𝐹𝑜𝓊𝓃𝒹 The Hieroglyphs of Suffering

I do not often weep: for not only do my thoughts on subjects connected with the chief interests of man daily, nay hourly, descend a thousand fathoms “too deep for tears;” not only does the sternness of my habits of thought present an antagonism to the feelings which prompt tears—wanting of necessity to those who, being protected usually by their levity from any tendency to meditative sorrow, would by that same levity be made incapable of resisting it on any casual access of such feelings; but also, I believe that all minds which have contemplated such objects as deeply as I have done, must, for their own protection from utter despondency, have early encouraged and cherished some tranquillising belief as to the future balances and the hieroglyphic meanings of human sufferings.  On these accounts I am cheerful to this hour, and, as I have said, I do not often weep.  Yet some feelings, though not deeper or more passionate, are more tender than others; and often, when I walk at this time in Oxford Street by dreamy lamplight, and hear those airs played on a barrel-organ which years ago solaced me and my dear companion (as I must always call her), I shed tears, and muse with myself at the mysterious dispensation which so suddenly and so critically separated us for ever.  How it happened the reader will understand from what remains of this introductory narration.

— from Confessions of an English Opium-Eater by Thomas de Quincey

1886

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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