Sunday, 27 December 2009

Translation: In the Arab World You Live















Poem by Tamim Barghouti:
In The Arab World You Live

(my translation)

In the Arab world, you live
Like a cat living under a car
Eyes seeing nothing of this world but shoes.

In the Arab world, you live
Like a clown,
Under you,
A clown you step on,
And on your head,
A clown stepping on you,
And all standing,
- respectable!

In the Arab world, you live
A football match
That's been going on
For a thousand years.
Players running left and right
And the ball, all the time,
In the hands of the referee.

In the Arab world, you live
Cursing the taste of water
and falafel
and the coffee house
and its visitors
and your wife
and her children
what the devil does
and your penniless state.

And if they asked you,
You say: praise be!
May He keep the blessings coming!

In the Arab world, you live
Like tears in the eyes of the proud.
Difficulty banishes them,
generosity returns them.

In the Arab world, you live
A student in a school courtyard,
Breakfast-less,
Eyes on the street
As he salutes the flag.

In the Arab world, you live
One eye on the clock
Afraid you'll miss the news
To see onscreen people
In the Arab world, die.

Translated by: Tasnim Qutait

Tuesday, 22 December 2009

Thursday, 17 December 2009

Sweden and the Minarets


One in four  Swedes are against the building of minarets, apparently. In the poll, 26% were against, 44% said they should be allowed, and 30% were undecided. 


I wouldn't have been surprised if there had been a larger number against. But then what does that 30% mean exactly? That it is a non-issue, or that people would rather not say?


I have no idea what that picture has to do with minarets. A seemingly smiling woman in a headscarf. Is she smiling to say: I come in peace? That seems the only explanation, given the article, which talks worriedly about the danger of rising intolerance in Sweden in quite opinionated terms.   


On TV, Debatt had a show about it, except like Debatt always is, it was too wide-ranging a topic and too big an audience for anything useful to be "debated."


In the video, after a repetitive squabble over the oh-so-familiar sentence "Islam is a violent religion", a woman asks the Muslim-identifying group: "why are we not allowed to criticize you?" 


Indirectly, an answer was provided which showed some of the differences of Islam in Sweden. The bearded, middle-aged man defending Islam against the extremists, the earnest politically-active young woman pushing dialogue, and the long-haired live-and-let-live guy.  The fractures are many. The young woman did not like hearing, for example, that most Muslims in Sweden are not Muslims, and only identify strongly as Muslims because/when the community is under criticism  (the long-haired guy's opinion). Different people see being Muslim differently, she said pointedly  in reply.


One interesting point raised though, is how isolated everything is in Sweden. Individuals living in houses, not much of a sense of having neighbors. It's much more that way than in the UK, even.  The immigrant areas so clearly marked out, and even where there is mixing, there is no mixing because people keep themselves to themselves so much. What exactly can we do about that, the presenter asked. The answer: we shouldn't be doing anything, it should be happening naturally. 





Sunday, 6 December 2009

Enchantment of Reading

It is. . . easy to account for this enchantment. To follow the chain of perplexed ratiocination, to view with critical skill the airy architecture of systems, to unravel the web of sophistry, or weigh the merits of opposite hypotheses, requires perspicacity, and presupposes learning.

Anna Letitia Barbauld so effortlessly mixing words like "enchantment" with making reading sound like brain-hurting rocket science. And the "web of sophistry." What strange collisions of scientific and "airy" words.

Thursday, 3 December 2009

Contextualizing Rappaccini’s Daughter in the Contemporary Race Debate

Beyond Allegory

As Frederick Crews notes, the excess and fairytale logic of Rappaccini's Daughter calls “for some nonliteral rationale” beyond the literal plot, and the narrator’s claims that the tale makes “little or no reference either to time or space” has resulted in dozens of metaphysical ahistorical readings. But as the Author is dead, we hope to show that Rappacini's Daughter was, despite Hawthorne pronouncements, inscribed with the concerns of its historical moment. More specifically, we use Bakhtin's concept of the dialogic imagination to argue that Hawthorne deflected the identity crisis of mid-ninteenth century America to 16th century Italy. As a result of this analogy, threats to the illusory White Anglo Saxon Prostestant American identity being constructed at the time were conceived in what Said would call orientalist terms.


Said and American Orientalism

To discuss orientalism in Hawthorne is problematic as Said's conception of Orientalism as a discourse constitutive of and constituted by the direct exercise of imperial power in the Orient means that he sees American orientalism as developing only after WWII, when America took over as the dominant western power in the ‘Near and Far East’. This time-frame has been disputed as power in Focault's power-knowledge dynamic is not limited to colonialism, and scholars like Mae Ngai and Ussama Makdisi have examined 19th century American orientalist discourse in relation to Chinese immigration and evangelical missions in the Levant.

More radically Fuaad Shaaban argues that not only Said's time frame but his model of orientialism is inadequate, because Said fails to draw the obvious conclusion from his observation that the imaginary oriental Europe constructed provided “one of its deepest and most recurring images of the Other...[and thus]... helped to define Europe (or the West) as its contrasting image”.

Rest of Presentation

Serial Novels and Works in Progress




The potted history of the serial novel is well-documented, dating back to The Thousand and One Nights, with its frame of vizier's daughter Scheherazade narrating hook-laden stories to avoid execution by King Shahryar. Its heyday was the 19th century, with the Charles Dickens-founded periodical, All the Year Round, publishing novels of his, including Great Expectations, and Wilkie Collins's The Moonstone, at the same time as Sherlock Holmes was taking his first cases in The Strand magazine (which had a circulation of 500,000). Nowadays newspapers and journals rarely serialise novels, but the format lives on in Japanese manga, as well as the dank online caves of the horror, SF and occult genres, pioneered by Stephen King's "e-novel", The Plant, published in 2000 (which remains unfinished).
So does the serial novel in 2009 feel anachronistic, or thoroughly modern – a way of reading literature facilitated by technology?

Serial novels makes me think of the Pickwick Papers. Serial writing makes me think of fanfiction and wips. And the contrary souls who prefer catching a "long, regularly-updated wip" right at the start to reading through one already completed. And comments and feedback and community. Imagining all the possible alternative stories in the virtual universe between the text and the reader, only that process is doubled in fanfiction, with the directness of its responding and being responded to.

The aesthetics of anticipation, I was told by one wip-fan... compelling enough to be addictive, especially if there is a judicious use of cliffhangers. And no abandoned fics at the end.


Wednesday, 2 December 2009

Back Home

Summer is drawing to an end and you are going back (home). The open suitcase, overflowing with summer clothes, tells you what you would rather not admit: you have become one of those people, the ones who stream back to the home country in the holidays, visiting beach resorts and attempting to learn the names of a new crop of cousins.

There had been a girl born the night you arrived. You had first seen her tiny seven-day old face by candlelight, in a house that was quiet and dark and unfamiliar due to a blackout. The lack of electricity and the shadows thrown by the lone candle had made the familiar room seem like a prehistoric cavern or a bomb-shelter.

This picturesque scene could be a whole chapter in a story of home-coming, the sort of story that delves exuberantly into all the details of the homeland, describing smell, texture, and taste like a gastronomist and a travel brochure rolled into one.

But to begin writing a story of home-coming, you first have to pin down the word home, pin it down firmly on a world map with a red map-pin and give it a name, a location, a latitude.

"Don't tell me you're feeling sorry for yourself," says the angular aunt, the one with the perpetual furrowed brow that lent her a thoughtful air and a dignified mien. "Thousands would dream of this sort of life."

"The world's full of nomads with a collection of passports and a year split between continents," your cousin interjects. She's one of them. One of you.

You never thought you would be a stranger to winters in your own country. You can vaguely remember summer visits when the water would make you sick, and that makes you think of stories of sickly children in alien climates, quite contrary Mary wilting under a fierce sun, stubbornly poking at infertile sand. It is not a comfortable thought, because it brings you face to
face with the sour truth that belonging is never simply a matter of deciding to.

"You can only really become something in your own land. It's about dignity." This is the wisdom offered to you by an elderly woman, full of life and wrinkles, who commandeers the tea-making
process. She hands you a cup of green tea and asks you chidingly when you will come home for good. You fumble for an answer that will satisfy her.

"Don't ever write about 'home-coming'," your cousin demands, with acerbic scare quotes.

You promise not to.

Within a few days you and your cousin will be on opposite ends of the globe, where your lives will continue to unfold, connected by nothing but the slender thread that leads you back here, every other other summer. You could ignore it. You were neither born nor raised here. You are not moored.

Except when you step out of the enclosure of walls, the physical space that is home, you're still in some way home here. You no longer qualify for go home slogans. You don't feel compelled to eulogize the feeling. But it's something. It's there.

Home back home is a terraced house, currently empty, in a nice suburb where the cats tiptoe across the roofs at night and slip into your room if the window is open. Plump well-groomed pets hold the community together, encroaching into the neighbors gardens with no respect for properly pruned hedges and demarcated borders. Here the door is always unlocked and occasionally ajar during the daytime, and neighbors come in with a perfunctory knock or the clearing of a throat, while the cats are skinny, feral and aloof.

You lean out of the window and look down at an overgrown garden, home to a lemon tree, a fig tree and a weathered palm with a trunk like rhino hide. There are roses on the family farm, pale pink as new skin, and your aunt, a dedicated gardener, has stolen some for her own plot of land, is gently encouraging their growth as though they were premature infants or children with delicate constitutions.

Like a scene out of a film the suitcase waits to be closed. You leave it open and wander downstairs, encountering clusters of people who are your flesh and blood. Family. You are waiting for the farewell scene, an inversed version of the welcome, the same faces, but more subdued. It is a special kind of theater.

It seems a day between the embraces of welcome and the uplifted hands of farewell.

Inside Story - Swiss Minaret Ban