Spaceship Living: Abu Dhabi Fair Grounds, Four Years On

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Library of Dreams, The National, February, 2009

Just a few short weeks ago, a scene much like the opening of Kafka’s The Trial marked the beginning of the end of my year-long life in Abu Dhabi: Someone must have been telling lies about Youssef R, for without having done anything wrong he was divested of his belongings one fine evening. His Tamil cleaner, who should have been there to oversee the procedure, failed to appear. That was totally unexpected. R was lounging about with two American friends, watching Barack Obama’s inauguration on TV, when two men, having mysteriously arrived at his apartment, found their way straight into the room without knocking or ringing the door bell, which was out of order anyway.

It took R a long time to remember that he had left his door ajar on purpose and even longer to realise that the two men were not so much uninvited as unannounced. They had come for a purpose of which he was in fact aware – to purchase, at the absurdly low price of Dh600, the complete contents of R’s apartment. Ignoring his friends, who did not seem to be in the least interested or surprised by this strange turn of events, R got up and greeted the men respectfully, asking them, with Abu Dhabi-style courtesy, where they were from…

I recall this from the room where I grew up, in an apartment on the western side of the Nile in Cairo – a space I have not stably occupied for a year. And glancing through the window at the large, perpetually half-dead juniper tree that fed my childhood nightmares so many aeons ago, I marvel that only yesterday I was still trudging down Old Airport Road, casually ordering coffee at the Wahda Mall, looking out of the taxi window on the way from Khalidiya to the Beach Rotana – not fully registering the fact that I was doing those things for the last time. Today Abu Dhabi might as well be the moon.

(As far as it resembles nowhere else in the world in its combination of interlocking identities, the essential youth of its institutions, and its location in a tentative human future, the city really is a kind of moon: a heavenly body inhabited by early settlers seeking a better, quieter life.) Back in Cairo, the last year (particularly the month separating inauguration night from the present moment) feels like a long, complicated reverie. In all probability it will haunt me till the end of my life, flashing through my thoughts and dreams with periodic intensity, more so than other places I have been. I have only recently begun to realise why this is. My departure had to be relatively final, and it had to be homebound, for me to finally see Abu Dhabi not just as an adopted hometown – a place you might appreciate for the standard of living it affords you, or dislike for lack of edge – but as a literary experiment.

Not simply, as might be understood from the term, a place to inspire literature: what I mean is that Abu Dhabi is itself literature on the grandest lived scale. Consciously and unconsciously – perhaps more often unconsciously – people write new lives in Abu Dhabi, author previously untested versions of themselves. And Abu Dhabi, that silent dramatist, creates epics of itself and of its people. In this sense, nowhere else I know will ever serve as the setting for so many scenes, scenarios and sagas: fantastical, magically realistic, existential, surreal, even sci-fi.

I believe I will have dreams about Abu Dhabi, and in those dreams the city will replay and overlap with other literatures of the world. Brave New World seems a likely candidate, but so does RK Narayan’s delightfully humane fictional South Indian town, Malgudi. Dream-altered versions of One Hundred Years of Solitude, of VS Naipaul’s picaroon biographies, of the bafflingly moral-less, unexpectedly multicultural stories in One Thousand and One Nights, and psychological thrillers of illicit or unrequited love, à la Flaubert, all come to mind. These books will be superimposed on Abu Dhabi (the sale of my furniture will be relived as a Kafka story); and in turn Abu Dhabi, like all great literature, will weave its sounds, sights, textures, flavours, characters, plots and perspectives into various far-flung corners of my memory where books live. In this sense, no matter how much I forget it, Abu Dhabi will always be there.

Perhaps the central aspect of my dream literature of Abu Dhabi will be the journeys there and back, the constant toing and froing on which the young metropolis thrives. When I first came to Abu Dhabi, it felt like a giant terminus – itself constantly metamorphosing – at which people arrive, stay for a little or long while, and then leave: a port of call to the power of infinity. Whatever else you might say about it, Abu Dhabi offers that unique zest that comes about only when no one is ever entirely settled, and everyone seems to be stopping on the way to somewhere else.

I was 32 then, strapped in my seat as the huge Etihad airbus plunged through dense cloud to Cairo airport. (So begins my dream mash-up of Haruki Murakami’s Norwegian Wood with memories of my departure.) Once the plane was on the ground, soft music began to flow from the ceiling speakers: the seraphic voice of Fairuz singing of love in the winter. This particular tune has never failed to send a shudder through me, but this time it hit me harder than ever. I bent forward, my face in my hands to keep my skull from splitting open. Eventually I straightened up and looked out of the window at the clouds hanging over the tarmac, thinking of all I had lost now that I was back: times gone forever, friends left behind, feelings that I would never have again and, perhaps most of all, the sense that I was living in an airport, a giant airport where nothing could ever stay still.

The Heavenly Jeep

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Some think of them as nightmares. Of course even “nightmare” originally referred to a wicked mare rearing over the sleeper in the night, waking them in a panic by making it hard to breathe. Like every word ever invented it is at bottom an image, an incident, a scene that speaks of something both bigger and smaller, less abstract than itself. There are many such creatures whose beauty, as Rilke famously said, is nothing but the beginning of terror: nightmares giving life something that comes close to but never quite becomes meaning. Unlike other strings of sounds that give meaning in more straightforward or practical ways, they are truer than reality.

Others consider them little mechanical constructions. Like buildings, they are essentially functional schemes. They contain spaces and have plans. You can walk through them, sit or lie down; sometimes, once inside, you can dance. They are made up of bricks and blocks; the difference is that they themselves can walk and talk. They take on shapes and colours, even sizes. They are designed according to futuristic schemes that make them at once solid and mobile. You may sleep in one of them only to wake up in another. They transmigrate through space; time is their mortar. They are the planets and stars of miniature solar systems of minds sensitive and diseased.

Others still conceive of them as incantations: spells, hexes, blessings. Unlike other little texts they have the ability to harness energy and reuse it. They work like magic, which is defined as “an intervention that alters reality”. That intervention does not have to be physical or perceptible; it does not have to be world-bound as such: the point of the hunter’s chant, the healer’s prayer, is that it is not mundane. You write them, you read them or you recite them; and like words dictated to prophets by archangels, they change the world. What it is important to remember is that they change your private, inner world. They are not revolutions.

Yet in as far as anything at all is important, they are even more important than revolutions; in the long run, at least, if they have not been abused, if they have not calcified into codes that stifle and kill, they give the world a slightly more meaningful look and feel. Which is why, in case you have not guessed by now, I am thinking of poems, not Poetry.

City of Kismet

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Unconsciously, it seems, I had waited a lifetime for Kismet. This was not my first attempt at a family of my own but, though I never resisted the idea, one way or another, fatherhood had eluded me. And for some reason I never thought I would have a daughter. When the sex of the foetus emerged relatively late in my wife’s pregnancy, I was unaccountably emotional; for the first time since childhood I experienced a desire wholly voided of lust. Life seemed to be coming together, albeit only once its setting had been transformed.

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We married in November 2011. That was a little under a year after Hosni Mubarak stepped down from the Egyptian presidency and, handing over power to the military, signalled the fulfilment of that other kind of desire: the revolution. Frustration with the aftermath had already set in. Nevertheless, my wife and I still had faith in the power of protest. More precisely, we still wanted to believe that the ‘Arab Spring’ expressed a collective will to freedom beyond the by-now vapid thrill of demonstrations as such. We didn’t realise quite how fanatical people could be about that thrill, until demonstrations and their gory suppression became routine.

It likewise became routine for formerly pro-Mubarak, now pro-army, ‘honourable citizens’ to help round up and murder protesters, even as they, the honourable citizens, pretended to celebrate ‘a revolution that inspired the whole world’. And regardless of affiliation with political Islam, if the victims were Christians or ‘seculars’, all the better. (After the rise of political Islam, it was only natural that ‘honourable Islamists’ should show up, men who, having clean-shavenly stood back from the protests, now grew their beards and staged counter-demonstrations in support of the Muslim Brotherhood, campaigning for rural and working-class conservatism.)

We knew such behaviour was to be expected: the ‘honourable’ human being is hardly a minority in Egypt. What upset us was the vacuous heroism with which our comrades in arms continued to face it, mistaking populism for democracy and sectarianism for freedom. While younger, less privileged protesters paid with their lives, the star activists were being idiot politicians and pompous pedagogues — just as dogmatic, irresponsible and reactionary at heart as the generations of intellectuals and politicos whom we blamed for Egypt being the hopeless backwater that it is, a place where living in the full sense is about as easy as spontaneous flight. Whether they had wanted to resist the ‘remnants of the former regime’ or to massage their middle-class conscience, the activists allowed rurally rooted political Islam to take over an essentially urban and secular uprising. Remove their alliance with the Islamists against the military and members of the Facebook Generation turned out to have no vision for the future beyond patriotic chaos.

It took my wife and me a while to admit this, in part because we were newcomers to the cause. Under Mubarak, we had long given up on any oppositional or proactive effort. For one thing, it was pointless: not only the regime but practically the whole of society was committed to imperious incompetence and a pre-modern morality. But oppositional attitudes also felt like a bourgeois affectation — a kind of fashionable piety, as yet distinct from the Wahhabism of the grass roots.

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Can it be said that one died for the greater good when the greater good itself is so riddled with contradiction?

And then, on 25 January 2011, we saw what looked like evidence to the contrary: thousands upon thousands of young, unaffiliated people proclaiming that they were alive, against the odds. When Tahrir Square became the centre of the uprising, we remembered that it was also the core of the Khedival Cairo of 1863, the Paris-inspired metropolis-to-be that was the state’s first stab at modernity. We became reborn activists, and for a brief moment, Tahrir Square promised us an implausibly desirable contemporary city: a place where we could be safe from honourable citizens and military abuses alike, granted the freedom of belief as well as the right to demonstrate. We dreamed of that city, and having witnessed people dying for it — so goes our fairy tale — it was difficult to let go of the dream. By 24 November 2012, however, when our Kismet arrived, tiny, wet and wide-eyed in her eagerness to engage, Tahrir Square had broken its promise.

I say ‘fairy tale’ because I’m no longer sure what people really died for. Can it be said that one died for the greater good when the greater good itself is so riddled with contradiction? For example: President Mohamed Morsi, the Muslim Brotherhood candidate, won the election after he was arbitrarily stamped with the seal of the revolution in the run-off vote; such was the desperation to make sure that his Mubarak-affiliated rival wouldn’t win. Yet many of those who so stamped him have been tortured and killed protesting against Muslim Brotherhood policies, by the police waging a two-year-old vendetta against their arch-enemies, ‘the revolutionaries’, or else by Islamists guarding their turf. How far can one sympathise with such martyrs?

I say ‘fairy tale’ also because I want to string the events I have witnessed into a bedtime story for Kismet: a way to explain how her mother and I participated in things being the way they are, to apologise creatively. I want my story to be compelling and edifying, so it can’t be that same one about the fight between good and evil — in which, because good is too rhetorical to be true, its triumph is indefinitely postponed. At some level, our life together will always be shadowed by the fact that Baba and Mama, though never as mulishly unseeing as other activists of their generation, did contribute to the ousting of Mubarak. It will always be true that Kismet came into the world just as this historical achievement was revealing itself as no more than a turn for the worse, mere authority changing hands, making more room for sloganeering and violence, and for society to sink still lower. The winning cards in the ensuing power game were marked from the start: not the ones with the pledge to grant civil rights but those with the imperative to deny them. Misogyny, tribalism and brute force are far more popular in Egypt than equality, institutionalism and reason. The Cairo of our dream, like that of Ismail Pasha, the 19th-century Khedive of Egypt, is gone; we cannot even return to the semi-medieval mega-village we had always known. And Kismet will grow up in a third squaloropolis, even further removed from our fantasy. Were we fools, then?

In the time it takes you to form in your Mama’s tummy, ya habibti, we learn exactly how foolish we have been. After the protest, every sign points downward. The conservative Wahhabi pieties imported from the Gulf, which have been spreading unofficially for two decades, are now lionised in government, in the constitution and in the media — indeed, this is the principal outcome of the revolution. Cairo is no longer safe: the so-called security breakdown gives way to muggings, road blocks and attacks on property. Through civil clashes, torture takes place on the street and in the mosque — and those who perpetrate it still have the nerve to complain about police brutality. Pseudo-militias (the ‘Ultras’ groups of football supporters, for example) have emerged, and sexual harassment edges into gang rape. Judicial abuses take on a sinister edge.

None of which helps with ‘the wheel of production’ or tourism. Even my own position as an employee of a state-affiliated press conglomerate is no longer secure. Where the 15-mile drive to work used to take an hour at the most, now it takes up to four. And my fellow drivers are so randomly aggressive, Kismet, that you start to wonder whether they have mistaken going about their business for civil war. Three years ago I would have told you there was no way the traffic could be worse. Now it clearly is; who knows what I will have to tell you three years from now? But, whether it is a more extreme variant of what we have or something else, as yet unthinkable, I trust that you’ll still assimilate and in your way comprehend it. Perhaps you will decide to leave the country after all: I would gladly let you.

Just as easily as you could be suffocated, crushed or starved, I could be imprisoned, declared an apostate, divested of income

My point is, when we first saw you, Kismet, our renewed conviction in the futility of politics was almost as perfect as you were. At one point in the hospital I remember pointing to your head and yelling that no one would be allowed to mess with ‘this’. I was thinking that I wouldn’t let anything prevent you from being fully alive, neither ‘Islam’ nor that other religion so enmeshed with Islam in post-Arab Spring Cairo, the dogma of the demonstration. I remember your Mama wincing. She was still in pain from giving birth to you. Was she simply asking me not to yell, or had I reminded her of the hideousness that would surround you? But let me stop speaking for Mama.

Not having you was out of the question, selfish as that inevitably is, but having you elsewhere would have made you a second-generation immigrant, and I know that few destinies are worse than that. Now it is true that the unsprayed trees outside our apartment building bring no end of mosquitoes into the house, but it is also true that the birds sing in the early morning. On nights when you sleep in bed between us, all but hidden in your sleeping bag, you look like a third pillow at a right angle to the other two. Often I will have woken very early or stayed up very late, and with first light I will lie on my side listening to the birds and watching you. Your head wobbling like a grapefruit at the edge of your sleeping contraption reminds me of my own fragile position. Just as easily as you could be suffocated, crushed or starved, I could be imprisoned, declared an apostate, divested of income — eliminated with a stroke. We are equally helpless, you and I. Yet at the same time, we are each ensconced in our respective spot, not really intimidated, oblivious of the horror. As I watch you I know it won’t be long before, woken by hunger, you cry out for your mother’s breast, but by then I will be on my daily journey through the city that I pictured so many times while I was waiting for you.

Unlike the conventional image of the city — any city — Cairo has no shape, cartographic or otherwise: it is more like an infinitely spreading stain than any drawing. That’s why in certain, optimistic moods I used to say you could make of it what you will. It’s probably still true that, once you know the secret routes to what you want, you can find every kind of provider in Cairo: from Syriac-speaking exorcists to pedlars of designer drugs. However, I suspect it is by subtler and more common things that you’ll learn to identify your city: the sickly sweet acidity of strong tea with the pebble-and-dust leaves piled at the bottom of a thin glass. The texture and smell of mud cakes on the asphalt after the rare shower. The uselessly ingratiating smile of a hustler at a traffic light. And bridges, bridges everywhere …

By the time you become aware of such things, you’ll also be used to the smog generating photo-art in the sky and the amplified braying that accompanies outdoor worship, the acrobatics of cyclists, pedestrians and microbus passengers sharing the asphalt with wayward motor vehicles, while accidental art installations — commercial displays, folk performances, storage facilities, toilets and rubbish dumps — occupy every last inch of pavement and, more and more, the main roads, too. You’ll even be used to the sudden shift in traffic due to otherwise obscure ‘demonstrations’, and the fear of being caught in the crossfire of pellets and Molotovs.

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While we are here in relative calm the three of us can look on and laugh

In my first novel, I had imagined your city as a tugra, the calligraphic seal of the Ottoman sultan. This made it feel more like Istanbul, which seems so much more humane than Cairo when you visit. After January 25, I toyed with the idea of superimposing Leonardo da Vinci’s Vitruvian Man onto a map of Tahrir Square in order to personify the whole city as the body and mind of a protester — id, ego and superego. Silly me. Later, when there was an army-and-honourable-citizen pogrom of Christian demonstrators within walking distance from my workplace, I pictured Cairo as an ornate Coptic cross, whose body was made up of the Nile, the October Bridge, the Autostrad, and the Ring Road.

I thought of this Gnostic symbol, the cross that looks like an ankh or a human figure, as a barred window, taking up the length and breadth of the sky, keeping watch over us residents below. It was the traditions and the taboos, the anachronisms, superstitions and conventions, but also the poverty that, however much activists glorify it in the course of singing the praises of ‘the people’, remains the pretext for all manner of atrocities. Lack of education is one thing, Kismet, but as you will find out, refusing to acknowledge empirical methods and factual information — about who killed whom and when, for example — is ignorance of a different order.

So, tugra, Vitruvian Man and Coptic cross: all these were emblems of a place empty of you. Now that you are with us I am going to have to think of a happier town. While we are here in relative calm, enjoying what we have, registering the encroaching madness but never intimidated by it, the three of us can look on and laugh, knowing that there will be enough affection and beauty to keep us joyfully together no matter what. For it is this as much as Cairo, beautiful, beautiful girl, that is our kismet.

Aeon Magazine

Blueprints: a mini exhibition

blueprint |ˈblo͞oˌprint|
noun
a design plan or other technical drawing.
• something that acts as a plan, model, or template: a vague blueprint for fundamental land redistribution.
verb [ with obj. ]
draw up (a plan or model): (as adj. blueprinted) : a neatly blueprinted scheme.
ORIGIN late 19th cent.: from the original process in which prints were composed of white lines on a blue ground or of blue lines on a white ground.

Doll Love-من رواية التماسيح

لم تكن صفعة بالضبط، مع أن الذراع مرفوعة واليد مشدودة والكتفين قُطر دائرة. كأنها تهديد بصفعة كانت مون لتردها فوراً لو لم يختل توازنها تحت ثقل الصافع الواقف فوق رأسها الآن. بينما يستدير ليواجهها، تخبطت واهتزت حتى استقرت مقرفصة على ركبتيها فوق الكنبة؛ وانحسر فستانها الصيفي الطويل عن فخذ نحيف وأسمر. حينها نظرت إليه في عينيه من جديد. هي نفسها لا تدري إن كان شيء في النظرة قد اختلف، لكنه لم يعد مشدوهاً من أنها تفعل. فخذ نحيف وأسمر لكنه متورد ومغبش، وشعرها الطويل الكثيف كعدد لا نهائي من الضفائر الكستنائية المنمنمة  ملموم في ذيل حصان وهي تنظر إليه. هل تذكّر نايف الأسد؟ هل أثرّت الذكرى على طاقة دافقة في جسده كأنها الشهوة وهي ليست شهوة؟ فخذ متورد وشعر كثيف ورائحة ريحان أخضر من النوع الذي يوضع في الطعام، مع طاقة دافقة وشعرها وفخذ نحيف وأسمر. لم تجفل مون والكف تحوّط قفاها بحيث يستقر الإبهام على تفاحة آدم، ولا يبدو أنها انتبهت على الفور إلى يد نايف الأخرى تشد ذيل الحصان إلى أسفل وهو يعود يجلس بمحاذاتها، مفرود الصدر هذه المرة. فقط، مع ضغط الإبهام وميل رأسها إلى الوراء، تحشرج صوتها إلى أن كفت عن الكلام ثم سُمع أنين خافت تبعه لهاث – وشفتاها مزمومتان – كأنه لا يخرج منها

من رواية التماسيح

Eternal Sunshine of the Hipstamatic Mind

15 New Instagrams, Me Talking about Maps, and 2 Quotes

 

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Whenever the intensity of looking reaches a certain degree, one becomes aware of an equally intense energy coming towards one through the appearance of whatever it is one is scrutinizing.

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I can’t tell you what art does and how it does it, but I know that art has often judged the judges, pleaded revenge to the innocent and shown to the future what the past has suffered, so that it has never been forgotten.
I know too that the powerful fear art, whatever its form, when it does this, and that amongst the people such art sometimes runs like a rumour and a legend because it makes sense of what life’s brutalities cannot, a sense that unites us, for it is inseparable from a justice at last. Art, when it functions like this, becomes a meeting-place of the invisible, the irreducible, the enduring, guts and honour.

- John Berger

 

THE NIGHT SKY IS A WOMAN IN LOVE

LIPS-قصيدة

(download if you like)

ذات يوم نطق أحدهم بتوصيف دقيق
لذلك الذي نعرفه ما إن نراه
وفيما تشخلل كلماتنا المعقودة كالخرز
في سلاسل ضيقة حول أعناقنا
ونحن نرود الحظائر نفسها
لم ننتبه إلى ما قاله
كان الذئب السعران ينبح تحت الكوبري
و”الونش” يفترس السيارات
وقبل أن يخطر لنا أن نستزيده
سقط الناطق بالتوصيف فجأة
من شباك المؤسسة
فتاة أخرى أو امرأة بدأت تهذي
وهي تخترع العجلة على رصيف “قهوة”
يرن على طاولاتها “قشاط” الرجال.

*
أكاذيب مَن يسعى إلى صدق
ومَن يسعى
إلى كذب
يمكن أن يشبه الصدق
بشرط أن يبقى
على مسافة من الأشياء
وكلما غاص في الوهم أكثر
كلما حلّق أبعد في مداراته
بدا أنه أصدق
لأنه ساعتها فقط
وبينما صاحب الصدق نائم
يمكنه أن يسرّب كليشيهات
تروق للمافيا الصغيرة
المافيا التي تحكم سموات
كأنها أسقف واطئة
ونجومها المبالغ في حجمها تشهق
كجروح المعذَّبين في المعتقلات.

Four poems by Ahmad Yamani

The Two Houses
I wake in the same room to find my hand splashing the lake that lurks under the bed, to find the thick wall of my old house with its dusty window where a main wall of this apartment should be. I opened the window and the evening was still there. And my father was in the kitchen, his hand on the light switch and his leg which is missing five centimetres looking longer than the other, I called to him and he did not reply, he only smiled and invited me with gestures of his hand to go on sleeping. ‘The universe is a handkerchief’, they say here. Over there we say ‘Small world’. At night I go to my parents’ house, through the opening I made behind my new house. I stay there an hour or two to check on the family’s medicine, on my parents’ sleep and their breakfast. At dawn I set up my vehicle and go back again.

The Big Escape
They had sentenced me to execution with two of my friends and it was by what they called euthanasia which had already killed a fourth friend of ours. We did not understand very well what they meant by these statements and so they left us free without guards or cells and sentenced us instead to a kind of death they called a mercy killing which is carried out by a middle aged lady who has a benign face and which is painless but is death anyway. I consulted with my mother and my friends a little while before the execution and I decided to escape. They all agreed I should go while my two friends remained to wait for the lady. As soon as I went out after they gave me all the money they had I met with the merciful lady face to face next to my home. Neither of us looked at the other. She avoided me and went off and I went past her and started to run looking over my shoulder in other countries.

Tobacco Seller
Her hand is on the box, my foot outside the house. Suddenly it grows dark, while she continues rubbing the tobacco on her shiny thigh.
She stops a little to move half the tobacco to her other thigh, while I enter the tunnel and start smoking.”

The Book
How can she not
read what I write
How come she waits by the door
until someone passing
gives her a few words
those strange obscure words
Yet she listens and smiles
as if she was there with me
at five in the morning
as if her hand
relocated some of the words
moved them from the wrong places
moved them and went to sleep
But how can she not
read what her own hands inscribed only yesterday
How come she cannot open the balcony
in the morning
to receive the sun
with a copy of the book in her left hand
that she reads slowly
winking at the neighbours
pointing to her son the wordsmith
waving the book in their faces
five times
while she mutters
strange and obscure words.

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