November 22nd, 2015
This has been an exceedingly bloody and difficult week. In order to make sense of it, I did what I always do: I wrote. First was an op-ed in The Nation magazine. Here’s how it begins:
What happened in Paris on November 13 has happened before, in a shopping district of Beirut on November 12, in the skies over Egypt on October 31, at a cultural center in Turkey on July 20, a beach resort in Tunisia on June 26—and nearly every day in Syria for the last four years.
The scenario is by now familiar to all of us. News of the killings will appear on television and radio. There will be cries of horror and sorrow, a few hashtags on Twitter, perhaps even a change of avatars on Facebook. Our leaders will make staunch promises to bring the terrorists to justice, while also claiming greater power of surveillance over their citizens. And then life will resume exactly as before.
Except for the victims’ families. For them, time will split into a Before and After.
The piece was reprinted in Internazionale in Italy, and in The Age in Australia. Thank you to all who have written me or shared this piece online. I also wrote a personal essay for The New York Times Magazine, this time about ISIS’s goal of eliminating “the gray zone” of coexistence. Here’s an excerpt:
As part of its efforts to spread its message outside the territory it controls, ISIS puts out an English-language magazine, Dabiq, which can be found online. In February, Dabiq featured a 12-page article, complete with high-resolution photos and multiple footnotes, cheering the terrorist attacks of Sept. 11 and claiming that they made manifest for the world two camps: the camp of Islam under the caliphate and the camp of the West under the crusaders. The article ran under the title “The Extinction of the Grayzone.” The gray zone is the space inhabited by any Muslim who has not joined the ranks of either ISIS or the crusaders. Throughout the article, these Muslims are called “the grayish,” “the hypocrites” and, for variety, “the grayish hypocrites.”
You can read the essay in full here. I’m thrilled to see it find so many readers.
Lastly, I should mention that I’m one of the signatories of this open letter to Congress on the refugee crisis: Do Not Cede to Fear. Please share. Please sign.
November 3rd, 2015
I’m thrilled to report that The Moor’s Account has won the Hurston/Wright Legacy Award in fiction. I was not expecting the novel to take the prize—there were so many great books in consideration—but it was a special treat to see it being recognized at the Washington, DC gala. The other two finalists were Tiphanie Yanique (picture above, left) and Roxane Gay.
In other news, I had a new essay on the theme of ‘unforgettable meals’ in The New York Times Magazine this week. Here’s how it starts:
Moha, who wanted to be our guide, said it was an easy hike to the Bridge of God. But he looked about 15 and spoke in a timid voice that made me doubt how easy it would really be. We were at the trailhead in Akchour, a small village nestled in the Rif Mountains in northern Morocco. ‘‘How long will it take?’’ my daughter asked.
I translated her question into Arabic for Moha. ‘‘It depends how fast we walk,’’ he replied. ‘‘With small children, three or four hours.’’ The adults in our party were eager to do the hike; the children, not so much. Something is always lost in translation, but as Salman Rushdie once put it, something can also be gained. ‘‘Only a couple of hours,’’ I said in English.
You can read the rest here.
I’ll be closing my fall tour with an event in Santa Fe, New Mexico, where I’ll be in conversation with the novelist Aminatta Forna for the Lannan Foundation. Tickets for the event are available here.
(Photo credit: Don Baker / Hurston Wright Foundation.)
October 20th, 2015
What a busy couple of weeks! I’ve been traveling, talking, and teaching almost nonstop. I’m enjoying it tremendously, but I do long for the end of the year, when things will quiet down a bit. In the meantime, I wanted to share my review of a new graphic memoir by Riad Sattouf, a former cartoonist for Charlie Hebdo. Here’s how it closes:
Already a success in France, “The Arab of the Future” will do little to complicate most people’s perceptions of Libya or Syria. Life in both countries seems like a living hell, with no moments of relief or pleasure. But this book also has occasional flashes of beauty. When Abdel-Razak comes across a mulberry tree in Tripoli, the taste of its fruit, like that of Proust’s fabled madeleine, takes him back to the carefree days of his childhood, days when the future was still full of possibility.
You can read the full review in the New York Times Book Review. Let’s see, what else? I will be on the fiction faculty at the Bread Loaf Writers’ Conference in Middlebury, Vermont, next August. Register early! I am judging the PEN/Bellwether Prize, with Kathy Pories and Brando Skyhorse. Rules and eligibility are posted here. And I found out that I’ve been included in a list of the world’s 500 Most influential Muslims. I’ll raise a glass to that!
Photo credit: From The Arab of the Future via The New York Times.
October 2nd, 2015
My review of Mathias Énard’s novel Street of Thieves appeared in The Guardian last week. Here’s how it opens:
Tangier, Mathias Énard writes in Street of Thieves, is famous “chiefly for the people who leave it”. Take, for example, the explorer Ibn Battutah. He left Tangier in 1325 and travelled through much of Africa, the Middle East, eastern Europe and Asia. When he finally returned home, 30 years later, he wrote Rihla, an account of his adventures and one of the most important narratives we have of life in the 14th century.
Lakhdar, this novel’s 18-year-old narrator, will also leave home and write about it. Though his journeys are limited to Morocco, Tunisia and Spain, they provide a glimpse into the tremors of the Arab spring, the threat of Islamic fundamentalism, and the indignados movement in Spain. These subjects may seem ripped from the headlines, but they are not unusual for Énard, a French novelist whose work often focuses on war and political conflict.
You can read the rest here. Last week, I also spoke to NPR’s Colin Dwyer about book blurbs and why they persist. Take a look.
Photo: Bruno d’Amicis for The Guardian.
September 4th, 2015
I spent a month at Yaddo Colony, in upstate New York, working on my new novel. The grounds were beautiful, but also filled with mosquitoes and ticks. Most of the time, I forgot to wear insect repellent. I swam in the pool that John Cheever built. I didn’t have to make a meal, scrub a sink, pick up the mail, or take out the trash. I walked alone. I missed my husband. I missed him so much I cried. I watched several news cycles from afar. (The Confederate flag came down. The Iran nuclear deal was signed. The Saudi government continued bombing Yemen, to almost universal indifference. The Syrian refugee crisis worsened. There was another mass shooting. Another case of police abuse. A clown decided to run for president.) I found that the world got by without my taking note of every piece of news, much less my commenting on it. I read a lot. I wrote a lot.
In July, I found out that The Moor’s Account had won the American Book Award and the Arab American Book Award, and that it was longlisted for the Man Booker Prize. Reviews in the UK began to appear, including in The Guardian, The Independent, and The Financial Times.
This summer, I also published a personal essay about my grandmother’s good luck charm in The New York Times Magazine. In August, my review of Amitav Ghosh’s Flood of Fire, the final volume in his Ibis trilogy, appeared in The New York Times Book Review. I also took part in a Room for Debate forum on diversity in core humanities courses.
But all this was mostly white noise, as I spent the majority of my time working on my book. I’m trying to get as much done as I can before I have to resume teaching later this month. I will also be on the road in the fall, and you can find out more about my upcoming events here.
June 30th, 2015
Summer is here. I am spending it working on my new novel, so things are likely to be very quiet on this blog and on my social media accounts for a while. But I did want to mention that my review of Kamel Daoud’s The Meursault Investigation, an inventive retelling of Albert Camus’ The Stranger from the point of view of the victim’s brother, appeared on the cover of the New York Times Book Review earlier this month.
Also, The Moor’s Account will come out in paperback in the U.S. on August 18 and in the U.K. on August 27. I will be going on book tour again in the fall. Check the events page for details.
April 21st, 2015
I was teaching an undergraduate fiction workshop yesterday when I received a text from my friend Mark congratulating me. “On what?” I asked. I had no idea what he was talking about. Then I found out that The Moor’s Account was named a finalist for the Pulitzer Prize in fiction, along with Richard Ford’s Let Me Be Frank With You and Joyce Carol Oates’s Lovely, Dark, Deep. The winner was Anthony Doerr for All The Light We Cannot See. In shock, I blurted out the news to my students, who erupted in applause and cheers.
I’m thrilled and grateful for this recognition, and I am especially honored to be included in such fine company. When I came across the story of Mustafa/Estebanico six years ago, I immediately knew it had to be told in the form of a novel, but I worried that I did not have the talent to do it and that, even if I did somehow pull it off, no one would care about it. But this character simply wouldn’t let go of me, so I took a leap. I wrote the book I wanted to write, with no expectation of it ever finding a readership or garnering any attention. But, oh, it’s so nice when that happens! My heartfelt thanks to the Pulitzer Prize fiction judges.
Last week, The Moor’s Account was also named a finalist for the Hurston/Wright Legacy Award in fiction, a national prize for published writers of African descent. The other nominees are Chris Abani’s The Secret History of Las Vegas, Ishmael Beah’s Radiance of Tomorrow, Roxane Gay’s An Untamed State, Nadifa Mohamed’s The Orchard of Lost Souls, and Tiphanie Yanique’s Land of Love and Drowning. The winner will be announced at a ceremony in Washington, DC, in October.