I have an essay in the new issue of Democracy: A Journal of Ideas in which I review Laura Secor’s excellent new book Children of Paradise: The Struggle for the Soul of Iran and also examine Tehran’s role in the changing political landscape of the Middle East—especially in the Syrian catastrophe. You can read the essay here.
This article about Arab prison writing was published at the National.
From ‘Prisoner Cell Block H’ to ‘Orange is the New Black’, prison dramas fill the Anglo-Saxon screen. In the Arab world, you’re more likely to see them on the news. In recent months, for example, detainees of the Syrian regime have staged an uprising in Hama prison and been assaulted in Suwayda prison.
No surprise then that contemporary Arab writing features prisons so prominently, sometimes as setting, more often as powerful metaphor.
“About My Mother”, the latest novel by esteemed Moroccan writer Taher Ben Jelloun (who writes in French), is an affectionate but unromantic portrait of his parent trapped by incoherence. The old lady suffers dementia, mistaking times, places and people, but there is a freedom in her long monologues, the flow of memory and shifting scenes, torrents of speech which eventually infect the narration.
The novel is family memoir and social history as well as an experiment with form. Jelloun’s mother was married thrice, and widowed first at sixteen. At the first wedding, the attendants presenting the bride chorus: “See the hostage. See the hostage.”
Fettered by tradition and domestic labour, now by illness and age, she responds with superstition, fatalism and resignation. Her own confinement is echoed by memories of national oppression, first by the French, then by homegrown authorities. She learns to mistrust the police even before her son Taher’s student years are interrupted by eighteen months in army disciplinary camp, punishment for his low-level political activism. “That’s what a police state is,” the adult writes, “arbitrary punishment, cruelty and barbarity.”
Yet the ultimate prison here is death, frailly resisted by language and dreams.
Jelloun has also written about prison as a lived experience. His 2001 ‘non-fiction novel’ “This Blinding Absence of Light” is loosely based on the actual testimony of Aziz Binebine, refigured here as ‘Salim’. Salim “became ageless on the night of July 10th 1971”. In this historical respect his story is somewhat representative of the many who disappeared from sight as the Arab security states consolidated themselves in the early 70s.
This review of books on Syria, mainly of Francesca Borri’s ‘Syrian Dust’, was published at the National.
“…if you only talk about those who are fighting, any revolution becomes a war.” – Francesca Borri
For a long time very little was published on Syria in English. Patrick Seale’s useful but hagiographic “Assad: the Struggle for Syria” was the best known. Hanna Batatu’s classic “Syria’s Peasantry and their Politics” and Raymond Hinnebusch’s “Revolution from Above” were valuable academic studies of the Hafez-era state.
Over the last five years of revolution and war, several shelf loads of books have appeared. Many are sensationalist, cashing in on the latest terrorism scare. But several are of very high standard. Bente Scheller’s “The Wisdom of Syria’s Waiting Game”, for instance, is an excellent analysis of Assadist pre-revolution foreign policy. Thomas Pierret’s “Religion and State in Syria” is an indispensable resource on the social roles of the Islamic scholars in the same period.
Novelist Samar Yazbek’s “Woman in the Crossfire: Diaries of the Syrian Revolution” is the best account of the revolution’s early months, though “Revolt in Syria” by Stephen Starr, an Irish journalist then resident in Damascus, comes close. Jonathan Littell, author of the remarkable WW2 novel “The Kindly Ones” wrote “Syrian Notebooks” after spending two weeks of 2012 in besieged Homs. Marwa al-Sabouni’s well-received “The Battle for Home” gives a Syrian architect’s perspective on the destruction (and potential rebuilding) of the city.
Charles Lister’s masterful “The Syrian Jihad” is not only the best guide to the various Islamist groups operating in Syria, it also explains and contextualises their rise. Michael Weiss and Hassan Hassan’s “ISIS: Inside the Army of Terror” is an accessible summary of the organisation’s history and modus operandi. “Jihad Academy” is French journalist Nicolas Henin’s thoughtful account of ISIS captivity.
And three recent books, beneficial in very different ways, provide insider views from outsider women.
This review was published at the National.
Molly Crabapple’s “Drawing Blood” – “the story of a girl and her sketchbook” – is at once memoir, reportage, literary description, aesthetic enquiry, road novel and romance.
Crabapple’s painting, lying somewhere between Toulouse Lautrec and surrealism, is increasingly celebrated. The surprise here is that her best writing is as provocatively beautiful as her visual art. Her prose is sweet and sour in equal measure, the eye she watches with is both refined and raw. Very often she watches herself. The comfortable clash in her personality of cynic and idealist, highbrow and lowbrow, recalls Saul Bellow’s early characters. Like Augie March, a young Molly shoplifts high-canonical texts and reads them on the elevated trains which pass above slums.
Native of New York, of a stimulating Puerto Rican (Marxist) and Jewish (artist) background, Molly nevertheless hated being a child. School diagnosed her with “oppositional defiant disorder”; by twelve she’d become a goth-punk. At seventeen she was travelling in Paris and Morocco, an American on tour – “nothing but an eye, soaking up the world” – but one seeing a freshly unexotic vision.
“When you draw you are performing quietly,” she writes, “inviting strangers to engage you.” Strangers engage her, of course, wherever he is, whether she’s drawing or not, simply because she possesses (or is possessed by) an attractive female body. This she finds to be both a power and a vulnerability. The financial power leads her to pose for photo shoots. “When I thought of every proposition and threat that I got just walking down the street in my girl body, I decided I might as well get paid for the trouble.” And so she became “rendered into image, untouchable yet tradable.”
A very slightly different version of this review was published at the Guardian.
Tahar Ben Jelloun is a Moroccan who has contributed a series of important works to French literature, perhaps foremost amongst them the brilliant ‘non-fiction novel’ of incarceration “This Blinding Absence of Light”. His latest novel, “The Happy Marriage”, bears echoes of Tolstoy’s grim relationship-degeneration tale “Happy Ever After”, but Jelloun’s tale is thrown into question by a counter-narrative.
Our protagonist is semi-paralysed, recovering from a stroke, his face twisted like a Francis Bacon painting. He is a successful artist, a demanding perfectionist who now struggles to move his fingers while watching TV athletics and thinking about tightrope walking. His contextual musings on deterioration and dependency – “When your life is in someone else’s hands, is it still a life?” – form a suitable backdrop to his memories of a two-decade marriage, in Paris and Casablanca, in sickness and health.
Part One (called, with a nod to Truffaut, The Man who Loved Women Too Much) is the artist’s own carefully-crafted account, in third person. The accomplishment of the writing here recalls Philip Roth’s more sober moods, or Saul Bellow’s studies of older men suffering the humiliations of body and soul. The psychological depth, high-cultural detail, sometimes even the dense but fluid prose (ably translated by André Naffis-Sahely) are reminiscent of that American master.
Among many other endeavours, Ahmad directed the Transnational Institute in Amsterdam, collaborated with Algerian revolutionaries, edited the journal Race & Class, wrote a column for the Pakistani newspaper Dawn, and sat trial for conspiring to kidnap Henry Kissinger. He was a Third Worldist, an internationalist, and a humanist in the very best sense of those terms.
Richard Falk puts it felicitously:
Eqbal Ahmad was a remarkable human being as well as a seminal progressive political thinker. In this illuminating intellectual biography, Stuart Schaar brings his subject to life, drawing on their long, intimate friendship and shared scholarly engagement with the politics of the Middle East and the Islamic world. Above all, Ahmad grasped the toxic interplay between the maladies of postcolonialism and the persistent imperial ambitions of the West better than any of his contemporaries.
In November I had the pleasure of interviewing Schaar about his book for Middle East Dialogues, a video series produced by the Center for Middle East Studies at the University of Denver. Here it is.
This review of Samar Yazbek’s “The Crossing: My Journey to the Shattered Heart of Syria” was first published at the Daily Beast.
This shocking, searing and beautiful book is an account of three visits to Idlib province in northern Syria, an area liberated from the Assad dictatorship “on the ground but betrayed by the sky.”
In the face of regime repression, Syria’s non-violent protests of 2011 had transformed into an armed uprising in 2012. By August of that year, when the author – exiled Syrian novelist and journalist Samar Yazbek – made her first trip, Assad’s forces had been driven from the rural border zones. From a distance, however, via warplanes and long-range artillery, they implemented a policy of scorched earth and collective punishment. So Yazbek finds her homeland changed to a landscape of burnt fields and cratered market places, with boys picking through collapsed homes in search of things to sell and displaced families sheltering in tombs and caves. Death is ever-present. Gardens and courtyards have become cemeteries. Yazbek never shies away from the horror but builds something worthwhile from it, a record and a reflection, for death is ultimately “the impetus of writing and its source.”
Known today only for war, Syria is heir to an ancient civilisation. Idlib province houses the remains of Ebla, a five-thousand-year-old city, and is dotted with half-intact Byzantine towns and churches. The war’s “ruthless sabotage of history” has damaged these priceless sites. In Maarat al-Numan the statue of 9th Century poet Abu Alaa al-Maari, a native of the town highly respected in his own time despite his unusual atheism, has been decapitated by armed Islamists. And the wonderful mosaic museum at the same location has been bombed by the regime and looted by various militias.
But amid these ruins Yazbek encounters a people giving voice to their aspirations after half a century of enforced silence. In revolutionary towns the walls are “turned into open books and transient art exhibits”. Activists organise “graffiti workshops, cultural newspapers, magazines for children, training workshops, privately-run community schools.” In the context of state collapse these projects are born of necessity, but they also reflect the kind of society the revolutionaries hoped to build – inclusive, democratic, forward-looking – one which they are in fact trying to build, even as extremists fashion their own, much darker versions. Through self-organised committees and councils, Yazbek is told, “each region now has its own administration, and every village looks after itself.” This – Syrians’ willed self-determination, Syrian creativity amid destruction – is the positive story so often missed in the news cycle, and it represents a hope for the future, faint though it is. The activists know they are working against insurmountable odds, but continue anyway. They document atrocities and reach out to international media, an endeavour which has so far failed to bear tangible fruit. When they can, they laugh – it’s “as though they inhaled laughter like an antidote to death.”