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Beyond Love
Hussein’s starkly beautiful novel Beyond Love plunges us into the 1991 Gulf War and its aftermath. Huda, the young woman at the center of the story, experiences the deprivation and humiliation of life in sanctioned Iraq, working in the satirically named al-Amal factory (factory of hope) making men’s underwear. While surveillance and fear permeate daily life, Huda dares to vote “no” in the referendum for Saddam Hussein. This courageous act could have led to her death had she not fled to the closest border, Jordan, where the novel begins. Huda is not alone: Iraqi exiles are legion there, all waiting to be relocated and start new lives. Unable to go home or to feel settled in a foreign city, she struggles to overcome her grief and haunting memories of the war and the Shi’ite uprising. In letters, diaries, and oral stories, Hussein’s characters viscerally portray the pain of war and the alienation of exile. Originally published in Arabic in 2003, Beyond Love introduces English-language readers to one of the leading voices in Iraqi fiction today.
Pluralism in the Iraqi Novel after 2003
Pluralism in the Iraqi Novel is about the use of literature and the novel to express the new content of an Iraqi national identity constructed after the American invasion of 2003. Instead of the homogenizing national identity in Iraqi literature created before 2003, postoccupation literature presents Iraqi society as a kaleidoscope of multiple religious identities converging in an accommodating Iraqi national identity. The author argues that this could not have happened without the upheaval of 2003 and its consequent results: democracy and political restructuring that incorporated Shia for the first time into the ruling political coalition in recognition of their numerical majority. Literature was consequential to processing the complicated subject of Shia-Sunni relations and the sectarian identity of each and, even more, in the wake of the geopolitical events of 2003, literature was instrument in bringing representation of the Kurds, the small minorities, and even the last Jews of Iraq to the fore. As such, literature demonstrated its revolutionary power and formed the basis for a “New Iraq.”
The House of the Edrisis
"Like all revolutions, this one too has led to a regime more despotic than the one it replaced." So observes an omniscient narrator in Ghazaleh Alizadeh’s monumental novel The House of the Edrisis, offering a darkly comedic glimpse at the aftermath of an unnamed twentieth-century uprising. In this concluding volume, the revolutionary tumult that has consumed the aristocratic Edrisi family and their opulent mansion shows no signs of abating. As a ragtag band of squatters-turned-rulers consolidates power through surveillance and intimidation, the novel’s eccentric cast of characters is forced to reckon with upended social orders. Erstwhile revolutionaries become complicit enforcers of a ne...
A Comparative Analysis of Violence in Margaret Drabble and Four Selected Iraqi Novels
This book is the first work comparing Margaret Drabble with key Iraqi novelists. It analyses physical and soft violence in Drabble’s novels and the works of four Iraqi contemporary novelists, including Ahmed Saadawi’s Frankenstein in Baghdad (2013). The book argues that physical and soft violence are interwoven and interconnected, meaning that, where there is physical violence, there is nearly always soft violence and, though to a lesser extent, vice versa. Thus, soft violence can cause just as much damage, psychologically or literally, as hard violence.
We Never Swim in the Same River Twice
During Tunisia’s Arab Spring and its tilt toward Islamism, we meet three friends: Saleem, who is about to turn fifty and whose once-blissful marriage teeters on the edge as his mental health deteriorates; Aziz, a homely retired postal clerk who finds solace in literature and international cinema; and Omran, a well-traveled writer and public intellectual navigating a complex relationship with a young Franco-Tunisian woman who lives in Paris. As these men forge an unlikely friendship over drinks at a coastal bar in Bizerte and during walks on the beach, they grapple with the political extremism that dominates Tunisia’s social and political life at the time. Repelled by Islamist rhetoric and the brand of masculinity it represents, the three friends recall their lives and question their relationship to their nation. We Never Swim in the Same River Twice offers an alternative narrative of the Arab Spring, one that challenges Western media’s depiction of a "blessed revolution," and gives readers an intimate and elegiac portrait of a recent period in Tunisian history.
Allah's Spacious Earth
Allah's Spacious Earth is a stunningly fresh and timely political dystopia that depicts the tragic yet very real consequences of tensions between majority populations and Muslim minorities in the Western world. The novel is set in an imagined future where anti-Muslim sentiment and political pressure lead to a community being cut off from the rest of society. Told from the perspective of Nasim, a young Muslim living in the Zone—an urban area within one of the states forming the Pan-European Federation—the story follows his journey as he struggles with the restrictions imposed upon him along with the expectations of his community. In the tradition of Michel Houellbecq's Submission, Allah’s Spacious Earth is a powerful novel of ideas that brilliantly captures a growing fear in Western societies and its devastating fallout.
The Emperor Tea Garden
In Eray’s world of fantasy and fun, there are few boundaries between reality and imagination. There is a roadside tea garden where spirits gather by night to carry on flirtations until they fade into the dawn, and there is a tavern in Bartin where men make their lost illusions of love come alive by thinking of them. The narrator exchanges places with Night for twenty-four hours to find out what it means to be the unsleeping Night, the guardian of dreams. The slot machines in a casino provide love advice and clues to the multiple realities of romance, history, and everyday life. A mixture of drama and fable, confession and memoir, the fabulous and the prosaic, The Emperor Tea Garden is a place where you have never been and always are. As you turn each page of Eray’s work, you are in a different world, sometimes several at the same time.
Arabs and the Art of Storytelling
In Arabs and the Art of Storytelling, the eminent Moroccan literary historian and critic Kilito revisits and reassesses, in a modern critical light, many traditional narratives of the Arab world. He brings to such celebrated texts as A Thousand and One Nights, Kalila and Dimna, and Kitab al-Bukhala’ refreshing and iconoclastic insight, giving new life to classic stories that are often treated as fossilized and untouchable cultural treasures. For Arab scholars and readers, poetry has for centuries taken precedence, overshadowing narrative as a significant literary genre. Here, Kilito demonstrates the key role narrative has played in the development of Arab belles lettres and moral philosophy. His urbane style has earned him a devoted following among specialists and general readers alike, making this translation an invaluable contribution to an English-speaking audience.
Monarch of the Square
A master of the short story form, Muhammad Zafzaf is one of Morocco’s greatest narrative writers. This anthology, the first collection of his work translated into English, is a tribute to the remarkable influence he exerted on an entire generation of Moroccan storytellers. Zafzaf’s stories are set within a variety of contexts, each portraying a slice of life, a simple struggle for survival in a challenging world that is changing at a rapid pace. Narrative time is reduced to a single glimpse in these stories, full of irony, sarcasm, and sympathy. He covers all aspects of Moroccan life, from remote rural villages to modern cities. The stories in this collection explore the various myths, beliefs, and traditions that operate within Moroccan culture, questioning them from a distance in an easy, conversational manner that is the hallmark of Zafzaf’s style.
The Story of Joseph
At the heart of this volume is the translation of a fourteenth-century Turkish version of the Joseph story, better known to Western readers from the version in Genesis, first book of the Hebrew Bible. Hickman provides us with a new lens: we see the drama of the Old Testament prophet Joseph, son of Jacob, through Muslim eyes. The poem’s author, Sheyyad Hamza, lived in Anatolia during the early days of the Ottoman Empire. Hamza’s composition is rooted in the recondite and little-studied tradition of oral performance—a unique corner of Turkish verbal arts, situated between minstrelsy and the “divan” tradition—combining the roles of preacher and storyteller. A cultural document as well as a literary text that reflects the prevailing values of the time, Hamza’s play reveals a picture of Ottoman sensibility, both aesthetic and religious, at the level of popular culture in premodern Turkey. To supplement and contextualize the story, Hickman includes an introduction, a historical-literary afterword, and notes to the translation, all ably assisting an unfamiliar reader’s entry into this world.
