Morocco

All those theres: Sargon Boulus’s Iraq

4 September 2011: Baghdad via San Francisco, for Youssef Rakha, makes more sense than Baghdad

Thanks to a flighty wi-fi connection at the riad where I stayed that time in Marrakesh, I heard Sargon Boulus (1944-2007) reading his poems for the first time. Sargon had died recently in Berlin – this was the closest I would get to meeting him – and, lapping up. the canned sound, I marvelled at his unusual career. He was an Iraqi who spent more or less all of his adult life outside Iraq, a Beatnik with roots in Kirkuk, an Assyrian who reinvented classical Arabic. He translated both Mahmoud Darwish and Howl.

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In Sargon’s time and place there is an overbearing story of nation building, of (spurious) Arab-Muslim identity and of (mercenary) Struggle – against colonialism, against Israel, against capital – and that story left him completely out. More probably, he chose to stand apart from it, as he did from a literary scene that celebrated it more often than it did anything else. Is this what makes him the most important Arab poet for me?

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How far is Mahmoud Abdelghani

A book picked up by coincidence leaves Youssef Rakha aquiver

How far is Don Quixote: the title reads much better in Arabic, but this – more or less – is what it means. The latest book by one of Morocco’s best respected prose poets, Mahmoud Abdelghani (b. 1967), Kam yab’ud Don Kishot (Beirut: Dar Al-Nahda, 2007) builds on three previous collections of poetry and a number of translations and critical theses (Abdelghani is a professor of Arabic literature in Rabat). But does the Don Quixote in the title have anything to do with Cervantes’ hero?

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