Seth Messinger on Alessandro Spina: Bordello Continent, Missione Civilizzatrice

“Marble Arch Built by Italians to Commemorate then victory in Libya”. Photo by Joe Willis. Source:


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

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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Marcia Lynx Qualey: A Review of the Newest Arabic Novel (Remix)

Arab Muscle Dancers, 1898, by B. W. Kilburn

Insert Title Here, by Our Arab Author, translated by So-and-so. Such-and-such publisher. $12.99.

What do you know about how people live in Cairo or Beirut or Riyadh? What bearing does such information have upon your life? We in the West hear about the Middle East all the time, but for most of us it remains unknown and unknowable. More complicated still is that, as I learnt at the weekend, forms like the novel and short story were alien to Arabic culture before the first decade of the 20th century: the genres are, themselves, imports.

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Youssef Rakha: The Importance of Being Lars

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.

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