Between Miracle and Afterthought: Hebrew in MESAAS

Baraza, Isreal, Language, MESAAS, Middle East, Palestine

My parents, native Israelis with wide and deep ties to the Hebrew language, insisted, always, on maintaining a Hebrew-speaking household in the U.S. so that my two sisters and I might carry on in the world with “a miracle” of a language at our disposal. I remember my father telling me excitedly that, “before 1948, no one made love in Hebrew!” I was fascinated by the thought of a language existing by virtue of some dedicated people carefully applying ancient, known words to their contemporary surroundings. I would imagine them staring at birds or one another in an attempt to string together some sounds and silences that might do justice to a subject’s fullest character.

But studying Hebrew literature in MESAAS has been one long attempt to bend my thinking to accommodate the reality that modern Hebrew literature is a contemporary Middle Eastern affair. Or is it? Hebrew literature and Israeli culture fits into MESAAS geographically; but Hebrew has long been a shared cultural language of the Jews that only in the 20th century became a spoken vernacular in Israel. A question of belonging arises: how does modern Hebrew literature fit into MESAAS when we look beyond basic points of contact, such as the Semitic origins of the Hebrew language or the many centuries of political-Zionist poetry?

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Archives and Canons

Africa, Arabic, Arabic Literature, Baraza, Censorship, Digital Humanities, Reading, Text

What is the opposite of a canon? Perhaps an archive, which contains an overwhelming array of texts that very few people intend to read. I sometimes feel like Raph and I are working our way through an immaterial archive that stretches across the globe. This “archive” contains digital copies of short stories culled from published collections, underground literary journals, blog entries, Facebook posts, and unpublished manuscripts. It also presumably includes letters stowed away in old backpacks and journals forgotten in desk drawers. An infinite array of things just waiting to be catalogued and, perhaps, one day, interpreted.

The challenge of transforming such an archive into a collection is partially the brute effort of finding the materials, compounded by the difficulty of working with texts that are rarely annotated. For instance, we have found digital copies of stories typed by hand by literary enthusiasts into labyrinthine websites like Sudanese Online. The multiple copies create multiple versions which, without a robust editorial effort, jostle one another for authority, not unlike the way in which Sudanese folk tales proliferate in near infinite variation. Although unlike scholars who work on manuscripts, Raph and I are not in the business of sussing out the authentic version of a given text, such variations and inconsistencies take us back to the question of how a literary canon is formed.

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Sketch of a Literary Scene

Africa, Arabic, Arabic Literature, Baraza, Middle East, Reading

The stories in our collection span the roughly four decades since the publication of Tayyib Salih’s much acclaimed Season of Migration to the North in 1969. Some are works of social protest, others of technical mastery or experimental daring. Despite variations in theme and style, we’ve chosen them because they all revolve around Khartoum in one way or another. For that reason, contemporary literary culture in Khartoum is one of the most valuable frames for understanding the literature produced in and about the city. The questions are deceptively simple. Who writes? Who reads? Where do people in Khartoum go to buy books, hear poetry, discuss literature and workshop their own writing? By offering a brief sketch of the literary scene, based on my own short stay in Khartoum last year, I want to start to explore the city as a metaphor for the bundle of expectations, literary conventions, and social mores that shape what Sudanese writers write and why.

I myself have only become acquainted with many of the stories in my growing collection over the past year, culled initially from the dozens of books I carried back from Khartoum to Cairo in a cardboard box. The less controversial ones I bought in the dusty book shops clustered around the University of Khartoum, but the majority were recommended to me by friends and acquired at a monthly open-air book market called Mafroosh, written up not so long ago in the New York Times.

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Book Review: Guban by Abdi Latif Ega

Africa, Baraza, Conflict, Narrative, Reviews, Revolution

gubanThe events unfolding around the political arrest of an apolitical businessman tells the story of a politically troubled country. The author of Guban, Abdi Latif Ega, cleverly weaves the social, environmental, cultural and political provisions of Somalia to voice the journey of a largely misunderstood country that came to be viewed as predestined to failure because of its culture. The author impressively debunks this preconception by offering an urgently needed alternate narrative, not only to grasp the circumstances through which Somalia came to be “a failing state” but also to construe the histories of many African countries.

The author represents a rare voice that goes contrary to a great number of African authors who take a cathartic mode of writing through which they try to appeal to Western mainstream audiences confirming the prejudices about the savagery, inhumanity, poverty, famine, diseases and violence of African societies. He, however, does not go to the extreme opposite of that cathartic mode to talk about “the positive” through cultural enchantment. The author provides a compelling story of Somalia that humanizes and historicizes its political struggle. Guban is not a novel to be read for entertainment although it generously fulfills that requisite; rather, it is a story to be read for reflection and political learning.

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Antonio de Sosa’s Moors/Moros in ‘Topography of Algiers’

Baraza, Colonialism, Culture, History, Identity, Islam, Maghreb, MENA, Narrative, Racism, Reviews, , , , , , , , , , ,

othelloIn Covarrubia’s seventeenth century dictionary Tesoro de La Lengua Castellana O Española, moro (from the Latin Maurus) is defined as “one from the province of Mauritania.” The term is meant to be used pejoratively as in the proverb, “A Moro muerto, gran lanzada” (p.1150). The Real Academia Española offers more than eleven definitions, including the natural border of North Africa and Spain; one who professes the religion of Islam; a Muslim who lived in Spain from the eighth to the fifteenth century; a black mare with a star on the forehead and shoes on one or two limbs; Muslims of Mindanoa and Malaysia; etc. In the Oxford English Dictionary, moor is defined as “originally a native or inhabitant of ancient Mauretania” and “later usually a member of a Muslim people of mixed Berber and Arab descent inhabiting north-western Africa (now mainly present-day Mauritania), who in the eighth century conquered Spain.”

In An Early Modern Dialogue with Islam: Antonio de Sosa’s Topography of Algiers (1612), Sosa devotes an entire chapter—“The Inhabitants and Neighbors of Algiers”—to defining the “Moor” as a category of people among other inhabitants in Algiers, including Jews, Turks and Christians. The rest of the text, however, does not always use the term in the same way; rather, its usage reveals and reproduces the conflation of race, ethnicity and religion in the early modern period.

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Modeling the Collective Hero: An Interview with Egyptian Playwright Ibrahim El-Husseiny

Baraza, Egypt, MENA, Middle East, Revolution, , , ,

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Ibrahim El-Husseiny wrote the play “Comedy of Sorrows” only a few months after Egyptian president Hosni Mubarak’s resignation in February of 2011.  As such, it was one of the very first creative pieces produced in response to the Egyptian revolution.  Following a run of 60 performances in Egypt, a translation by Rebekah Maggor toured the States in Spring of 2012 as a staged reading, with performances at CUNY Graduate Center, the Radcliffe Institute, and Vanderbilt University, amongst other venues.  Two years into the revolution, Hani Omar Khalil sat down with El-Husseiny in Cairo to discuss both his own evolution as a political playwright as well as the role of theatrical narrative in the shaping of national discourse.  Questions and answers were given in Arabic, with translational assistance provided by Omar S. Khalil.

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Plural Sources of Kashmiri Myths

Baraza, South Asia, , , ,

“Freedom Must be an Ideal with a Social Content”

Baraza, Dust to Digital, South Asia, , , , ,

  From The Sunday Observer of October 22, 1944

The following message was sent by Mr. M.N. Roy to the Bengal Provincial Conference of the Radical Democratic Party held on October 14/15, 1944 at Jaynagar under the presidentship of A.N. Chattopadyay M.L.A. (Central)

Dear Comrades,

39_GopalMore than half a century has passed since the place of the movement for freedom of India began. Bengal was the birth place of the movement. During this period, the world has undergone many changes … the latest of them being the global war, which is now bearing its end. The conclusion of the mighty clash of arms however will bring the more fundamental issues underlying the gigantic conflict to the forefront. The war will still have to be waged on the political and social fronts, which cut across national frontiers.

The final stages of India’s struggle for freedom will be fought in that context of a transnational period in the history of the world. In that period, old ideas and ideals will no longer hold good. They are already in the melting pot. Should India even then cling to antiquated ideas and cherish discredited ideals, she might still languish in the stagnant backwaters of history, when the more fortunate and enterprising peoples have turned their back on the past to bury its dead to march towards a future of real freedom.

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