It kind of grows out of traffic. The staccato hiss of an exhaust pipe begins to sound like record scratching. Skidding and braking, the vehicles resume their car horn concerto. Braying, bawling, crashing, farting, fortissimo hustling cut in. Then comes the imperious vroom of a makana – the Arabic corruption of the Italian word for ‘machine’ – as a motorcycle is called on the streets of Cairo…
@Sultans_Seal wallows in his lack of democratic mettle
Time and again, since 30 June last year, I’ve come up against the commitment to democracy that I’m supposed to have betrayed by appearing to endorse the army’s intervention in the outcome of Egypt’s second revolution.
Time and again I’ve had to explain what on earth makes Egyptians think that Washington and Tel Aviv are secretly in league with the Muslim Brotherhood to decimate the Arab world along sectarian lines and bring death and destruction upon innocent Egyptians as much as Syrians and Libyans in the name of human rights—presumably to the benefit of that impeccably democratic and profoundly civilized neighbor state where racist, genocidal, militarized sectarianism does not present the world community with a human-rights problem.
25 January, 30 June — and, very personally, Youssef Rakha
I had almost reprimanded myself for anticipating civil conflict in the wake of major protests against the Muslim Brotherhood (MB) President Mohamed Morsi remaining in office.
After what apparently was the largest demonstration in the history of humankind on Sunday (30 June, 2013), the army’s statement in support of “the people’s demands” this afternoon prompted wild festivity on the streets. But at the time of writing (the evening of Monday, 1 July), “clashes” — some of which had begun yesterday evening — are raging, on and off, in Alexandria, Mahalla, Suez, Assyout and Qena as well as the Cairo suburb of 6 October and the Muqattam Hills, where the Guidance Office of the MB is located in Cairo.
What I talk about when I talk about 30 June
Nearly a week ago, some little known Kuwaiti newspaper reported that President Mohamed Morsi had negotiated, it wasn’t clear with whom, “a safe exit deal” for himself and 50 leaders of the Muslim Brotherhood (MB) — in anticipation of 30 June.
It was obvious misinformation but it was tempting to believe, partly because it suggested the very implausible prospect of the MB leaving power peacefully, lending credence to the idea that 30 June will be “the end of the MB” anyhow.
Egyptian intellectuals and the revolution
Egypt has had Islamists and “revolutionaries”. So who are the nukhba or elite routinely denigrated as a “minority” that “looks down on the People”? Educated individuals, non-Islamist political leaders, the catalysts of the revolution itself… But, in the political context, this group is to all intents synonymous with the cultural community. As per the tradition, which long predates the Arab Spring, writers, artists, scholars and critics often double as political activists/analysts and vice versa; and in this sense much of “the civil current” (anything from far-right conservative to radical anarchist) is made up of “the elite”—of intellectuals.
Construed as a political player, the cultural community in Egypt has been the principal challenge to the Islamists since January-February 2011, when the revolution took place—an understandably weak rival among the uneducated, materialistic and sectarian masses. Yet how has the cultural community dealt with the revolution regardless of this fact, assuming that what took place really was a revolution?
The (un)culture of (in)difference: a family reunion
At a recent family gathering, someone happened to mention the case of Albert Saber: the 25-year-old proponent of atheism who had been tried and convicted for online “defamation of religion”.
Albert’s case had begun as an instance of Muslim zealotry “coming to the defence of Allah and His messenger” against “offending” statements from (so far, mostly, foreign or Christian) unbelievers—before being taken into custody, the young man was brutishly mobbed at his house; his mother was later physically assaulted—a tendency that long predates “the second republic” ushered in by the revolution of 25 January, 2011 but enjoys unprecedented official and legal cover under the present (pro-)Islamist regime.
Despite its sectarian roots, such populist persecution of the irreligious has the blessing of the Coptic Orthodox Church, which is both extremely conservative and non-confrontational. Evidently it is no longer safe to be secular in Egypt regardless of official religious affiliation or actual degree of secularism.
No Renaissance for Old Men
It is the word that Tunisia’s Muslim Brothers chose for their harakah (or movement) and in which the Egyptian jama’ah (or group) couched its presidential programme; it dates all the way back to the late 18th century when, under Muhammad Ali Pasha in particular, it would’ve denoted something significantly different. But in a way it has been the mirror image of European imperialism since then, with its post-Arab Spring Islamist manifestations in Tunisia and Egypt constituting one possible logical conclusion of the region’s political trajectory, and the murderous Arab nationalist dictatorships (whether Gaddafi’s in Libya or the Baath’s in Syria and Iraq) another.
What I want to argue is that, in more ways than one (and despite all the wonderful things it almost did), the so called Arab renaissance has in fact been part and parcel of this immense downward fall of recent history, and that—far from presenting a homegrown alternative to the neoliberal world order, arguably the extension and apotheosis of empire—it has actually aided and abetted the imperialist project.
Since 25 Jan we have had, in addition to the Islamist and official media, Al Fara’een: a satellite political-commentary channel of such irrational and duplicitous orientation I believe it is worse for the health of the average Egyptian than cholesterol. (By the average Egyptian, I mean the relatively sane, minimally rational follower of the news — including those who, out of fear or despair, might actually be opposed to the revolution.)
Mohammad Rabie, Kawkab ‘Anbar, Cairo: Kotob Khan, 2010
BOOKSHOP: When a book signing ends up feeling like an engineers’ reunion, it makes you think not of structure but of paranoia. There is the architectural analogy, that is true (and in Arabic an architect is literally an “architectural engineer”). But by now it is something of a cliché: the stringing together of narrative is, anyway, nothing like the construction of buildings; character, dialogue and pacing, the poetry of scene and sentence, have little to do with design. Of course, engineers deal with electric circuits as well as building plans, pistons and pulleys, drills, computers, equations, frames and frameworks, all kinds of objects that can have metaphorical relevance to the writing process.
Responding to recent Facebook “notes” by the poet Mohab Nasr — an Alexandrian schoolteacher turned Kuwait-based journalist and, since 25 January, perhaps the most honest critic of the Egyptian human being — Youssef Rakha unpacks the concept of the People
There is a scene recounted by a young writer, Talal Faisal, in his as yet uncompleted novel about the late playwright and poet Naguib Surour: Barefoot and in tatters, holding a twig, Surour is spotted on the street by the journalist-critic Ragaa El-Naqqash, who takes him along in his taxi, offering him money for food. In the ensuing conversation, the vernacular poet and cartoonist Salah Jahine, perhaps the most successful intellectual of his generation, comes up. This is in the wake of the 1967 War; and Jahine, who was an unflinching mouthpiece of Nasser’s regime, is depressed about the humiliating defeat of the Arab armies. With mock concern, Surour asks Naqqash after Jahine, embarrassing yet another fellow left-wing intellectual who, unlike him, has managed to survive the worst of the totalitarian state with his shoes on. Talal Faisal captures the wry bitterness of Surour’s tone exactly.
It is something of a cliche of contemporary literature to say that Amal Donqol is best known for his worst work: “political” poems which, though he paid lip service to high-art injunctions requiring that their message should be veiled in ancient history or mythology, can only be read as populist propaganda against policies of peace with Israel. Not that there isn’t always room in poetry for political engagement of some kind, but these works have arguably replaced the complex truths of literature with a largely instrumental sense of the real.