January 19th, 2010
I am very happy to report that I have a short story in the newest edition of the journal Callaloo. This special issue was devoted to the Middle East and North Africa and was edited by the novelist Salar Abdoh. It includes poetry by Mahmoud Darwish, Hayan Charara, Nathalie Handal, Fady Joudah, Sholeh Wolpe; nonfiction by D.H. Melhem; fiction by Raja Alem, Ibrahim Al-Koni, Radwa Ashour, Pauline Kaldas, and yours truly. There are also photographs, art, book reviews, and drama selections. You can view the entire table of contents here. The journal is now in its 34th year, and though it was founded at the University of Louisiana at Baton Rouge, it is now primarily supported by Texas A&M University. It is an important forum of African diaspora and African-American arts and culture, and you can support it by subscribing here.
January 18th, 2010
Last Friday, the New York Times ran a story about skin-whitening creams, which contain harmful steroids, but are nonetheless widely available on the market. Of course, the marketing material for these creams doesn’t use words like “whitening.” Instead, a range of euphemisms is preferred, particularly in the United States—euphemisms such as “brightening” and “clearing” and “evening out.” But when I visited Asia and certainly in places like Morocco, I’ve seen these creams advertised with the more blunt term of “whitening.” One was called “White Perfect.” The article has a pretty shocking photo montage of baseball player Sammy Sosa, before and after treatment.
All this reminded me of Toni Morrison’s The Bluest Eye, which I am teaching this term in one of my classes. The book is a meditation on aesthetics, beauty, and the pervasiveness of a “white aesthetic,” in which white skin equals beauty and black skin does not. It’s also a deep look at what this type of uniformly available aesthetic does to the psyche of the little girl Pecola. One of the reasons I quite like this book is that it is frank and fearless in its exploration of aesthetic preferences, something that is often, whether consciously or unconsciously, silenced in literature.
(Image source: Fun with Dick and Jane.)
January 13th, 2010
I’ve been busy over the last week with all manner of academic work (preparing for classes, committee meetings, applications to our graduate program, etc.) and haven’t had a chance to update the blog, but I did want to pop in here after I heard the news about the horrific earthquake in Haiti. I am sure many of you want to donate money, so I wanted to post a link to this very interesting article on how to choose a charity.
What do you need to know? First and foremost, is your favorite charity already working in Haiti? Have they had personnel there for years, with contacts in affected areas? Do the really know the country and the local leaders who will help deliver aid quickly and equitably to those who need it most?
If an organization isn’t already set up and ready to go in Haiti, your donations are going to go to help them build an infrastructure, set up offices, and hire staff. It makes more sense to donate to an organization that already has these elements in place. This might seem obvious, but in the aftermath of the destruction caused by the tsunami of 2004, organizations who had never worked on the ground in affected areas raised hundreds of millions of dollars, much of which never reached its intended recipients and succeeded only in bolstering the stature of the organizations.
As for me, I donated to Doctors without Borders, who seem to have a decent record in Haiti. Please give, if you can.
January 7th, 2010
I’m happy to announce that both of my books, Hope and Other Dangerous Pursuits and Secret Son, are now available in audio format from Audible. They are narrated by the Palestinian-American actress Lameece Issaq. You can buy the CDs directly from Audible, or from Amazon (here and here).
January 4th, 2010
I spent a wonderful two weeks in Oregon, where I tried to stay away from the news and did little but hang out with friends, watch movies, and sleep. I did get a chance to read a few books, among which was a very good collection of essays, recommended to me by my friend Cristina. It’s called Notes from No Man’s Land by Eula Biss, and it explores the topic of race in America with refreshing honesty. Of course, it was impossible to stay away from the news after the foiled Christmas day attack on Northwest flight 253, the bombing of Yemen, and the open calls for strip searching all Muslim men between the ages of 18 and 28.
The picture above is a reproduction of Pearblossom Highway by David Hockney. The artist probably never meant for his collage of polaroids to be interpreted like this, but increasingly I feel that the world is like this little stretch of highway; one part is for people whose travel is restricted in all sorts of ways, and one part is for people who are free to move about as they want.
December 28th, 2009
Yesterday marked the one-year anniversary of Israel’s air-, land- and sea-invasion of Gaza, which resulted in the loss of more than 1,400 lives. In Sunday’s Los Angeles Times, David Ulin reviews Joe Sacco’s long-awaited new book, Footnotes in Gaza, which is about a nearly forgotten massacre in in Rafah and Khan Younis. Here is a small excerpt:
Throughout the book, Sacco shows how much and how little things have changed by the use of what we might call time-fades: paired images that evoke a scene in the 1950s, followed by the same scene in the present day. The most striking of these comes at the climax of his account of the Khan Younis killings, in which he offers side-by-side illustrations, the first showing bodies piled against “the ruins of the 14th century castle, which now forms one side of the town square,” the second featuring the same castle half a century later, its walls festooned with handbills and graffiti, cars in a crowded row where the bodies once had been. Time marches on, Sacco means to tell us, and the past is only prologue if we pay attention to what it says. Yet even in a place so bound up by history, “[w]hat good would tending to history do . . . when [people] were under attack and their homes were being demolished now?”
You can read the review in full here. An excerpt from the book appeared on Mondoweiss this weekend.
December 24th, 2009
In the most recent issue of the London Review of Books, Adam Shatz reviews Orhan Pamuk’s new novel, The Museum of Innocence, providing a more skeptical, cool-headed view of Pamuk’s work than what we’ve been accustomed to so far. Here is the opening paragraph:
Who could resist the charms, or doubt the importance, of a liberal, secular, Turkish Muslim writing formally adventurous, learned novels about the passionate collision of East and West? Orhan Pamuk is frequently described as a bridge between two great civilisations, and his major theme – the persistence of memory and tradition in Westernising, secular Turkey – is of a topicality, a significance, that it seems churlish to deny. His eight novels, the most recent of which, The Museum of Innocence, has just appeared in English, perform formal variations on that theme. Though his work fits into a Turkish tradition most closely associated with the mid-20th-century novelist Ahmet Tanpinar, one needn’t know anything about Tanpinar, or even about Turkish literature, to appreciate Pamuk, who writes in the Esperanto of international literary fiction, employing a playful postmodernism that freely mixes genres, from detective fiction to historical romance. Much of Pamuk’s fiction reads like a homage to his Western models: Mann, Faulkner, Borges, Joyce, Dostoevsky, Proust and – in The Museum of Innocence, the tale of a doomed, obsessional love affair between a man in his thirties and an 18-year-old shop girl – Nabokov. Indeed, his affection for the European tradition is as crucial to his appeal as his Turkishness, and his books pay tribute to values deeply embedded in the liberal imagination: romantic love freed from the fetters of tradition; individual creativity; freedom and tolerance; respect for difference.
You can read the piece, in its entirety, at the website of the London Review.
Photo credit: Martin Godwin/Guardian
December 21st, 2009
I’m in Portland for a few days, to visit family and friends, and to relax until the start of the new year. I plan to spend most of today at Powell’s.
December 16th, 2009
The Guardian has published a gallery of twelve beautiful pictures, which accompany a new edition of Paul Auster’s famed “Auggie Wren’s Christmas Story.” The story first appeared in the New York Times in 1990, and has been reprinted many times since. You can listen to Paul Auster read it on NPR. And of course the character of Auggie Wren appears in another Auster production, the film Smoke, which starred Harvey Keitel.
Illustration: ISOL/Faber and Faber
December 9th, 2009
According to a new poll by the Pew Research Center poll, 54% of Americans believe that the use of torture to gain information from suspected terrorists (note the adjective) is often or sometimes justified. This represents an increase since the last time the question was asked (49% in April and 44% in February.) Which reminds me of this passage from Graham Greene’s Our Man in Havana, where Captain Segura explains who can and can’t be tortured:
‘Did you torture him?’
Captain Segura laughed. ‘No. He doesn’t belong to the torturable class.’
‘I didn’t know there were class-distinctions in torture.’
‘Dear Mr Wormold, surely you realize there are people who expect to be tortured and others who would be outraged by the idea. One never tortures except by a kind of mutual agreement.’
‘There’s torture and torture. When they broke up Dr Hasselbacher’s laboratory they were torturing … ?’
‘One can never tell what amateurs may do. The police had no concern in that. Dr Hasselbacher does not belong to the torturable class.’
‘The poor in my own country, in any Latin American country. The poor of Central Europe and the Orient. Of course in your welfare states you have no poor, so you are untorturable. In Cuba the police can deal as harshly as they like with émigrés from Latin America and the Baltic States, but not with visitors from your country or Scandinavia. It is an instinctive matter on both sides. Catholics are more torturable than Protestants, just as they are more criminal. You see, I was right to make that king, and now I shall huff you for the last time.’
I had not realized that so many Americans subscribed to Segura’s philosophy.
December 8th, 2009
I wrote a short opinion piece for The Nation about the Swiss minaret ban. Here’s how it begins:
When I was five years old, my parents enrolled me in Sainte Marguerite-Marie, a French grade school in a suburb of Rabat, in Morocco. The school was run by a group of Franciscan nuns who had arrived in the country during the colonial period but had stayed behind after independence. My favorite teacher was Soeur Laurette, who nurtured my love of books, and my regular tormentor was Soeur Isabelle, who, whenever I made a mistake, pulled my ponytail so hard my neck would hurt for hours.
My father, like his father before him, had memorized the Koran by the time he started his own grade school education; but he did not see any danger or contradiction in having his child attend a French school. My mother, who did not cover her hair, did not seem to have any anxiety about my spending half my day with women dressed in austere tunics and long black veils. I suppose that my parents’ guiding principle was that they had to choose the best neighborhood school. The fact that it happened to be run by Catholics did not scare them–they understood that being in daily contact with another religion is not dangerous. It does not mean you will be converted. It does not mean that you will have to change. Religion is not passed through the air you breathe or the sidewalk you tread or the classroom you share.
You can read the rest of the article here.
(Photo: Minaret in Wangen bei Olten. Via: Reuters.)
December 7th, 2009
A few weeks ago, a friend of mine wrote to tell me how impressed he had been by a lecture on the challenges of social democracy that Tony Judt gave at New York University. Fortunately, the text of this talk is now available at the New York Review of Books. Here is a small excerpt
But my concern tonight is the following: Why is it that here in the United States we have such difficulty even imagining a different sort of society from the one whose dysfunctions and inequalities trouble us so? We appear to have lost the capacity to question the present, much less offer alternatives to it. Why is it so beyond us to conceive of a different set of arrangements to our common advantage?
Our shortcoming—forgive the academic jargon—is discursive. We simply do not know how to talk about these things. To understand why this should be the case, some history is in order: as Keynes once observed, “A study of the history of opinion is a necessary preliminary to the emancipation of the mind.” For the purposes of mental emancipation this evening, I propose that we take a minute to study the history of a prejudice: the universal contemporary resort to “economism,” the invocation of economics in all discussions of public affairs.
For the last thirty years, in much of the English-speaking world (though less so in continental Europe and elsewhere), when asking ourselves whether we support a proposal or initiative, we have not asked, is it good or bad? Instead we inquire: Is it efficient? Is it productive? Would it benefit gross domestic product? Will it contribute to growth? This propensity to avoid moral considerations, to restrict ourselves to issues of profit and loss—economic questions in the narrowest sense—is not an instinctive human condition. It is an acquired taste.
You can read the lecture in full here.
December 4th, 2009
A propos of Obama’s decision to send 30,000 more troops to Afghanistan, the always incisive Mr. Fish had this cartoon.
Cartoon Credit: Mr. Fish at Truthdig
December 3rd, 2009
I went to see the film adaptation of Cormac McCarthy’s The Road a couple of days ago. I tried to trick myself into not expecting anything from the movie because I thought that would prevent me from being disappointed. There was anything wrong with director John Hillcoat’s work. And Viggo Mortensen delivers a fine performance (but then he nearly always does.) But I was still terribly disappointed. The problem, I think, is that there was no poetry to this movie and it simply doesn’t do justice to the novel.
November 30th, 2009
I have a new essay in December 14th issue of The Nation magazine, which just went up online. It’s about the spate of books that claim that Europe is headed to its demise because of its rising Muslim population, with a particular focus on the most recent exemplar, Christopher Caldwell’s Reflections on the Revolution in Europe: Immigration, Islam and the West. Here is how it begins:
At a literary festival in New York City some years ago, I was introduced to a French writer who, almost immediately after we shook hands, asked me where I was from. When the answer was “Morocco,” he put down his drink and stared at me with anthropological curiosity. We spoke about literature, of course, and discovered a common love for the work of the South African writer J.M. Coetzee, but before long the conversation had turned to Moroccan writers, then to Moroccan writers in France, and then, as I expected it eventually would, to Moroccan immigrants in France–at which point the French writer declared, “If they were all like you, there wouldn’t be a problem.”
His tone suggested he was paying me some sort of compliment, though I found it odd that he would want the 1 million Moroccans in his country to be carbon copies of someone he had barely met and whose views on immigration–had he asked about them–he might not have found quite to his liking. It was only later, when I had returned to my hotel room, that it dawned on me that the profile of the unproblematic Moroccan immigrant he might have had in mind was based solely on conspicuous things. Some of these, like skin color, were purely accidental; others, like sartorial choices or dietary practices, were in my opinion inessential, but from his vantage point perhaps they suggested a smaller degree of “Muslimness.”
Was this man really suggesting that I was a more desirable immigrant because I did not look Muslim? We had started our conversation as two equals, two potential friends, two writers discussing literature, but we had ended it as judge and supplicant–the former telling the latter whether or not she would make a suitable immigrant. And why on earth did I not say something on the spot? Why did I not ask him what he meant? Instead, I had stared back at him with what I imagine was dumbfounded perplexity, and then changed the subject. Perhaps if I had confronted him I would have been able to remove the sting of the insult that had lain hidden inside the compliment.
You can read the essay, in full, here. The picture above is from an election poster by the Swiss People’s Party, which recently led a campaign to ban the construction of minarets in Switzerland. In a referendum held yesterday, the Swiss people approved the proposed law. It is now set to become part of the Swiss constitution.
November 25th, 2009
We’re spending the Thanksgiving holiday at Yosemite National Park. I hope everyone has a safe and happy weekend. See you back here on Monday.
November 24th, 2009
I’ve always been amused by the prevailing idea in our culture that writers are anti-social creatures, people who would rather spend time alone in a room than have to speak to other sentient beings. The writers I’ve met come in all types, of course, but very few have really fit this cliché. In fact, I’ve noticed that whenever they are thrown together at a conference, a festival, or some other literary event, writers don’t mind gathering, late into the night, to talk. I rarely ever take part in these late-night chats, simply because I can’t handle them. I sleep, on average, between nine and ten hours a night. I can function on eight hours, if I have to. But if I’m forced, by circumstance, to get by with seven hours, I’m nearly useless.
When I was in Indiana last week, for instance, all the invited writers and artists wanted to go have drinks. It was almost midnight. I excused myself because I could barely think, let alone talk. They insisted. Why, they asked, could I not come just for a bit? I said I had to go to bed. Which, of course, sounded like the lamest, most ridiculous excuse to their ears. They looked at me sideways. I imagine they thought I was being standoffish. But, really, I was just exhausted, and already counting how many hours of sleep I could get. And the morning after? I was the last one to get up.
November 23rd, 2009
When I was an undergraduate at University Mohammed-V, I used to find all my English-language books at the aptly named English Bookshop in downtown Rabat. The store was so tiny that the aisles only fit one person at a time. The shelves were stacked high, and you had to get a ladder to reach the top one. The books were ordered in sometimes surprising, but ultimately perfectly sensible ways. I remember the hours and hours spent browsing the shelves, looking for something I could read in my new, halting language.
I went back there last summer, for a visit, and was amazed that nothing had changed. The owner was there, and we chatted for a while about the old days. I know it sounds terribly cliché, but I would never have thought that some day my books would be sold there. (And I couldn’t have thought that not just because the idea of being published was so remote, but because back then I wasn’t even writing fiction in English yet.) The physical experience of browsing through a store—finding new, used, and even out-of-print books side by side—is one that I miss, particularly now that so many independent bookstores have closed.
November 17th, 2009
A few weeks ago, when I heard that Farrar, Straus and Giroux was publishing a new volume of Mahmoud Darwish’s poetry, I was thrilled. But I was also a little disappointed that such recognition would come after his passing. (Darwish has been published in the United States before, of course, though never by a major commercial press.) The book is called If I Were Another, and it is translated by Fady Joudah.
“If I Were Another” (Farrar, Straus and Giroux) presents long poems from the latter part of Mr. Darwish’s career—the only part that the poet, persistently self-critical, regarded as “mature.” These “lyric epics,” drawn from four collections, weave together many settings and voices. An elegy for the author’s father is followed by a polyvocal poem spoken by birds; a series on Andalusia, by the monologue of a Native American.
You can read more on the book at Speakeasy, the WSJ‘s book blog. Joudah previously translated the lovely volume The Butterfly’s Burden, published by Copper Canyon Press.
November 16th, 2009
I am in Indiana today, giving a talk at Notre Dame University. I don’t know if there are any readers of the blog in the area, but here are the details in case any of you are interested.
My trip over here was pleasantly uneventful, until the very end. A soldier who was returning home from Iraq was on the plane to South Bend. When we arrived, her little boy, no more than five or six, ran to greet her and wouldn’t let go. Everyone was staring. There wasn’t a dry eye in sight. I was happy to see her reunited with her family, but angered once again that she and so many others are fighting in this immoral, unjust war, which has brought only misery to the people of Iraq and the United States.
November 13th, 2009
From Toni Morrison’s second novel, Sula:
Still, it was lovely up in the Bottom. After the town grew and the farm land turned into a village and the village into a town and the streets of Medalion were hot and dusty with progress, those heavy trees that sheltered the shacks up in the Bottom were wonderful to see. And the hunters who went there sometimes wondered in private if maybe the white farmer was right after all. Maybe it was the bottom of heaven.
The black people would have disagreed, but they had no time to think about it. They were mightily preoccupied with earthly things–and each other, wondering even as early as 1920 what Shadrack was all about, what that little girl Sula who grew into a woman in their town was all about and what they themselves were all about, tucked up there in the Bottom.
November 11th, 2009
From the title story in Tim O’Brien’s The Things They Carried:
First Lieutenant Jimmy Cross carried letters from a girl named Martha, a junior at Mount Sebastian College in New Jersey. They were not love letters, but Lieutenant Cross was hoping, so he kept them folded in plastic at the bottom of his rucksack. In the late afternoon, after a day’s march, he would dig his foxhole, wash his hands under a canteen, unwrap the letters, hold them with the tips of his fingers, and spend the last hour of fight pretending. He would imagine romantic camping trips into the White Mountains in New Hampshire. He would sometimes taste the envelope flaps, knowing her tongue had been there. More than anything, he wanted Martha to love him as he loved her, but the letters were mostly chatty, elusive on the matter of love. She was a virgin, he was almost sure. She was an English major at Mount Sebastian, and she wrote beautifully about her professors and roommates and midterm exams, about her respect for Chaucer and her great affection for Virginia Woolf. She often quoted lines of poetry; she never mentioned the war, except to say, Jimmy, take care of yourself. The letters weighed ten ounces. They were signed “Love, Martha,” but Lieutenant Cross understood that Love was only a way of signing and did not mean what he sometimes pretended it meant. At dusk, he would carefully return the letters to his rucksack. Slowly, a bit distracted, he would get up and move among his men, checking the perimeter, then at full dark he would return to his hole and watch the night and wonder if Martha was a virgin.
November 10th, 2009
Last month, the scholar Jytte Klausen published a book on the controversy surrounding the Jyllands-Posten caricatures of the Prophet Muhammad. But, despite its title, The Cartoons That Shook The World didn’t include any images. Yale University Press, Klausen’s publisher, decided to censor the cartoons out of fear that they could lead to trouble here in the United States. Of course, that only led to more controversy. (For the record, I happen to think Yale should have included the images, because they are crucial for any full understanding of the situation. To exclude them makes a thorough discussion impossible.)
In the New Republic, Oleg Grabar examines the larger question of representations of the Prophet Muhammad. He takes the reader on a little history tour through Islamic art. For instance, he discusses various representations of the Prophet Muhammad in printed form, particularly in depictions of Isra’ and Mi’raj (the mythical Night Journey, as in the image above). Although I am not entirely comfortable with claims he makes about “the Muslim world,” it is hard to take any issue with his conclusion:
To the extent that the argument against the so-called cartoons has centered on the legal propriety or impropriety of representing the Prophet Muhammad, it has been a pointless argument. Of course it is possible to question the Danish caricatures on grounds of taste, or social or political intent; but the lack of taste is not a legal category, and mischievous or even evil intent is difficult to discern in the absence of clearly stated moral and philosophical principles. The only certain lesson to draw from the sad story of the Danish cartoons is the almost universal prevalence of ignorance and incompetence–and that everyone, from writers and pundits to the leaders of mobs, should learn more before making a judgment or starting a riot.
You can read the essay in full here.
November 9th, 2009
The Zimbabwean writer Petina Gappah (whose debut story collection, An Elegy for Easterly, came out a few months ago) has some excellent advice for young writers on her blog. She writes:
A lot more people just want to know how they can be “real” , and that word keeps coming up, how they can be “real” writers. It is to these aspiring writers that I now reveal the secret to writing success.
A writer is a person who writes.
Talent is overrated. Luck is overrated. The right agent is overrated. It helps to have all three, but they are all worthless without that thing in your hand, the manuscript, the thing in your hand that may become a book for which trees will die and that will be published and primped and pampered and put on bookshelves and paid for by people.
And this is what is underrated: the sitting down and grinding it out part. Because that is what writing is. You, at your computer or with your notebook, writing, and writing, revising and writing, and revising again.
This resonated with me because earlier this week, a student asked me for some career advice. I wasn’t sure what exactly she meant, and when I inquired it turned out she was very anxious because she felt that she should “put herself out there” and “try to get published.” She said that I was the only professor she had who never discussed publication or career in class. So she was curious. I told her that I didn’t discuss publication because I felt that the class should be spent on writing. I asked her how many stories she had written. The answer was: not very many. And so my advice to her was to write. I think I will also tell her to read what Gappah wrote.
November 6th, 2009
When I went to see Chris Rock’s documentary, Good Hair, the other day, it got me thinking about how curly hair is written about in novels. The first example that came to me was Philip Roth’s The Human Stain. In the novel, Coleman Silk describes Iris Gittelman, the woman he’s going to marry, mostly in terms of her hair:
Her head of hair was something, a labyrinthine, billowing wreath of spirals and ringlets, fuzzy as twine and large enough for use as a Christmas ornamentation. All the disquiet of her childhood seemed to have passed into the convolutions of her sinuous thicket of hair. Her irreversible hair. You could polish pots with it and no more alter its construction than if it were harvested from the inky depths of the sea, some kind of wiry, reef-building organism, a dense living onyx hybrid of coral and shrubs, perhaps possessing medicinal properties.
Iris’s hair is significant, of course. Its curative property, so to speak, is that it allows Coleman, who has been passing for white, to have a convenient explanation for any kinkiness in his children’s hair.
November 4th, 2009
I’m thrilled to let you all know that I have a short story in Dinarzad’s Children, an anthology of Arab American writing edited by Pauline Kaldas and Khaled Mattawa. The story is called “How I Became My Mother’s Daughter,” and almost everyone who has read it has mistaken it for an essay. It isn’t; it’s fiction. But this is what I get for writing in the first-person point of view.
At any rate, I hope you’ll look for this anthology in your neighborhood bookstore or library because it’s got some great writing by Rabih Alameddine, Rawi Hage, Laila Halaby, Alia Yunis, Diana Abu Jaber, Susan Muaddi Darraj, Yussef El Guindi, and the lovely and amazing Randa Jarrar, among many others.
November 3rd, 2009
I was talking to a friend of mine the other day, a writer, and we found ourselves doing that thing that writers often do: sharing horror stories about the book world. Here is one (among many) I told her. Several years ago, at a summer writers’ conference, I met a magazine editor who happened to be from the same city I lived in at the time. The editor said she was looking for slush pile readers, and I naively expressed some interest in helping out, on a volunteer basis. She sized me up, then asked, “How old are you?”
I didn’t quite understand why she asked me my age, but I answered, almost mechanically, “Thirty five.”
“Oh,” said the magazine editor. “Well, if you would like to volunteer your time, we really need help with office work.”
In a swift second, I had been reclassified from a potential reader of undiscovered gems to the person who stuffs rejection notices in envelopes. Needless to say, I never submitted any work to her. Eventually, I published a bunch of stories, then a book, and then another book. The kicker? A few years later, the editor, too, published a book. Then her publicist emailed me to ask me whether I could review it.
November 2nd, 2009
This month marks the eighth anniversary of my blog. The site has gone from an anonymous, sporadically updated, somewhat personal diary to an eponymous record of my literary, cultural, and political interests. But lately you may have noticed, dear reader, that I remain silent for several days on end and that my posts have become shorter. I think the reason for this is that I’ve changed my writing routine quite drastically. I used to write in the afternoon, after I’d read the day’s news, answered my emails, attended to any deadlines, and updated my blog. I figured I had to get all of the distractions out of the way so I could focus on my writing. Sometime last year, however, I realized that I could never ever catch up with email and that, in fact, the more prompt I was at answering email, the more of it I received. So I’ve been writing first thing in the morning, which means that everything else is pushed back to later in the day. Especially now that I’ve started work on my new novel. Still, I love having a place in which I can post commentary on things that interest me so this blog is not going anywhere anytime soon.
October 29th, 2009
As some of you may know, A Public Space, the magazine founded in 2005 by Brigid Hughes, occasionally publishes ‘Focus Portfolios,’ which introduce the reader to the literature of a particular country. Issue 9, edited by the scholar Brian Edwards, is about Cairo. You can read Edwards’ introduction, Cairo 2010: After Kefaya, online. Contributors to the special issue include Mansoura Ez Eldin, Ahmed Alaidy, Magdy El Shafee, Muhammad Aladdin, Mohamed Al-Fakhrany, Ibrahim El Batout, Omar Taher and Khalid Kassab.
The picture above was taken at the British Museum, which is, sadly, as close as I ever came to seeing Cairo antiquities.