August 30, 2015 § Leave a comment
An edited version of this piece was published at the National.
Zabadani, a mountain town northwest of Damascus near the Lebanese border, was one of the first Syrian towns to be liberated from the Assad regime (in January 2012) and one of the first to establish a revolutionary council. (The martyred anarchist revolutionary Omar Aziz was involved in setting up this council, as well as the council in Barzeh). Zabadani has been besieged and intermittently shelled since its liberation. And since July 3rd this year it has been subjected to a a full-scale assault by (the Iranian-backed) Lebanese Hizbullah, alongside continuous barrel bombing. Apparently the town’s 800-year-old al-Jisr mosque has been pulverised. Human losses are in the hundreds, and beyond the numbers, incalculable.
In other news, Daesh (or ISIS) has bulldozed the 1500-year-old monastery of Mar Elian in al-Qaryatain and blown up the beautiful 2000-year-old temple of Baalshamin in Palmyra. The temple once mixed Roman, Egyptian and Mesopotamian styles. Today its rubble is further evidence that there will be no resumption of Syrian normality. The people, monuments, even landscapes that Syrians once took for granted, that they assumed their grandchildren would enjoy, are disappearing for ever.
Palmyra – Queen Zenobia’s desert city – is a world heritage site and perhaps Syria’s most precious cultural jewel. Remarkably intact until recently, it provided a tangible link to antiquity and a breathtaking proof of the region’s civilisational wealth. Nationalist Syrians, whether secular or Islamist, feel the importance of such sites for communal pride and identity. Rational Syrians can at least understand their utilitarian benefit to any future tourism industry.
Neither Bashaar al-Assad nor (Daesh ‘caliph’) Abu Bakr al-Baghdadi are nationalists. Al-Baghdadi is explicit about it: “Syria is not for the Syrians,” he says, “and Iraq is not for the Iraqis.” Al-Assad’s rhetoric is still nationalist (and sectarian), but his war effort is managed by a foreign power now pushing towards the nation’s partition. Though not nationalists, both are certainly fascists obsessed with reinforcing their respective totalitarian states and eliminating any independent intellectual influence. Thus, in a flesh-and-blood echo of its slaughter of Palmyran history, Daesh tortured and publically beheaded Palmyra’s head of antiquities, 81-year-old Khaled al-Assa‘ad, perhaps because he’d refused to reveal the location of hidden treasures.
August 28, 2015 § Leave a comment
Mapping out the networks that link kleptocrats to middlemen, multinationals and markets is the key to understanding the dark side of the globalised economy. Tom Burgis, Financial Times investigations correspondent and author of a new book on the looting of Africa, discussed the tools required: following money trails, reporting from conflict zones, understanding the bigger context – and door-stepping Zimbabwe’s secret police.
August 22, 2015 § Leave a comment
An edited version of this review appeared at the National.
This story starts with a birth and a departure, in Jerusalem in 1948. The birth is Omar Bakry’s, and it orphans him. The departure, alongside three quarters of a million others, is his forced expulsion from Palestine. “We’ll be back in a couple of weeks,” one fatefully quips.
Omar, now in the care of a neighbouring family, relocates to Damascus, where the novel unfolds through the fifties and sixties, both an engaging romance and a convincing period drama.
Lilas Taha writes in American English. My British-English ear found it difficult at first to believe in old-fashioned Arabs saving each others’ asses and getting in each others’ faces. The effect was exacerbated by occasionally clumsy dialogue. Real Palestinian-Syrians would see no need to specify, for example, “the ruling Baath Party” or “the actress Souad Hosni”. Realism is lost at moments such as these when the novel, veering into explanatory overstatement, seems too obviously an act of cultural translation. It might have been better to write a preface, or to add footnotes.
But as the pages turn, slowly but surely, the characters come entirely credibly to life. We learn a great deal about them by observing their negotiations of etiquette and social ritual as they traverse a domestic danger zone marked by deaths, difficult births, precarious marriages, and looming scandals.
The cast is close-knit. Mustafa is a farmer denied his land whose lungs are broken in a wool factory. The book’s title comes from his mouth, and provides a wisdom for the drama: “The bitter almonds make you savour the sweet ones more.” His wife Subhia, their son Shareef and daughters Huda and Nadia, make up Omar’s surrogate family.
Taha depicts them trying to make ends meet, their life in cramped quarters, male and female sleeping areas demarcated by a blanket, and the profound familiarities and festering resentments which grow in such conditions.
August 22, 2015 § Leave a comment
Quentin Skinner’s Lecture What is the State? The question that will not go away.
August 8, 2015 § Leave a comment
Powerful Channel 4 documentary about the sexual exploitation and abuse of many thousands of poor and vulnerable children in Pakistan’s north-western city of Peshawar.
July 25, 2015 § 1 Comment
In my new article for In These Times magazine I discuss the important International Campaign for Human Rights in Iran report High Hopes, Tempered Expectations: Views from Iran on the Nuclear Negotiations, which features interviews with an array of Iranians—former political prisoners, filmmakers, political scientists, civil rights lawyers, playwrights, journalists, actors, economists, novelists, publishers, theater directors (some of them belonging to two or more of these categories, former political prisoner being the most common)—about the nuclear agreement.
Go here to read the article. If you tweet it, please give the International Campaign for Human Rights in Iran a shout-out (@ICHRI).
July 2, 2015 § Leave a comment
This appeared first at The National.
Plenty of news flows out from Gaza, but very little human information. This emotional blackout bothered Ra Page, founder of Comma Press, a Manchester-based publisher producing groundbreaking short story collections. It was Comma that gave the astounding Iraqi surrealist writer Hassan Blasim his first break. Comma has published a high-quality series of literary responses to scientific innovations as well as several collections based around cities such as Tokyo, Istanbul and Liverpool. Why not Gaza too?
“My rather naive idea with The Book of Gaza,” writes Page, “was to try to inch the city ever so slightly closer to a state of familiarity, to establish it as a place and not just a name, through the simple details that a city’s literature brings with it – the referencing of street names, the name-dropping of landmarks and districts.”
The book was by no means the first literary project to aim in some way to normalise Palestinian life. Since 2008 the Palestinian Festival of Literature (Palfest), brainchild of novelist Ahdaf Soueif, has tried to reaffirm, in Edward Said’s phrase, “the power of culture over the culture of power”. In practical terms, this means transforming a literature festival into a roadshow – Jerusalem one night, Bethlehem another, Ramallah on a third… Though these places are only a few miles apart, checkpoints prevent Palestinians from travelling between them. So the guest writers travel to their audience, and at the same time learn something of Palestine’s enormous creativity. This stateless nation has boasted many great literary talents, most notably Mahmoud Darwish and Mourid Barghouti in poetry and Ghassan Kanafani in prose. Meanwhile there are burgeoning film and music (especially hip hop) scenes.
For decades writers had to smuggle their manuscripts out of Gaza to presses in Jerusalem, Cairo or Beirut. The shorter the text, the more likely it was to be published. As a result, the Strip became an “exporter of oranges and short stories.” Edited by novelist and journalist Atef Abu Saif, The Book of Gaza contains stories from three generations. It achieves both the sense of place that Page hoped for and ‘familiarity’ through its treatment of universal themes. The stories are as likely to deal with women “besieged by preconceptions” (in Najlaa Ataallah’s words) as the seige imposed by Israel. The project succeeded in ‘depoliticising’ Gaza, at least to some extent.
But then, immediately after publication, Israel launched Operation Protective Edge. Story contributors were directly affected by the assault. Writer Asmaa al-Ghoul, for instance, lost nine members of her extended family. Page was driven to this bleak conclusion: “There is no stability in Gaza on which to build a reader-familiarity.”