My Work

In his seminal reflections within The Endless Wars, David Lubari Biar Lominyo recounts a childhood defined by a profound sense of wonder toward the architects of language. To the young Lubari, poets were a celestial “special bunch,” possessing a divine geometry to knit words into their rightful places with precision, proportion, and color. He was captivated by the transparency of their diction, words that acted not as barriers, but as windows through which the reader might glimpse hidden truths. Using language as a graphite pencil to sketch the soul’s geography, these poets occupied a world that seemed light-years beyond his own. Yet, even then, a quiet ache resided in his heart, a dream to bridge that distance and tap into the ancient reverence society bestows upon those who find the rhythm in the chaos of existence.

Lubari’s philosophy posits that the “Land of Poetry” is an inclusive domain, not a fortress reserved for the academic elite. He contends that a poet’s most vital tools are not found in the exhaustive study of others, but are carried in the “backpack” of the spirit: a keen eye for the interrelationships of the natural world, a heart greased by lived experience, and an unyielding determination. By drawing from the well of inborn talent, one ensures a purity of voice, a poetic “originality” unpolluted by the unintentional sifting of others’ ideas. For Lubari, to read too much of a peer is to risk losing one’s own frequency; instead, he advocates for an organic dialogue between the observer and the observed.

As a self-described hunter on these new, colorful, and occasionally treacherous grounds, Lubari meticulously logs his footsteps. He understands that every hunter must forge a unique trail, lest the “animals”—the elusive truths of the human condition—become startled and flee. Through his writing, he shares the locations of his “herds” and “creeks,” offering his discoveries not as a map to be mimicked, but as a shelter for those who might stray along similar paths. Ultimately, his work serves as an invitation: a reminder that every individual carries a silent symphony within, waiting only to be “downloaded” from the heart and etched onto the page.

Lubari’s previous writings:

Lubari’s creative lineage is long and varied, rooted in a love for storytelling that predates his formal career. His most prolific era (2000–2003) saw him navigating the political and social currents of Khartoum, contributing sharp commentary and fiction to the Khartoum Monitor and Al-Ray Al-Aam. His series, “My Short Visit to Hell,” and “The Regrettable Enjoyment,” showcased his ability to use fiction as a mirror for societal criminality and public health crises. Even his early years at the University of Juba revealed a playwright’s instinct, where his scripts moved from the university stage to the parish halls of Omdurman, twice earning his community the “gold” in cultural competitions.