Book of the Sultan’s Seal: Synopsis
Kitab at-Tughra or Book of the Sultan’s Seal, set over three weeks in the spring of 2007 and completed at the start of 2010, was published less than a fortnight after the then Egyptian President Hosni Mubarak stepped down, following mass protests, on February 11, 2011, ceding power to the Supreme Council of the Armed Forces of which he was technically in charge.
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?
Sacred genitalia: the metaphysical inflections of Bataille’s surrealist voice
(Madame Edwarda, 1941; Story of the Eye, 1928)
Man is more than a creature limited to its genitals. But they, those inavowable parts of him, teach him his secret.
This essay will attempt to identify a specific (if arguably minor) aspect of surrealism, and trace its aesthetic and intellectual resonances in Bataille’s major works. The desire to come in contact with the sacred informed not only Bataille but Artaud, who envisaged in the theatre a potential for realizing it, and (despite ‘ideological’ admonitions and the struggle ‘against those who would maintain surrealism at a purely speculative level and treasonably transfer it onto an artistic and literary plane’, a struggle which, among other things, frequently cast Bataille and Artaud in the role of renegade surrealists) this selfsame yearning for the sacred can be deduced from Breton’s quasi-metaphysical pronouncements throughout the vital period of surrealist activity in France. As early as 1922 Breton was defining surrealism in terms of ‘the belief in the superior reality of certain forms of association’, and twenty years later he still felt obliged to deny the charge of ‘mysticism’.
When Youssef Rakha asked the Madrid-based poet Ahmad Yamani how his latest book, Amakin Khati’ah (Wrong Places, Cairo: Dar Miret, 2009) came about, the latter sent him a numbered list of observations
1. All the poems of this diwan were written in Spain between 2002 and 2006.
More than other “Nineties” prose poets working in standard Arabic, Ahmad Yamani was accused of hartalah, contemporaneous slang for prattle or drivel. That was when he lived in Talbiyah, the semi-provincial suburb of the Pyramids where he was born in 1970. No one doubted his talent, but even the quasi-Beatniks of Cairo were not ready for the irreverent lack of polish in his first book, Shawari’ al-abyad wal-asswad (The Streets of Black and White, 1995), particularly clear in the long, epoch-making poem whose title translates to Air that stopped in front of the House.
Here at last, romantic and Kafkaesque by turns, was a rage-free Howl of Cairo in the post-Soviet era. The madness went on. By the turn of the millennium Yamani was as well-known as he could be. He was writing, he was working (mostly at cultural magazines), but like many others he was also fed up with life on the margin and disgusted with the social, economic and literary mainstream. One day in 2001, he left the country for good.
English translation by Nader K. Uthman (2009)
Rashid Celal Siyouti recounted as follows:
Imagine! You open the hood of your car after it breaks down on you in the middle of the street, and where the engine should be you find a corpse folded in the fetal position! That’s not exactly what happened to me, but considering that this was my first visit to Cairo in three years, what happened was almost as strange.
Afterwards, when I found out what my lifelong friend Mustafa Nayif Çorbacı had been through, what had made him leave Cairo a week before I arrived, things would fall into place. I was not to know Mustafa’s story until after I resumed my normal life as a backup doctor at Bethnal Green Hospital in East London, when I received an email[AM1] with a huge PDF file attached, containing the manuscrpt in which Mustafa wrote about his separation from his wife and what followed. There was a single line in the message window wondering whether, after reading the attachment, I would think he had gone crazy. The PDF would prove to me that I didn’t make up that night on the way to Salah Salim Street under the stress of my matrimonial plans, thinking too much about the largest obstacle ahead. I live next to my job in Bethnal Green, and since I moved there in 2005, about two years ago, I’ve been living with a Druze co-worker whom I love. I would have married her long ago, if not for the fact that her family would never let her marry a non-Druze. So, when a ghost appeared to me in the flesh, saying that he was the nineteenth incarnation of God’s Anointed Ruler, Al-Hakim bi-Amr Allah, whom the Druze worship, I wondered if it was a hallucination brought on by reading about that obscure religion, and thinking about getting married, or the reason why I was forbidden from starting a family with my girlfriend. For a few hours I panicked, doubting that in having a relationship with this girl, I might really be desecrating something.
Iman Mersal, These Are Not Oranges, My Love: Selected Poems, translated by Khaled Mattawa, Riverdale-on-Hudson, New York: The Sheep Meadow Press, 2008
The wall is further than it needs to be
and there is nothing to support me.
An ordinary fall
and bumping into edges
that change places in the dark…
How could I let myself
be so lonely before thirty? (A Dark Alley Suitable for Dance Lessons, 1995)