The Late Khaled Khalifa Hoped for Remedy and Redemption of the Arab Literary Prize Through Transparency

 

Syrian novelist Khaled Khalifa’s sudden death last year in his Damascus home shocked the Arab literary world. The novelist, screenwriter, and poet has enraptured critics through his works, especially with his 2006 novel “In Praise of Hatred,” which was banned by the Syrian government. Khalifa’s passing at 59 leaves friends and acquaintances mourning the many words the writer left unsaid. At the same time, it becomes ever more prudent to heed his words, especially regarding the Arab literary prizes.

 

Khalifa’s literary output distinguished him as a novelist and won the attention of critics and readers. While giving him due attention in this article would be unrealistic, I am compelled to share the Syrian novelist and screenwriter’s frustration with Arab literary prize culture, expressed a few months before his death in an article in Al Majalla magazine.

 

Monetary factors are an issue in most criticisms of literary prizes. Of course, literary prizes are not novel to the Arab cultural scene since they date back to the 1960s and 1970s, but they are more financially heavy nowadays. Some critics claim the prizes revive the phrase that “anything money enters becomes corrupt,” and literary prizes are no exception. Monetary prizes undermine the integrity and ethical behavior of literature awards. Without citing much supporting evidence, objective observers agree that competitors focus on financial rewards more today than in the past. 

 

Lebanese journalism is an excellent example. In Lebanon, as in other Arab countries, the generous value of literary awards, whose primary source is the Gulf region, reigns supreme. Unlike in Western countries, some authors used to be able to make a living by writing novels and poetry. At a glance at Lebanon’s journalism just a decade ago, however, we find that those working in this field, mainly those in editorial positions in the cultural sections of the daily newspapers, are novelists and poets. Their living is earned from editorial jobs rather than selling books unless they are well-off. Thus, the struggle to win literary prizes has become a “life and death” situation for many literary figures.

 

Given the Lebanese economy worsening in recent years, many literary professional middle-class members look outward for additional income, mainly to Gulf countries. As they compete against each other, various scourges emerge, such as jealousy and betrayal among intellectuals, causing many to question the results of jury committee decisions and their fellow writers’ qualifications. 

 

That is the financial predicament of novelists and poets. Other drawbacks include the diminishing importance of prizes. Among the many factors contributing to this are the procedural ones. Khalifa’s death six months after publishing his article is almost like an unspoken decree to change the culture surrounding prizes and authors. This begins with his Booker Prize, for which he has been nominated three times and shortlisted twice. Khalifa wrote that the International Prize for Arabic Fiction (Booker) has attracted controversial attention over its winner selection. This problem can only be addressed through significant changes to the prize jury process. Currently, the Arabic Booker suffers from corruption, nepotism, and politics. Its deliberations over winners and losers are hidden from the public.

 

Literary prizes have cultural significance. After all, the winning authors might become stars overnight, gaining success, intrigue, and interest worldwide. Yet Khalifa highlights in his article the malicious side of the prize. He writes, “I know writers whose waiting to win prizes has turned them into imbeciles, nerve-wracked. They work with what they think is attractive and which gains the approval of the jury committees or those in charge of managing these prizes. Their writing declines and the prices they pay are wasted. Some writers intensify their work and print according to a calendar and dates applicable to awards.”

 

One of the prizes’ many drawbacks is their lackluster cultural impact and the attitude surrounding the prizes. While winners may experience stardom, the secretive nature of the selection process leaves any other competitors sidelined. One cannot find any pertinent information about other participants, some of whom are essential writers in their own right. Thus, there is an urgent need for reforms such as transparency of the deliberations and public access to the minutes of the “behind-the-closed-door” discussions within a reasonable time. Are such measures sufficient to overhaul the process? Perhaps not. However, they are a good start in rehabilitating it and promoting its professional recognition.

 

 

 

 

 

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