Essays and Features
I met Hanna Batatu in the mid-1980s, when I was a graduate student at U.C.L.A., where he lectured on Iraq. I and other colleagues interested in the politics and history of the Middle East met with him publicly and privately. Once while giving him a ride to the Los Angeles International Airport, he gave me his home telephone number, for he frequently worked at home when he did not have teaching commitments in Georgetown University. Sometime later I called him and asked if he would agree to be interviewed about the Kurdish question on a radio program hosted by a friend of mine.
The latest mumanah (anti-Western alliance of "leftist"-Baathist-Hezbollah supporters) media has been on a new mission: to redeem the bankrupt argument of its masters by exploiting a terrorist moment and sabotaging a counter argument to the rise of radical Islamists in Syria. This new “operation” does not challenge or poke holes in the pro-Syrian revolution argument. Rather, it inundates the media battlefield with a cacophony of feeble-minded voices explaining how the Charlie Hebdo attacks took place only for the purpose of muddling the field of criticisms of the French government.
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.
"Come, Salem. Come quickly.”
“Oh… What happened?”
“Mom has fallen ill.”
“She’s in the hospital.”
“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.”
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.
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.