Essays and Features

The Picture of a Woman From Aleppo!

By 
Elie Chalala

This photograph lingers in the consciousness of the viewer. It displays, against a background of dust clouds, an exhausted woman accompanied by two children, fleeing the danger and distress of the bombing. There is something desperately poignant about her expression. Distress and shock mark her state of mind, as some newspapers wrote, but one wonders whether that does full justice to her mental state. She is flanked by her two children…

 Every time I watch the images from Aleppo or hear the news that the poor suburbs of the city have again been the targets for Assad's bombs, I recall the mumanah or "leftist" diatribe of their championship of the downtrodden and the impoverished, the students, workers and peasants whose interests the Assad regime claims to have at heart. Never mind the fact that we haven't heard the word "socialism" uttered by the Syrian regime for almost three years, and that we do not expect to hear it from the Assad junta in the foreseeable future.

Life From Beneath The Knife

By 
Hanna Saadah

My schedule brimmed with appointments like a bookshelf, stacked back to back. The names, silent like book titles, filed in the waiting room.  I motioned to Norma to follow me into my office.  She hesitated, trying to disengage from a conversation she was having with Mrs. Stitchmaker who stood at the window with questions about her bill. (From "Life From Beneath The Knife," by Hanna Saadah. Click on the link to read the full short story).

"Come, Salem. Come quickly.”

“Oh… What happened?”

“Mom has fallen ill.”

“What?”

“She’s in the hospital.”

“Why?”

“She’s had a stroke.  Her right side is paralyzed.  She’s babbling: life… knife… fingers...  No one understands.  We don’t know what to do.  Everyone is waiting for you.”

“Ok, Sis.  I’ll be on my way.”

Lebanon and Algeria: Collective Memory and Cultural Trauma

By 
By Wided Khadraoui

Lebanon and Algeria: Collective Memory and Cultural Trauma

Wided Khadraoui writes an analysis of two plays, Algerian playwright Slimane Benaissa’s “Les fils de l’amertume” (Sons of Bitterness,) and Lebanese playwright Wajdi Mouawad’s Incendies (Scorched). Both works examine themes of collective memory, repression, and cultural trauma instigated by violent upheavals within Algeria and Lebanon. This leads to a fascinating discussion of the role that these issues have played in stifling “Arab Spring” movements in these two countries.

Taking the form of a dialog between a terrorist, Farid, and journalist, Youcef, “Les fils de l’amertume” explores the overlapping influences of religious fundamentalism and nationalism in Algeria. The play also addresses the fall-out from a devastating civil war, economic crisis, and a multitude of social injustices. Even Algeria’s attempts to control violence creates unforeseen consequences.

Unlike Benaissa’s play. Mouawad’s Incendies, never reveals the setting, although that anonymous land obviously represents Lebanon. The plot centers on the theme of hiding and demystifying secrets. Twins Janine and Simon return to the Middle East to fulfill their dying mother’s wish, after sending off two letters from her, one to the father they thought had died before their births, and one to the brother they never knew existed. As shocking as these events may be, many more surprises await discovery. Like other survivors of war hoping to make sense of what has happened, the twins will encounter “…a truth that is like a green fruit that has never ripened,” but which, with exposure, finally become digestible, if not palatable. Students, scholars, and those who appreciate intelligent, well-written and reasoned drama, will not want to miss this beautifully crafted analysis of two unique and timely plays. 

Right

Literature can be a useful tool for confronting tragedies of the past.  In their newest plays, Algerian playwright Slimane Benaissa and Lebanese playwright Wajdi Mouawad examine the trauma inflicted by the violent upheavals in their respective countries, exploring ideas of collective memory and rebuilding a society that has imploded.  

The Uncompromising Voice of Syrian Screenwriter Fouad Hamira

By 
Rebecca Joubin

Fouad Hamira, who began as an employee in the National Theater, has gone on to become one of the leading voices in Syrian television drama. He is renowned for his unwillingness to compromise with the forces of societal and political oppression. His controversial “Ghazlan fi Ghabat al-Dhi‘ab” (Gazelles in a Forest of Wolves), which was filled with a poignant critique of corruption and the abusive nature of power, was finally allowed to air  in 2006, although he had written the miniseries 15 years earlier.

Nidal Seijari: A Lost Voice for Peace

By 
Rebecca Joubin
Right

Born in Latakia in 1965, Nidal Seijari went on to graduate from al-Mahad al-‘Ali li-l-Funun al-Mesrahiyya (Higher College of Theater of  Arts)and become a member of the Artist’s Union in 1991. Seijari was well known as an actor, film director, and art consultant in Syrian television drama. One of the most sha‘bi (popular)and beloved Syrian actors of all time, he fought throat cancer courageously for a number of years. He passed away on July 6, 2013, at the age of 48.

Darwish Indicts Modern Arab Poets

By 
Nancy Linthicum
Right

Celebrated Palestinian poet Mahmoud Darwish has served as a symbol of the Palestinian struggle and a model of near perfection among contemporary Arab poets for several decades. After constant harassment, including imprisonment by Israeli authorities, Darwish had to leave his homeland in 1971, moving from one country to another in the Arab world and abroad. Throughout his many moves, Darwish increased his readership and became known as a herald of “resistance poetry” or shi’r al-muqawamah.

The Egyptian Contemporary Novel:

A Survey of a Revolutionary Endeavour
By 
Nada Ramadan
Right

One of the recurrent discussions in literary circles in Egypt is whether a new literary movement has started and whether we can dub it “Revolution Literature.” It was on the 25th of January, 2011, that the Egyptian Revolution was hailed as successful, and why not, President Mubarak’s abdication was celebrated till the early hours of dawn in the streets and squares across the country.

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