The Prophet


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From the Ebenezer subregion Drink to Warming alcohol with ripe, aromatic fruit. Vibrant, intense, vanilla-scented red-cherries. Delicious, poised flavours. Energetic and persistent. Food: Osso Bucco. The Prophet Shiraz Our Resurrection Vineyard in the Ebenezer sub-district of the Northern Barossa Valley, is blessed with varying topography, where the depth of the ancient red soils varies from centimeters to tens of meters. Gibran still took no job; art was his job.


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Soon, he had something to show. Often, in the foreground, one saw a sort of pileup of faceless humanity, while in the background there hovered a Greater Power—an angel, perhaps, or just a sort of milky miasma, suggestive of mystery and the soul. Gibran began publishing his writings as well: collections of stories and poems, parables and aphorisms. Anger over this, and also pity—whether for Lebanese peasants or, quite often, for himself—were the main themes of his early writings.

They were published in Arabic, and they won him great admiration in the Arab-American community.

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He enjoyed this, but he wanted a larger audience, and soon he found the person who would make that possible. She believed in long hikes, cold showers, and progressive politics. Her school disdained Latin and Greek; it taught anatomy and current events instead. Before Gibran became close to Haskell, in , he had a history of befriending older women who could be useful to him.

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Haskell, too, was older, by nine years. She was also taller. Gibran was five feet three, a source of grief to him all his life. Then she met Gibran, who would be her most expensive project. In the beginning, her major benefaction to him was simply financial—she gave him money, she paid his rent. In , she sent him to Paris for a year, to study painting. It was apparently agreed, though, that they would not marry until he felt he had established himself, and somehow this moment never came.

Finally, Haskell offered to be his mistress. In a painful passage in her diary, Haskell records how, one night, he said that she was looking thin. On the pretext of showing him that she was actually well fleshed, she took off her clothes and stood before him naked. He kissed one of her breasts, and that was all. She got dressed again. When they were apart, he said, they were together. Amen to that. He was of noble birth, he said. He was sure that a great destiny awaited him. She believed this even more than he, and in the beginning her adulation was probably as important to him as her money.


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She recorded the extraordinary experiences he told her he had had. Furthermore, however godlike she found him, she was a schoolmistress, and she tried to educate him. On the pretext of their having a nice literary evening together, she would get him to read to her from the classic authors, exactly as Fred Holland Day had done, and for the same reason—to improve his English.

Boston was a backwater. New York was where the action was. Clearly, he had another purpose as well: to get away from Haskell. He also needed to unload Marianna. If he was to become a major artist, how was he going to explain that he lived with this illiterate woman who followed him around the house with a dust rag? And so, in , throwing off the two women who had supported him through his early period, Gibran moved to New York, and to his middle period. Haskell paid the rent, of course. After a few years in New York, during which he published two more books in Arabic, Gibran made a serious decision: he was going to begin writing in English.

When they were apart, he sent her his manuscripts, and she sent back corrections. When they were together—she visited him often sleeping elsewhere —he dictated his work to her. She probably made substantial changes in his later work as well. Proud of this responsible role in his life, she gave up hoping for more. In , with no objections from Gibran, she married a rich relative. Until he died, she edited all his English-language books.

The Prophet Shiraz – St John's Road

At the opening of the book, we are told that Almustafa, a holy man, has been living in exile, in a city called Orphalese, for twelve years. A ship is now coming to take him back to the island of his birth. Saddened by his departure, people gather around and ask him for his final words of wisdom—on love, on work, on joy and sorrow, and so forth.

He obliges, and his lucubrations on these matters occupy most of the book. Who, these days, would say otherwise? If you look closely, though, you will see that much of the time he is saying something specific; namely, that everything is everything else. Freedom is slavery; waking is dreaming; belief is doubt; joy is pain; death is life.

The Prophet Ezekiel

Such paradoxes, which Gibran had used for years to keep Haskell out of his bed, now became his favorite literary device. They appeal not only by their seeming correction of conventional wisdom but also by their hypnotic power, their negation of rational processes. Also, the book sounds religious, which it is, in a way. Gibran was familiar with Buddhist and Muslim holy books, and above all with the Bible, in both its Arabic and King James translations. Those paradoxes of his come partly from the Sermon on the Mount. Nor is the spirit of the sixties gone from our world.

Reportedly, the book is popular in prisons. And, since the text is in small, detachable sections, you can make it even shorter, by just dipping into it here and there, as some people do with the Bible. My guess is that plenty of its fans have not read it from cover to cover. That, no doubt, is because it lacks the something-for-everyone quality of its predecessor. Also, it is not a book of advice or consolation. It is a novel of sorts, a collection of seventy-nine statements by people remembering Christ.

Some of the speakers are known to us—Pontius Pilate, Mary Magdalene—but others are inventions: a Lebanese sheepherder, a Greek apothecary. They all speak as if they were being interviewed. Though Gibran thought of himself as an admirer of all religions, he had an obsession with Jesus. He told Haskell that Jesus came to him in dreams. Thy will be done with us, even as in space. Much of the book transcends such follies, however.


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Also, however much he imagined himself as Jesus, in this book alone he drops the oracular tone that is so oppressive in the rest of his work. A number of the speakers have complaints about Jesus. I loved him and I shall love him forevermore. If love were in the flesh I would burn it out with hot irons and be at peace. But it is in the soul, unreachable. And now I would speak no more. Go question another woman more honored than the mother of Judas. Go to the mother of Jesus. While the literary journals paid some attention to Gibran early on, they eventually dropped him. This is no surprise.

His leading traits—idealism, vagueness, sentimentality—were exactly what the young writers of the twenties were running away from. He seldom turns up in literary memoirs of the period. But, if the artists of the time were throwing off idealism and sentiment, ordinary people were not.

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