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Hisham Matar: On the Novelist and Dictaroship فبراير 29, 2012

Filed under: Uncategorized — monaelnamoury @ 2:35 م
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Libyan creative writer Hisham Matar writes as if he dreams; no detail is without a symbol or an emotional function. That was my first impression on “Naima” a published prose piece from his novel Anatomy of a Disappearance, centered on a little Libyan boy living in Cairo whose politically active father is abducted by authorities.  Matar’s careful attention to details and consciously musical diction seem to conceal as much as reveal the pictured psychological horrors and blunt realities. On the night before his lecture in the AUC entitled “Men Who Tiptoe Their Marital Bedrooms: the Novelist and Dictatorship”, I could not stop searching for his writings. They seemed to attract me instantly, wrap me entirely into their luring world of childhood perspectives. It was too late to go and buy an entire book for Matar, so what was available on the net had to suffice. And it did.

As if leaving the kids, the dishes in the sink and driving for about an hour and a half from my suburb to the AUC campus in Tahrir  were not enough revolutionary acts, it turned out to be one of those very dusty cold days of early spring. I went to the lecture with an atmosphere of knowing Matar, who I never saw before, intimately. But don’t we actually know people more when we read for them? What was the saying? Oh, yes: “Trust the tale not the teller”. Matar ‘s tale tells a world of fear from ruthless pathological dictatorship, exile into another homeland that became itself another doubtful home after the father’s abduction,  and unredeemed unhopeful ends.

 There I was in the congested libnan Square pondering on what I had read the night before. Matar’s  creative dilemma was moving into two dictatorial worlds: Libya and Egypt, loving both and being emotionally crushed by both. The first exiled him, the latter conspired against him and abducted his father. The two revolutions took place almost at the same time and he saw them as inseparable in rebellion act as much as they were inseparable in corruption.  Sophie McBain says of his first book In Country of Men in  “Spear’s” that it was smuggled into Tripoli  and” was passed from friend to friend, as they pored over pages describing a chapter in Libyan history of which their parents never dared speak.”  But Matar is always reluctant to admit a political motive. To him, the artist/ novelist/individual remains the important issue.

On the way, I tried to imagine how his voice would sound in the Oriental Hall. Would his spoken words be as sensitive as his written prose? Why did he write in English? Was he submitting whole-heartedly to the discourse of his exile?  Was he the literary ambassador between two worlds as the New York Times review tells of his last novel?  Was he at odds with a language whose native homelands forced him into exile? That was an important question to me, an aspiring creative writer myself, who write in both Arabic and English. Unable to decide why the ideas choose to come to me in either, I was trying to pose the question for others hoping to find an answer for myself. Was Matar’s English, the language of the empire, spoken in the face of its allied dictatorship forcing it to seek translation and analysis or hiding from it behind the masks of foreignness and literary tricks?  

A fine grown man, soft faced and deep-eyed greeting everyone with “ Masa’a Elfol”.  He sounded calm, shy, and real. He immediately declared that the alluring part of the lecture’s title “Men who tiptoe into their martial bedrooms” was a rather hasty title for the lecture and that he would rather discuss the novelist/artist and exile/dictatorship or the novelist as citizen and artist.  Many Western literary figures he mentioned starting from Ovid to Alburt Camus and Becket, writers who were in exiles, managed to delineate exiles and express the writer’s alienation.  He was moving from one to the other, quoting parts of their literary works or sayings when necessary as if he was telling of the conversation of a company of friends who had lunch with him just before the lecture.

Answering the audience questions was more revealing about Matar. Though he writes about exile, about children who are originally Libyan and fathers who disappear, his work is not autobiographical. Writing comes to him as a matter of falling in love. He has to be in love with whatever/whoever he writes about. For instance, the father and son in Anatomy of a Disappearance start as fictional characters while Matar was on a short vacation in an almost vacant Red-Sea hotel. On the beach, Matar sees an old man strolling beside a young man.  Not even knowing what relates them to each other, they interest him in a strange way and linger on his mind for years. Later on, they reappear and occupy an emotional part of him till their story is written. Getting the first rhythmical sentence: “There are times when my father’s absence is as heavy as a child sitting on my chest.”, was ninety percent of the job. The remaining ten percent took him three years. Not one word on Libya is in the book, though.

 English as his current creative language is not a choice. Though he admits he is better capable of English, this does not mean he cannot write in Arabic if he chooses to invest time and effort there.  Interestingly, English is a language that sheds a veil between the surroundings and Matar, giving him a necessary distance to see better. Conscious about his linguistic choices, he gets “cooled” and writes in the right rhythm in English.

Pushed severally to explain the tiptoeing men into their bedrooms, Matar elusively tells two anecdotes he had recently read about illuminating conversations in bedrooms. However, he finally gets to the point that in Libya men used to hush all the time about their views in fear of the secret police; even in their own bedrooms lest their own children may naively betray them. During the Libyan  revolution, Matar mentioned, children were interrogated about their parents’ favorite channels at homes! Matar admits that  he acted as his own censor not to make his books a horror catalogue of the Libyan  totalitarian regime which is happily past in spite of the fact of being exiled all his life because of it and in the bitter fact that his father is still abducted there leaving a heavy disappearance.  Kaddafi killed whole generations of artists literally and morally. But art has to rise above the dictatorial project of fixation. (I call it falling in love with Big Brother in the way George Orwell shows in 1984)But that extra-literary concern would have left his works a dead corpse.

“So, if seventeenth century was the century of mathematics, the eighteenth of physical sciences, the nineteenth of biology, the twentieth is definitely one of fear ( here alienation and exile echo). Still, the twenty-first century is in the making and we can still shape what it is like.” Those were the ideas on my head as I drove back home. I felt joyfully light, even swinging inside the car to the music. My happiness rose because finally to me Libya would be akin to some other face rather than Kaddafi’s; and a good one. Hisham Matar’s image is still hovering in front of me with his short laugh, half given and half withdrawn; a soft well-lighted face that you can never miss the veil of sadness on.








It was during l… فبراير 24, 2012

Filed under: Uncategorized — monaelnamoury @ 9:18 ص

It was during last November when I first read Siraaj by Radwa Ashour, while the sad events of Mohamed Mahmoud Street—the Eyes of Freedom Street—were going on. I needed an escape from all the news, from my own
short, cough-filled trips to Tahrir delivering medical supplies to the field
hospitals, from the vague future that infinitely stretched ahead and the daily
hassle helping my kids study. I picked that thin blue book from my library that read Siraaj, an Arab Tale, promising myself a fantastic escape into a world of harems, sultans, banquets, and hopefully a little bit of good sex. A little voice inside me whispered. Are you kidding? Is this the escape you want? Reading for professor Radwa, the strict, idealist, powerful person? But it was too late to go back; I had been in the car by that time.

The sultan, the harems, banquets, even good Arab horses were there —
sex was not, unfortunately — and also were the poor, the slaves, the frightened
widowed women, the colonizer, the prisons, the thwarted uprisings, the pain,
the tears, and  —  as Ashour describes the Palestinian children with stones in their hands in front of the Israeli tanks: They choose a minute of an absolute meaning and ability: intense freedom followed by death. They buy this minute with their entire lives. Is it madness? It is beautiful madness because that minute is more precious than an extended life in helplessness and humiliation. The situation is painfully repeated in all the streets of the Arab Spring movements, where the Arab youth face the military machine of the dictators.

Thus Ashour’s fictional trip to a 19th century Alexandria bombarded by the colonizing British ships, which is followed by a trip to an imaginary island ruled by a British-allied totalitarian sultan ends, for me as a reader, right here, right now. The island is an ‘every-Arab-island’ in the middle of every Arab uprising against their dictators.

The writing of Siraaj was influenced by nationality and gender. This is what
Ashour says about her writing experience in “My Experience with Writing” in The View from Within:

I am an Arab woman and a citizen of the Third World and my heritage in both cases is stifled. I know this truth right down to the marrow of my bones, and I fear it to the extent that I write in self-defense and in defense of countless others with whom I identify or who are like me. I want to write
because reality fills me with a sense of alienation. Silence only increases my alienation, while confession opens up so that I may head out towards the others or they may come to me themselves.

In the case of the Middle East, the alliances that the neo-colonial West has taken with the Middle Eastern dictatorships for the indirect sake of Israel, a shameful extension of colonialism, led to creating a strange case of simultaneous existing colonialism and postcolonialism in the region. This is how I see Ashour situating her novel as a play: going back historically, travelling in imagination, and arriving right here, right now. For, as she herself analyzes the genre and its relation with time in an interview with Ahmed Al-Shoraiky in Aljazeera.net: All novels are historical in a sense. The writer’s /reader’s engagement should also be
with novels whose events take place in the past. This is an intended engagement presenting a world parallel to ours and calling the reader to find connections.

Talking about her first experience with Western other in her first book AlRihlah, Ashour says:

I set out full of doubt and fear, perhaps even bitterness toward the imperial other…then, I was a woman. The eye that sees and the perception that classifies and organizes the vocabulary of experience, both, impose their different constrains which are in turn-reflected in the purport of the experience and the writing of it.

It is indeed the eye of the woman that arranges the experience in Siraaj. Storytelling is the keynote here, for all the characters in Siraaj are storytellers, story hoarders, or story lovers. The story in Siraaj is Ashour’s way to assure the national identity, keep the cultural heritage and enforce the distinctive features of the Arab character. So, we hear stories of Egyptian youth Mahmoud, from the old slave Ammar, from Tawaddud overhearing the magistrate, from the different sailors and finally from Amina, the mother of the martyr Said.

The martyrs are from the revolution’s achievement. In the TV program “ On my responsibility” Aljazeera live, Aug 13, 2011, Ashour says:

Though strange and painful to enlist this as an achievement, the Egyptian Revolution has given us a long list of martyrs. A very big loss indeed, but also an achievement because our martyrs will always be a driving force for us and they will eventually lead us to victory; as the blood of those who sacrificed themselves for others to live well is priceless and very precious and will never go in vain. So, there is no way back! We should truly think of our martyrs as an achievement.

Therefore, it is Amina’s painful story, her “subaltern speech”, that is sent back to the empire, the old empire and the new empire with their dictatorships and old unchanging trite discourses. Painful as it is, it promises a continuity of the revolution till “Bread, freedom, and social justice” are finally achieved.