This article is an enquiry work of the poetic elements in the writing of Sinan Antoon, an Iraqi poet, novelist and translator, whose works are to a large extent gravitated around the interrelated thematic areas of war, exile, and memory. It identifies the literariness of Antoon with the wider Anglo-Arab semiotic environment and situates the study of his poetry in trauma, memory and diasporic writing. It describes and analyses how his lyric ballet choreographies of victims of violence and displacement become loud while at the same time, silently resist a complete erasure. The article through close and detailed first-hand engagements with the emphasized texts and contemporaneous theoretical, critical, and cultural historiographies shows how Antoon’s art work first of its character and steadily grows into one sort of witness and artistic refuse against it. Moreover, his bilingual composition and self-translation emphasis the issue of representation and cultural mediation, thus his poems are able to flow not only within one linguistic but also geographical and spatial areas. Sinan's writing is the model that built on the heritage of previous war and exile poets, at the same time, it is a work which always considers the condition of Iraq as a result of the Gulf War and sanctions, U.S. invasion, sectarian conflict, and the consequences of all these events. In the final stage, this piece of writing is communicating the idea that Sinan Antoon's poetry is a manifestation of cultural memory, which renders a visual record of destruction, utters the voices once muted, and celebrates the power of literature which, first of all, sees and thereby remembers and resists.