From the story “Aka Ana” by Antoine D’Agata, 2007. Source: magnumphotos.com
A little girl walking through the woods on her way to her best friend’s house finds a small piece of paper. It is shiny and colorful, ripped from a magazine no doubt, with ragged edges and folded into halves – twice. I still don’t know what makes the little girl take that loose piece of paper into her hands. It is litter, really. But it will never be far from her for the next decade. From that day, she keeps it. Folded as she found it. She gently places it between the pages of The Little Prince or A Tree Grows in Brooklyn, perhaps Watership Down. Now and again she takes it out and unfolds it. Over the years, the piece of paper becomes worn and soft, as satin silk or lambskin chamois. Whitened, thin and frayed at the folds until it is too delicate to even open. But the girl keeps it. It has become her confidante.
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.
On Fiction and the Caliphate
Towards the end of 2009, I completed my first novel, whose theme is contemporary Muslim identity in Egypt and, by fantastical extension, the vision of a possible khilafa or caliphate. I was searching for both an alternative to nationhood and a positive perspective on religious identity as a form of civilisation compatible with the post-Enlightenment world. The closest historical equivalent I could come up with, aside from Muhammad Ali Pasha’s abortive attempt at Ottoman-style Arab empire (which never claimed to be a caliphate as such), was the original model, starting from the reign of Sultan-Caliph Mahmoud II in 1808. I was searching for Islam as a post-, not pre-nationalist political identity, and the caliphate as an alternative to thepostcolonial republic, with Mahmoud and his sons’ heterodox approach to the Sublime State and their pan-Ottoman modernising efforts forming the basis of that conception. Such modernism seemed utterly unlike the racist, missionary madness of European empire. It was, alas, too little too late.
Interview with a Revolutionary
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I became obsessed with sodomizing Sheikh Arif round about the time his posters started crawling all over the streets. Today is July 20, 2012, right? A little over a year and a half after we toppled our president-for-life, Hosny Mubarak. Sheikh Arif’s posters began to show up only three, maybe four months ago—when he announced he was running in the elections held by the Army to replace said president. They seemed to self-procreate. And the more I saw of them, the more intense was the impetus to make the bovine symbol of virility they depicted a creature penetrated. Penetrated personally by me, of course, and I made a pledge to the universe that it would be.
I’ve always lived as if there were no end in sight. What I mean is, I’m continually destroying things and building them back up again. It’s never occurred to me that I might end up crazy or suicidal.
– Pedro Juan Gutierrez, Dirty Havana Trilogy
I was hanging around the restaurant Floridita, spending time in the red light district, roulette in all the hotels, slot machines spilling rivers of silver dollars, the Shanghai Theatre, where for a dollar twenty-five you could take in an extremely filthy stripshow, and in the intermission see the most pornographic x-rated films in the world. And suddenly it occurred to me that this extraordinary city, where all the vices were tolerated and all deals were possible, was the real backdrop for my novel.
– Graham Greene on Our Man in Havana (1958)
Parque Central, Circa Hotel Ingelterra: 29th August 2012, 4p.m.
I am lounging on a stone bench facing the central monument in Parque Central. The city is buzzing and the humidity and heat are overbearing. Nabokov’s Lolita is on my lap. I started reading it, devouring it, on the bus from Santiago de Chile to St. Pedro de Atacama; a 24 hour ride the only remaining memory of which – apart from Lolita – is a lingering and intensely unpleasant scent that I still am unable to identify. I have only two pages left, and I am beginning to experience that feeling of satisfaction which accompanies the end of a book you have savoured, when a Cuban man interrupts me. He appears to be in his early forties, and approaches me with buoyancy – he reminds me of those toys that spring out of a box and only cease moving once the lid is closed. “Que es su pais?” he asks in a question that I have already heard at least ten times today, and it’s only my first day. “Egipto” I reply. I notice that he is wearing a white skull-cap, and my hunch is correct. There are only five-thousand Muslims in Cuba, he begins, and an Islamic centre. It was complicated getting the communist government to approve the mosque. He mentions Ramadan, which has just concluded recently, and the difficulty of fasting in the tropical Havana heat. Upon learning that I too am Muslim, (yes I am, well .. sort of), and my name is Mohammed, his heart gives that jump of joy that for some reason Muslims of all nationalities and ethnicities seem to feel towards each other, especially when they meet in unexpected circumstances. I am now his brother – hermano.
Peter Sengl, Peeping cat
194. “You know you’re a coward?” she said, for the first time staring into his eyes without confusion or uncertainty. She hadn’t completely finished tying the ponytail when she looked at him and he couldn’t believe it. “I’m the first to tell you?” Not a flicker; just the first signs of a smile upon her lips. “You really are a son of a dog’s religion of a coward.” And before he could give expression to his astonishment he found his arm in motion, as if of its own accord. “A coward,” she was saying, “because you’re not prepared to exchange your position for another, even in your imagination. You’re scared to put yourself in a woman’s place because you’re scared to ask yourself whether, in those circumstances, you would marry. This isn’t a fear like the human sentiment with which to varying degrees we’re all familiar: it carries a moral presumption and a glib satisfaction with your own circumstances. That’s why I’m telling you you’re a son of a dog’s religion of a coward…”