Christmas Gift: Youssef Rakha’s Arab Porn *Remixed*

Youssef Rakha, Mosaic. A stock photo of a woman in niqab is made up of versions of Aliaa Magda Elmahdy’s iconic picture, her act of protest of 2011


Human behaviour flows from three main sources: desire, emotion, and knowledge.
– Plato, BC 427–347

Always I have and will
Scatter god and gold to the four winds.
When we meet, I delight in what the Book forbids.
And flee what is allowed.
– Abu Nuwas, AD 756–813

The moment a man questions the meaning and value of life, he is sick, since objectively neither has any existence; by asking this question one is merely admitting to a store of unsatisfied libido to which something else must have happened, a kind of fermentation leading to sadness and depression.
– Sigmund Freud, 1937

The revolution is for the sake of life, not death.
― Herbert Marcuse, 1977

Eros is an issue of boundaries.
– Anne Carson, 1986

Scene–1

“Hi, I’m writing a piece on Arab porn and would love to get your input…”

“Why would I be relevant to Arab porn?”

“Porn meaning explicit web content, or sexual self expression in general.”

“I see. Well, okay. I’d like to read what you’re writing but I don’t want to contribute. Not because I’m against the idea. I just don’t feel like revealing anything at this point, or I don’t have anything to reveal. I don’t want to explain myself or my sexuality or whatever.”

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Ali Latife: Immigrant No 1

Paolo Pellegrin. Mediterranean Sea near the Libyan coast, 2015. Source: magnumphotos.com

Paolo Pellegrin. Mediterranean Sea near the Libyan coast, 2015. Source: magnumphotos.com

And so these used ideas

here worn like clothes

will be compensated, without apology,

by the softest chords of their instrument.

— Jim Jarmusch, “Verdict with Guitar”

.

We were drinking homemade alcohol in a small rented apartment in Tripoli the night they stole the statue of the naked women and the gazelle from the city center. That was the last naked woman in Tripoli, possibly even in Libya. No one knows where they took it, but the word on the street is that they destroyed and threw it away or that they sold it.

We were six young men drinking homemade alcohol in a country torn apart by civil war, and for four years since the uprising in 2011 we had all suffered from humiliations inflicted by the rebel militias on almost everyone.

Four of the young men who were sitting with me in the small apartment had been incarcerated for protesting in front of Sudan’s Embassy during the Sudanese protests back in July 2012. The militia that caught them follows the same ideology as the ruling regime of Sudan. The Muslim Brotherhood and their Islamist and rebel allies were the rulers of the streets back then and nowadays too. Another had been captured because he is descended from an oppressed Libyan tribe some of whose men had fought the rebels in 2011. We talked about Denmark, Germany, the beautiful lives that awaited us if we could some day get out of this god-forsaken land.

Everything had became tiring lately, the war and what was happening around us and the memories. Even to think of it is tiring, or write about it.

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Seth Messinger on Alessandro Spina: Bordello Continent, Missione Civilizzatrice

Seth Messigner reviews The Confines of the Shadow by Alessandro Spina, translated by Andre Naffis-Sahely, a 2015 title by Darf Publishers, London

“Marble Arch Built by Italians to Commemorate their victory in Libya”. Photo by Joe Willis. Source: joewillis.co.uk

Confines of the Shadow is the first of three volumes written by Alessandro Spina and translated by Andre Naffis-Sahely. The London-based Darf Publishers has produced nonfiction works in English about Libya, the Arab World and the Middle East. Recently it started publishing translations of world literature as well. Confines of the Shadow links these two concentrations in one multi-volume project. Spina is at once a Libyan, an Arab, and an Italian. He spent much of his career writing his family’s history, through which he explored a uniquely tangled web of relations with the Mediterranean world.

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Youssef Rakha: Who the Fuck Is Charlie

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From the Miraj Nama of Shah Rukh, 15th century, showing the Prophet Muhammad astride his Buraq. Source: studyblue.com

The mere idea of contributing to the Charlie Hebdo colloquy is a problem. It’s a problem because, whether as a public tragedy or a defense of creative freedom, the incident was blown out of all proportion. It’s a problem because it’s been a moralistic free-for-all: to express solidarity is to omit context, to forego the meaning of your relation to the “slain” object of consensus, to become a hashtag. It’s a problem above all because it turns a small-scale crime of little significance outside France into a cultural trope.

Charlie Hebdo is not about the senseless (or else the political) killing of one party by another. It’s about a Platonic evil called Islam encroaching on the  peaceful, beneficent world order created and maintained by the post-Christian west. Defending the latter against the former, commentators not only presume what will sooner or later reduce to the racial superiority of the victim. They also misrepresent the perpetrator as an alien force independent of that order.

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Youssef Rakha: He Threw Himself into the Sea

The Sultan’s Seal reviews one of Darf Publishers’ recent titles: the Eritrean writer Abu Bakr Khaal’s African Titanics, translated from the original Arabic by Charis Bredin

Photo by Alex Majoli, source: magnum photos.com

I immediately began to suss out the reputations of all the local smugglers, remaining in a state of anxious indecision as to which of them I should do business with. There was ‘Fatty’, known for his reliability and the care he took of those who travelled aboard his Titanics. His reputation extended all over Africa and travellers from Eritrea, Sudan, Somalia, Ghana and Liberia would hunt him down as soon as they arrived in [Tripoli]. Other smugglers were known for how swiftly they could arrange crossings. Every week, one of their Titanics would leave for the far shore, completely devoid of safety precautions, and likely to sink a few miles out to sea.

Like Samuel Shimon (An Iraqi in Paris, 2005), and Hamdi Abu Golayyel (A Dog with No Tail, 2009), Abu Bakr Khaal writes reportage with fictional license. Though a Tigré-speaking Eritrean with no apparent connection to the Arab literary scene, he belongs in a recent Arabic tradition of confessional narrative that benefits as much from its authors’ down-and-out credentials as their distinct vernaculars. Whether Khaal’s language is interesting because of influence from his mother tongue, I don’t know.

In Charis Bredin’s decidedly British English, African Titanics is a breezy read, worthwhile for its first-hand take on an essential topic and its pseudo-mythology of pan-African wanderlust.

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Angelus Novus: A Letter from Hilary Plum

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Paul Klee, Angelus Novus, 1920. Source: fleurmach.com

Dear Youssef,

A few days after you proposed that I write you this letter, a man was killed, his execution public enough that despite the five thousand miles between us we both could look on. This man, a journalist, had once been captured in Libya, then released, then was captured anew in Syria in 2012, this captivity ending in death. He was American, from New England as I am, he and I earned the same degree from the same university, enough years between us that I did not know him, though we each or both passed years among the low mountains and rising rents of Western Massachusetts, the grave of Emily Dickinson (called back, May 15, 1886) that even if one never bothers to walk behind the hair salon and the Nigerian restaurant to visit it serves as heart, destination of a pilgrimage one imagines.

The video his killers posted online may or may not in fact include the moment of his beheading, but confirms beyond doubt its occurrence. Here, we call the group who killed James Foley ISIS: the Islamic State of Iraq and Syria; or Iraq and al-Sham; or simply—months pass and the name grows more ambitious—the Islamic State. We’re told that the caliphate they envision stretches from the coast of Syria to Iraq’s eastern border. I had thought that Foley was taken from an internet café, but an article I just glanced at says something about a car being stopped, how men with Kalashnikovs forced him out of the car. If I were to tell the story in a novel, he would be in an internet café, sending as though it were nothing the story of one land and its wars to another, to a land whose replies are silent until the missile drops out of the sky.

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