I was honoured to be asked to write the introduction to the English translation of Khaled Khalifa‘s third novel, In Praise of Hatred– set in Syria in the 1980s and essential background reading for the current tragedy. Four paragraphs of the introduction are reprinted below, and then Maya Jaggi’s review in the Guardian.
So how brave and necessary it was to write a fiction of the events. In our narrator’s harsh euphemism, Alawis are “the other sect” and the Ba‘ath Party is “the atheist party”, but the historical references are unmistakeable. Khalifa plays one of the noblest roles available to a writer: he breaks a taboo in order to hold a mirror to a traumatised society, to force exploration of the trauma and therefore, perhaps, acceptance and learning. He offers a way to digest the tragedy, or at least to chew on its cud. In this respect he stands in the company of such contemporary chroniclers of political transformation and social breakdown as Gunter Grass and JM Coetzee.
In purely literary terms as well as politically, the novel rises to a daunting challenge: how to represent recent Syrian history, which has often been stranger and more terrible than fiction.
For a start, it’s a perceptive study of radicalisation understood in human rather than academic terms. It accurately portrays violent Islamism as a modernist phenomenon, a response to physical and cultural aggression which draws upon Trotsky, Che and Regis Debray as much as the Qur’an, and contrasts it with the more representative Sufism of Syrian Sunnis.
Next, it examines the dramatic transformations of character undergone by people living under such strain, the bucklings and reformations, the varieties of madness. The characters here are fully realised and entirely flexible, even our bitter narrator, and their stories are told in a powerfully rhythmed prose which is elegant, complex, and rich in image and emotion. There is musicality too in the rhythm of the episodes, the subtle unfolding of the plot.
P U L S E 