After a long stay in London, Layla returned to Beirut in 2009 to sign her novels, “I Live” and “The Gods Deformed,” and her short story collection “Spaceship of Tenderness to the Moon,” which had been republished by Dar al-Adab, at the Beirut Book Fair. Surrounded by her books, Layla seemed as if she was still preserving her old magic and charm. She was Beirut’s “star” novelist during the 60s, especially after “Spaceship of Tenderness” was banned in 1964 on charges of immorality. She was arrested, tried, and won the case.
As the Assad Regime’s Collapse Looms, Riham Essa Reflects on the Complex Emotions Among Syrians
By Elie Chalala
In a blog essay published in Al Modon newspaper, Syrian short story writer and author Riham Essa touches the surface of the complex emotions she, and perhaps other Syrians, have felt in the wake of the Assad regime’s fallout as the country contemplates its new beginning. Syria, she writes, “has never been a homeland, especially after 2011."
“The least we can do at this critical historical moment is to respect the suffering of the Syrians (and the suffering of everyone who was tortured by the Syrian Baath regime, regardless of their nationality) and to remain silent for a while. To come to grips with all this suffering, pain, loss of reason, and torture, we perhaps need a long time,” writes Basma Al-Khatib, a Lebanese writer and novelist.
The sudden arrest of award-winning Algerian-French author Boualem Sansal and the ensuing silence regarding his release have produced a global outcry, bringing literary, cultural, and political circles to the writer’s defense. Sansal becomes the second author to agitate Algeria’s political and literary scene in recent months, next to fellow Algerian-French writer Kamel Daoud, whose recent legal tangle over his Prix Goncourt-winning novel “Houris” remains ongoing. Both cases raise apprehensions among critics and writers over Algeria’s course toward further restrictions on freedoms, especially concerning criticisms of the country’s history amid current talks about Morocco’s autonomy proposal for Western Sahara.
The Lebanese at home and abroad have been glued to their television and social media screens since September 23, awaiting news of the military operations that went beyond the bordering southern villages and reached areas as far as the deep south, the Bekaa Valley, and the southern suburbs of Beirut. Mount Lebanon, Central Beirut, and even the north of the country were not spared from Israeli raids.
Plumes of black and gray smoke billow behind the outline of Baalbek’s historic Temple of Jupiter like a foreboding shroud, disrupting the blue of the skyline with heavy, hazy air. That the ancient Roman ruin’s brush with destruction left it seemingly unscathed offers little reassurance, overshadowed by more pressing fears that the city and its cultural heritage won’t be so lucky next time.
After his passing in 2022, poets, intellectuals, and journalists offered their eulogies of the Lebanese poet Hassan Abdallah (1943-2022), who captivated readers with his words. Among those honoring him were Shawqi Bzay, Abbas Beydoun, Jawdat Fakhreddine, Talal Salman, and others. Without exception, Abdallah’s colleagues and friends remember him as a humble man, one who preferred to remain in the shadows and shun the limelight, festivals, and fiery speeches.
“Theatrical” perhaps best describes the current state of Lebanon’s performing arts scene, which seems to be embroiled in its own drama in recent days. Early this year, we bade farewell to the director and actor duo Antoine and Latifa Multaqa, pioneers of Lebanese theater’s 1960s avant-garde era and, for a moment, relished in nostalgia for Beirut’s culturally vibrant bygone days. Unfortunately, such rose-tinted memories have little room under the stifling atmosphere overtaking much of Lebanon’s arts and culture.
“There are clear faces that do not hide anything, as if their features convey the stories of their owners. It is as if every story in the life of its owner left a mark on it. For the Lebanese playwright Raymond Jebara, he wears a face of fatigue mixed with sharp sarcasm and a smile... eyes that describe the man,” wrote the Kuwaiti Al Jarida in an interview with Jebara in 2010.
As if gripped by the fear of losing the history of Palestine, Fathi Ghaben kept Palestine close to him for his entire life, in his mind, art, and physical existence. Reporters, critics, and Palestinian government officials paid tribute to the artist, whose unwavering focus on Palestinian culture and memory saturated his life and work.
The widespread reach of the Egyptian song and its artistic achievements, going beyond the Arab sphere to the rest of the world, owes its success to musicians, singers, and poets whose writings remain immortal today. Among them is the poet Magdy Naguib, who departed from the cultural scene on February 7, 2024, reports Al Habeeb Al Aswad in Al Arab newspaper. Hardly a moment goes by without news of the Arab cultural scene losing an artist, poet, songwriter, or other creative.
When the Frankfurt Book Fair announced last October the “indefinite postponement” of Palestinian author Adania Shibli’s award for her novel “Minor Detail,” outrage erupted among critics not just in the Arab world but globally, with numerous translators, publishers, and award-winning authors condemning the decision in an open letter.
Arab reactions to the “indefinite postponement” of an award ceremony honoring Palestinian author Adania Shibli and her novel, “Minor Detail” have ranged from ideological to radical, with several voices leveraging the October 16 decision by LitProm, the awards administrator of the Frankfurt Book Fair, as yet another reason to decry Western imperialism.