Fes, 2006. By Youssef Rakha.
When I was in my late teens, I surprised the gathering at an older writer’s house here in Cairo by insisting that we should play neither Eric Clapton nor Omm Kulthoum but Yassin al Tohami, the star munshid (or performer of devotional chanting, called inshad).
Not that I was aware of it at the time, but as an irreligious whippersnapper studying in England, it must have seemed strange for me to be interested in what is, roughly speaking, Islam’s liturgical music, which in the case of Sheikh Yassin, what is more, relies on grass roots Upper Egyptian melodies.
Our intrepid explorer Youssef Rakha heads to the mall in the footsteps of ibn Battuta.
The journalist Abu Said ibn Rakha recounted as follows:
My trip from Abu Dhabi to Dubai took place at a later hour than planned on Monday, the 22nd of the month of Dhul Qi’dah, in this, the 1429th year after the blessed Hijrah. My object was to roam inside the Emirates’ newfangled monument to my venerable sheikh of Tangier – honest judge of the Maliki school of Sunni jurisprudence, associate of Temur the Tatar and Orhan the Ottoman, and divinely gifted savant of his day – Shamsuddin Abu Abdalla ibn Battuta. He is the author of the unsurpassed Rihla (you may know it as The Travels of ibn Battuta), the glorious account of his three decades’ Journey around the world, dazzling pearl on the bed of our literary sea, which he dictated before he died in 770 or 779 and whose style I now humbly emulate.
The formalist: a ramble
Ard ma’zulah bin-nawm (A land isolated by sleep), Beirut: Riyad El-Rayyes, 2007
Manzil al-ukht as-sughra (The little sister’s house), Beirut: Riyad El-Rayyes, 2009
The body confronts the world. It is alive, it comes forth, it has burst into consciousness. That is borne out when the senses operate, the brain processes perception. Instantly, objects take on meaning. Thus “The Truth About My Knee” from Manzil al-ukht as-sughra: It occurs to me at the height of darkness/To jump out of bed and smoke/But instead I place my knee on your back which like you is asleep/And thinks my knee is a dream/Get up/The eyes are more beautiful than the night you lock up in your head/Darkness is one thing/Night is another thing/Get up so you can see my knee in reality/Bent in walking and in the fancy of walking. Hence one of several possible prognoses of the moment of confrontation – the only one that interests me, really – in which the meaning that objects have taken on fits into some narrative of the self (an oversophisticated side-effect of language, arguably: this omnipresence of a self).
Hashem al Muallim, a cultural editor for a newspaper in Ajman, has not written poetry for three years. Randi Sokoloff / The National
I arrive in Ras al Khaimah the night before my appointment and, drained by travelling non-stop for 12 hours, barely register the atmosphere before going to bed. When you live in Abu Dhabi, it turns out, waking up in Ras al Khaimah can be surreal.
The city is like the UAE capital through the looking glass. It boasts fewer salwar kameezes, for example, but this is made up for by a strong south Indian contingent, seemingly better integrated than Abu Dhabi’s Pashtun community. Either there are more tourists or the tourists are more visible. Emiratis drive leisurely through the hilly terrain, which keeps tapering into promontories until it suddenly levels out in the desert as flat as the plains of Dhafra – and then, when you are least expecting it, the sand gives way to green.