As the Conscience of the Nation, even though it is never clear which Nation, the Arab Intellectual bears the weight of the world on his shoulders. Here, transforming his Seven States as photographed in 2005, are Seven of the Qualities that help him survive in a world that remains forever beneath him:
Sleep-deprivation is like being high. I know because I was high for a long time, then I started sleeping irregularly. It’s supposed to have something to do with lack of sugar in the brain, which is also the theory of what LSD does to consciousness. Things grow fluid and dreamlike, but at the same time there is a paranoid awareness of motion and a heaviness in the heart. Color and sound become a lot sharper, and time feels totally irrelevant. Normal speed is fast but fast can pass for normal. A moment lasts for days, days can fit in a moment. Talking and laughing are far more involving, especially laughing. The grotesque animal implicit in each person comes out, sometimes messing up the conversation. And then it’s as if you have no body. As in the best music, an uncanny lightness balances the overriding melancholy. There is joy in flying when you don’t need to move. All through this, what’s more, every passing emotion turns into an epic experience.
Mohab Nasr, Ya rabb, a’tina kutuban linaqra’ (Please, God, give us books to read), Cairo: Al Ain, 2012
“Any pretence of having specific reasons to stop writing poetry at one point or to return to it at another will be a fabrication,” says Mohab Nasr (b. 1962). “All I can say for sure is that I was surrounded by friends who used up my energy in conversations, which gave me a sense of reassurance of a certain kind, the extent of whose hazardousness it took a long time to realise.”
Thus the seemingly eternal vicious circle, perhaps even more pronounced outside Cairo, the underground literary centre of operations—in Alexandria, where, after a stint in said centre in the mid-1990s that cost him his government schoolteaching post, Nasr was living again:
To write, you have to have a reader; but, being a serious poet in late 20th-century Egypt, your reader can only be a fellow writer; you might as well just talk with them at the cafe—and, beyond an inevitably skewed sense of personal fulfillment, what on earth in the end could be the point of that?