mit­ment to authen­tic­i­ty, even as Sang ques­tions whether every act must car­ry sym­bol­ic weight. Their final, unre­solved dia­logue lingers on the inevitabil­i­ty of the narrator’s choice.

    FAQs

    • 1. What is the significance of the narrator’s final installation, Death-Speak, and how does it relate to their perspective on art?

      Answer:
      Death-Speak represents the narrator’s desire to be present for their own death as an artistic act, contrasting with their first experience of loss where they felt absent. The installation rejects traditional notions of art as mere ornament or beauty, instead embracing raw, unfiltered expression (“saying it plain”). The narrator critiques the modern concept of art-as-decoration, referencing how historically art served as a means of collective knowledge preservation. By choosing to die publicly as their final artwork, they return to what they see as art’s primal purpose: direct, urgent communication of human experience without aesthetic pretense.

      2. How does the Farrokhzad poetry excerpt function in the narrator’s reflection on mortality and artistic expression?

      Answer:
      The Farrokhzad poem (“I won’t see spring… O Muslims, I am sad tonight”) serves as a touchstone for the narrator’s philosophy of artistic honesty. They admire its emotional directness and lack of artifice, seeing it as a model for confronting mortality without decorative language. Though not religiously observant, the narrator connects with the poem’s universal cry of sorrow that transcends specific belief systems. The lines validate their own approach in Death-Speak - using art not for beauty’s sake but to communicate fundamental human truths (“this is desperate, this is urgent”) when facing the “abyss” of existence.

      3. Analyze the complex relationship dynamics between the narrator and Sang as revealed in this chapter.

      Answer:
      The narrator and Sang share a layered history spanning romantic partnership, artistic collaboration, and enduring friendship. Their relationship was asymmetrical - Sang loved deeply and naturally while the narrator appreciated being loved but couldn’t reciprocate fully (“I loved watching her love me”). This imbalance created subtle tensions, like the narrator waiting for Sang to sleep before coming to bed. Their professional bond persists despite romantic dissolution, evidenced by Sang’s crucial role in naming Death-Speak. Their confrontation about the installation reveals unresolved care - Sang’s anger masks concern, while the narrator’s withholding of their diagnosis shows lingering emotional barriers even between intimate companions.

      4. How does the chapter challenge conventional Western notions about the purpose and value of art?

      Answer:
      The narrator presents a radical critique of Western art traditions by rejecting the Renaissance-derived concept of art as decorative beauty (“a painting of a blooming rose”). They argue this ornamental approach emerged recently in human history, tied to aristocratic leisure. Instead, they champion art’s original evolutionary purpose: as a vital means of storing and transmitting collective knowledge (“keeping all our extra knowing in language”). This perspective elevates art’s functional role in human survival over aesthetic pleasure, suggesting contemporary art institutions like the Met have lost touch with art’s primal capacity for truth-telling about fundamental experiences like mortality.

      5. What psychological and philosophical insights does the chapter offer about confronting mortality?

      Answer:
      The narrator distinguishes between two experiences of death: passive absence (Leila’s plane crash) and active presence (Death-Speak). They suggest conventional approaches to dying often leave the living with “all the loss, none of the reward,” creating unresolved grief. By contrast, consciously orchestrating one’s death as art becomes an act of agency against life’s “inertia.” This reflects existentialist philosophy - creating meaning through action when faced with life’s absurdity. The “tubes” and “gunk” imagery rejects romanticized dying, insisting on confronting mortality’s physical reality while still finding significance in the confrontation itself.

    Quotes

    • 1. “The first time I died, I wasn’t even there. The whole payoff, the answer to the question of what happens afterward—I didn’t get any of that.”

      This opening line introduces the chapter’s central theme of confronting mortality and the desire to be present for one’s own death. It sets up the narrator’s philosophical approach to dying and their artistic project Death-Speak.

      2. “For our species, the idea of art as ornament is a relatively new one… Art was a way of storing our brains in each other’s.”

      This quote captures the narrator’s perspective on art’s fundamental purpose - not as mere decoration, but as a vital means of shared human consciousness and survival. It critiques modern commodification of art while explaining their own artistic philosophy.

      3. “I’m dying. Here I am. It’s ugly… You just have to say it plain: ‘O Muslims, I am sad tonight.’”

      This powerful statement embodies the raw, unadorned approach of Death-Speak. The narrator rejects artistic pretense in favor of direct confrontation with mortality, mirroring the simplicity they admire in Farrokhzad’s poetry.

      4. “It’s easy to resent those who love you. Those who are over eager with their affection. Too performative. But I loved how Sang loved me…”

      This introspective moment reveals the complex dynamics of the narrator’s past relationship with Sang. It shows their self-awareness about emotional limitations while acknowledging the genuine connection they shared.

      5. “You know not everything is connected, don’t you? Everything doesn’t have to stand in for everything else?”

      Sang’s challenge to the narrator represents a key tension in the chapter - between seeing death/art as profound metaphor versus accepting things at face value. This exchange crystallizes their differing worldviews.

    Quotes

    1. “The first time I died, I wasn’t even there. The whole payoff, the answer to the question of what happens afterward—I didn’t get any of that.”

    This opening line introduces the chapter’s central theme of confronting mortality and the desire to be present for one’s own death. It sets up the narrator’s philosophical approach to dying and their artistic project Death-Speak.

    2. “For our species, the idea of art as ornament is a relatively new one… Art was a way of storing our brains in each other’s.”

    This quote captures the narrator’s perspective on art’s fundamental purpose - not as mere decoration, but as a vital means of shared human consciousness and survival. It critiques modern commodification of art while explaining their own artistic philosophy.

    3. “I’m dying. Here I am. It’s ugly… You just have to say it plain: ‘O Muslims, I am sad tonight.’”

    This powerful statement embodies the raw, unadorned approach of Death-Speak. The narrator rejects artistic pretense in favor of direct confrontation with mortality, mirroring the simplicity they admire in Farrokhzad’s poetry.

    4. “It’s easy to resent those who love you. Those who are over eager with their affection. Too performative. But I loved how Sang loved me…”

    This introspective moment reveals the complex dynamics of the narrator’s past relationship with Sang. It shows their self-awareness about emotional limitations while acknowledging the genuine connection they shared.

    5. “You know not everything is connected, don’t you? Everything doesn’t have to stand in for everything else?”

    Sang’s challenge to the narrator represents a key tension in the chapter - between seeing death/art as profound metaphor versus accepting things at face value. This exchange crystallizes their differing worldviews.

    FAQs

    1. What is the significance of the narrator’s final installation, Death-Speak, and how does it relate to their perspective on art?

    Answer:
    Death-Speak represents the narrator’s desire to be present for their own death as an artistic act, contrasting with their first experience of loss where they felt absent. The installation rejects traditional notions of art as mere ornament or beauty, instead embracing raw, unfiltered expression (“saying it plain”). The narrator critiques the modern concept of art-as-decoration, referencing how historically art served as a means of collective knowledge preservation. By choosing to die publicly as their final artwork, they return to what they see as art’s primal purpose: direct, urgent communication of human experience without aesthetic pretense.

    2. How does the Farrokhzad poetry excerpt function in the narrator’s reflection on mortality and artistic expression?

    Answer:
    The Farrokhzad poem (“I won’t see spring… O Muslims, I am sad tonight”) serves as a touchstone for the narrator’s philosophy of artistic honesty. They admire its emotional directness and lack of artifice, seeing it as a model for confronting mortality without decorative language. Though not religiously observant, the narrator connects with the poem’s universal cry of sorrow that transcends specific belief systems. The lines validate their own approach in Death-Speak - using art not for beauty’s sake but to communicate fundamental human truths (“this is desperate, this is urgent”) when facing the “abyss” of existence.

    3. Analyze the complex relationship dynamics between the narrator and Sang as revealed in this chapter.

    Answer:
    The narrator and Sang share a layered history spanning romantic partnership, artistic collaboration, and enduring friendship. Their relationship was asymmetrical - Sang loved deeply and naturally while the narrator appreciated being loved but couldn’t reciprocate fully (“I loved watching her love me”). This imbalance created subtle tensions, like the narrator waiting for Sang to sleep before coming to bed. Their professional bond persists despite romantic dissolution, evidenced by Sang’s crucial role in naming Death-Speak. Their confrontation about the installation reveals unresolved care - Sang’s anger masks concern, while the narrator’s withholding of their diagnosis shows lingering emotional barriers even between intimate companions.

    4. How does the chapter challenge conventional Western notions about the purpose and value of art?

    Answer:
    The narrator presents a radical critique of Western art traditions by rejecting the Renaissance-derived concept of art as decorative beauty (“a painting of a blooming rose”). They argue this ornamental approach emerged recently in human history, tied to aristocratic leisure. Instead, they champion art’s original evolutionary purpose: as a vital means of storing and transmitting collective knowledge (“keeping all our extra knowing in language”). This perspective elevates art’s functional role in human survival over aesthetic pleasure, suggesting contemporary art institutions like the Met have lost touch with art’s primal capacity for truth-telling about fundamental experiences like mortality.

    5. What psychological and philosophical insights does the chapter offer about confronting mortality?

    Answer:
    The narrator distinguishes between two experiences of death: passive absence (Leila’s plane crash) and active presence (Death-Speak). They suggest conventional approaches to dying often leave the living with “all the loss, none of the reward,” creating unresolved grief. By contrast, consciously orchestrating one’s death as art becomes an act of agency against life’s “inertia.” This reflects existentialist philosophy - creating meaning through action when faced with life’s absurdity. The “tubes” and “gunk” imagery rejects romanticized dying, insisting on confronting mortality’s physical reality while still finding significance in the confrontation itself.

    Note