The Sultan’s Seal reviews one of Darf Publishers’ recent titles: the Eritrean writer Abu Bakr Khaal’s African Titanics, translated from the original Arabic by Charis Bredin
Photo by Alex Majoli, source: magnum photos.com
I immediately began to suss out the reputations of all the local smugglers, remaining in a state of anxious indecision as to which of them I should do business with. There was ‘Fatty’, known for his reliability and the care he took of those who travelled aboard his Titanics. His reputation extended all over Africa and travellers from Eritrea, Sudan, Somalia, Ghana and Liberia would hunt him down as soon as they arrived in [Tripoli]. Other smugglers were known for how swiftly they could arrange crossings. Every week, one of their Titanics would leave for the far shore, completely devoid of safety precautions, and likely to sink a few miles out to sea.
Like Samuel Shimon (An Iraqi in Paris, 2005), and Hamdi Abu Golayyel (A Dog with No Tail, 2009), Abu Bakr Khaal writes reportage with fictional license. Though a Tigré-speaking Eritrean with no apparent connection to the Arab literary scene, he belongs in a recent Arabic tradition of confessional narrative that benefits as much from its authors’ down-and-out credentials as their distinct vernaculars. Whether Khaal’s language is interesting because of influence from his mother tongue, I don’t know.
In Charis Bredin’s decidedly British English, African Titanics is a breezy read, worthwhile for its first-hand take on an essential topic and its pseudo-mythology of pan-African wanderlust.
Or the Beatification of the False Wali: Sufism, Suspense, and the Possibility of Sufi Realism
Even as it ages, a corpse shows no sign of decay. People start having visions of the dead man. He gives them advice in their dreams. When miracles begin to occur through his apparent intercession, he is declared a wali or vassal (of God). A shrine is built over his grave, and those who tend to it command kudos among his devotees…
It would be wrong to reduce the multifarious phenomena of Sufism to such a story. But in the Egyptian popular imagination, at least, that story remains the quintessential narrative of Sufism.
Sufi doctrine is impossible to sum up with any clarity anyway. Claimants range from the ninth-century Malamatiyya of Khorassan to “the Proof of Islam” Abu Hamid Al-Ghazali (1058-1111). The first group actively sought ill repute by flaunting sinfulness and making themselves worthy of malamah (or blame), the better to reject piety, which they saw as a worldly value and a factor in distance from God. The second is arguably the central figure in Sunni orthodoxy.
So the beatification of the wali is as good a way as any to set the dervish apart from the ordinary believer: the gnostic secrets he has access to (sometimes enabling him to perform miracles), the higher states of consciousness he experiences as a result of those secrets, his sheer unmediated joy (making him willing to give up all worldly powers and possessions), and his often strained relations with the Umma’s sober patriarchs.
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.
REFUGEE: A man leaves, embarks on a journey, endures inhumane difficulties in search of a humane haven. There is a war going on where he comes from; it’s not safe even to walk to the vegetable souk. Abducted by one armed group, an ambulance driver he knows is forced to make a fake confession on video for the benefit of satellite news channels, then sold to another armed group—and so on.
Man as map
I will start by thanking those who brought me here. It was Mai Ibrashi, I believe, who first paid attention to the geographic aspect of my first novel, The Book of the Sultan’s Seal—in many ways also my first full-length book—which, though it was completed in two spurts over a three-year span, gathered together a lifetime’s efforts and experiments in writing, in playing with different registers of Arabic, and in looking at the world—or Cairo.
It took Youssef Rakha nearly a decade to reread Yasser Abdellatif’s only novel to date, Qanoun al wirathah (Law of inheritance, Cairo: Dar Miret, 2002, a third edition of which appeared last month), but together with the 41-year-old writer’s second collection of poems, Jawlah layliyah (Night tour, Miret, 2009), that impossibly condensed autobiography prompted a heartfelt exchange