DRY NILE SONG

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Sing, Adaweyah! of the microbus’s wrath
That, rattling death and venom-fuming, a demented sphinx,
Carves through the flesh of traffic like missilery,
And brings car-owning Pasha to his knee.
Sing of the asphalt urchin, creature of the dust
Who in its smoggy wake performs noir rites;
His muffled yelps, as pædocock stretches his child’s asshole,
Transforming into clouds.

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The Importance of Being Lars

Nymphomaniac’s Message for the Arab Spring

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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.

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