فرات الحطاب: حيطان تونس

عند وصولي إلى تونس، اكتشفت أنني اقتلعت من المشرق ورميت نفسي في المغرب الذي لا أعرف عنه شيئًا. هنا اكتشفت مصطلح “مشرق” أساسًا. لأصحاب الدكاكين ردات الفعل نفسها: من وين من لبنان؟ آه سوريا؟ مشرقية؟ (لا فرق كبيرًا هنا بين سوريا، لبنان، الأردن؛ كلنا عند المغاربة مشارقة).

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Antonio Denti: Notes on War in Times of Peace

Generations

I’d rather fight a war tomorrow than think my son might have to do it one day.

This sentence, which I know to be true, does not belong to me. It does not emanate from me. It inhabits me because I am part of this living planet. It originates in the deepest strata of life, in the mechanisms that regulate the way life is handed down from being to being, from generation to generation, across time. It does not make me any more courageous than the moderately frightened – or more heroic than the moderately selfish – man that I am.

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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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