Joel Beinin has been a major figure in Middle East studies for several decades. He has been involved with the Middle East Research and Information Project (MERIP) since the 1970s and remains a contributing editor to its magazine, Middle East Report. He and Joe Stork assembled the cri de coeur Political Islam: Essays from Middle East Report. Beinin’s MERIP author page reads like a one-man archive of leftist thinking about the Middle East over the last 30 years.
The recent death of the Bulgarian-French cultural theorist and historian of ideas Tzvetan Todorov at the age of 77 flew largely under the radar of the digital commons. Precious few obituaries have appeared in English. The New York Times ran a good one. The literary scholar Françoise Meltzer of the University of Chicago wrote a nice tribute for the blog of the journal Critical Inquiry. That’s about it as far as I can tell, at least as of yet. This is surprising, given Todorov’s enormous influence and voluminous output across a wide swath of fields and themes.
I had the pleasure of interviewing Todorov a decade ago for Critical Inquiry. I had wanted to interview him for some time. I pitched the idea to the journal’s editor, W. J. T. Mitchell, over dinner at the Ethiopian Diamond in Chicago’s Edgewater neighborhood after an event for his book What Do Pictures Want?Mitchell (who would later have his own exchange with Todorov) immediately gave me the green light, for which I remain deeply grateful. Todorov and I covered a range of questions, beginning with his intellectual biography and style, onto a series of political issues — ones that remain strikingly relevant today.
This panel discussion on Syria’s future was held on 23 November in Denver at the 2015 Annual Meeting of the Middle East Studies Association (MESA). It featured Sarah Leah Whitson of Human Rights Watch, James Gelvin of UCLA, Joshua Landis of the University of Oklahoma, and Najib Ghadbian of the National Coalition of Syrian Revolution and Opposition Forces. I chaired and moderated. As I say in my introductory remarks, the questions explored in the discussion include:
How does Russia’s intervention in Syria change the equation?
How might the Paris attacks impact the geopolitical calculus—with France and Russia upgrading their assault on ISIS and the gap between Washington and Moscow regarding Syria’s future seemingly shrinking?
What might come of the Vienna peace talks set to begin in January?
Is Syria as a nation-state over? If so, what will emerge in its aftermath?
How can the carnage in Syria be brought to an end?
In the increasingly disfigured debate about Syria, it is scarcely even remembered that it all began as a popular uprising—indeed, as a nonviolent and non-sectarian one whose goals were dignity, justice, and freedom from a one-family mafia torture state in power for more than four decades.
Wendy Pearlman is out to set that record straight and explain why the Syrian uprising happened in the first place.
The Living Dead is a series of three films focussing on the power of the past. It was the second major documentary series made by Adam Curtis. In it he investigated the way that history and memory (both national and individual) have been used by politicians and others. It was braodcast in 1995. The series features Paul Fussell whose book The Great War and Modern Memory is in the Listmuse 100 Best History Books of All Time list.
My heart has been heavy since learning over the weekend of the death of the radical and marvelously lyrical Uruguayan writer Eduardo Galeano, whom I had the enormous pleasure of meeting some 20 years ago.
Galeano was an iconic literary and intellectual figure of the Latin American Left, but his work has a global footprint. Arguably among the most influential books of the second half of the 20th century, his landmark 1971 Open Veins of Latin America has been translated into more than a dozen languages and sold over a million copies. It stands with Fanon’s Wretched of the Earth, Albert Memmi’s The Colonizer and the Colonized, and Gillo Pontecorvo’s film The Battle of Algiers, in the pantheon of anti-colonialism and Third Worldism. Hamid Dabashi calls Galeano a “creative voice of an alternative historiography, a mode of subaltern thinking and writing before a number of Bengali historians made the term globally popular.” Continue reading “Memories of Galeano’s Fire: My Afternoon with the Late Uruguayan Writer”