Nymphomaniac’s Message for the Arab Spring
As an Arab you’re probably expecting me to lay into Nymphomaniac. It’s a film that must seem, if not offensive to my cultural sensibility, then irritatingly irrelevant to the poverty, underdevelopment, and upheaval that surround my life.
In most cases dropping the word “white” in the same paragraph as “Islam’s respect for women” is all it would take to slam Lars von Trier in this context. It would be a politically correct slur, too. I could even draw on Edward Said’s hallowed legacy to point out that the only time non-Europeans appear in over four hours of action, they’re portrayed as dumb sex tools. Not only self-indulgent and obscene but also Orientalist, etc..
But the truth is I actively delighted in Nymphomaniac, and I didn’t have to stop being an Arab for that to happen. To be accurate I should say I would’ve welcomed a von Trier film anyway, but this one showed up when it was needed—and it duly exploded on arrival.
If not being allowed to have strong opinions is not I’m not sure what is
Western outrage at ‘s treatment of continues to shock and awe me. Where do you get off, people?
People who see the west as an end in itself are the mirror image of people who see it as the source of all evil
Peter Sengl, Peeping cat
194. “You know you’re a coward?” she said, for the first time staring into his eyes without confusion or uncertainty. She hadn’t completely finished tying the ponytail when she looked at him and he couldn’t believe it. “I’m the first to tell you?” Not a flicker; just the first signs of a smile upon her lips. “You really are a son of a dog’s religion of a coward.” And before he could give expression to his astonishment he found his arm in motion, as if of its own accord. “A coward,” she was saying, “because you’re not prepared to exchange your position for another, even in your imagination. You’re scared to put yourself in a woman’s place because you’re scared to ask yourself whether, in those circumstances, you would marry. This isn’t a fear like the human sentiment with which to varying degrees we’re all familiar: it carries a moral presumption and a glib satisfaction with your own circumstances. That’s why I’m telling you you’re a son of a dog’s religion of a coward…”
With my late father, Elsaid Elsayed Rakha—lawyer, disillusioned communist, and incredible anti-patriarch, 1981
What have you learned about the writing process in the last five years?
I’ve learned too many technical things to list here, and they’re all the more difficult to list because it happened mostly in Arabic. But I also learned to pool different kinds of writing – journalism, literary nonfiction, poetry, historical research, erotica, and humor – to bring together my first novel, the Book of the Sultan’s Seal (forthcoming in English translation with Interlink). The result is a kind of pastiche, but maybe all novel-writing is pastiche. It’s not so much mixing and matching styles of writing as juxtaposing ways of looking at the world through mimicking the corresponding languages in which that world reveals itself, through people – the challenge being to maintain a unified and presumably compelling whole.
Since the novel was published it’s been called both an achievement and a pointless experiment: I’ve learned to accept that too. Not criticism per se – was it Ingmar Bergman who said that all criticism is poison? – because you can’t take in poison, but the fact that part of the value of a serious book is that some readers won’t like it. It’s always more interesting to ask what someone likes or dislikes about your work than whether or not they value it as such. Sometimes what is wrong with your book is simply that another writer feels superior (or inferior) to you, or that a person you’ve known doesn’t want to be a character, or to be that character. So your purpose in asking is never to change course to suit a wider variety of tastes. It’s to check your intentions against people’s expectations, taking their positions and underlying assumptions into account. I don’t tend to invent characters, I tend to reinvent and change real people; it’s not always possible to cut all relations with people I’ve written about, and I’m sure as hell not going to mess up my work just so that they stay happy with me!
More importantly, perhaps, in the last five years I’ve learned not to pay too much attention to Cairo literary-intellectual circles, which are limited and limiting spaces. While making up a sizable part of the very tiny proportion of Egyptians actually interested in literature, these circles are so incestuous and inward-looking and small-minded they can make writing, let alone being a writer, seem like a hateful exercise – a bad habit, almost. Now even if it is that, writing – even Arabic writing, even writing for oneself, without ambition – should never feel quite so despicable…