Category: Archipelago Books

Elias Khoury: Children of the Ghetto

Children of the Ghetto: My Name is Adam is my fifth Khoury. Would I recommend this? Perhaps not as a reader’s first Khoury. Would I read another Khoury after this? Absolutely!

In what seems to be a foreword signed by the author, he recounts how the notebooks of Adam Dannoun came into his possession. The entire book is the purported sum of Adam’s scribblings. “This is neither a novel nor a story nor an autobiography. And it isn’t literature,” writes Adam in his notebooks. But of course, through his virtuosity, Khoury turns the non-novel, the non-story, and the non-autobiography into literature.

It is literature that is one of the trickiest webs that he has woven because it challenges Khoury himself as a storyteller. It is soon revealed that Adam claims to have known the characters in Gate of the Sun personally, and he dislikes “the author of the novel Gate of the Sun, standing next to the bald Israeli director, presenting himself as an expert on Palestinian history, and lying.”

Adam, an infant in 1948, named so as the first born of the Ghetto of Lydda. Adam lived through the horrors of the ghetto, the massacre in Lydda, and the Lydda Death March. Before his suspected suicide in New York as an older man, he struggled to write about what befell his people. The notebooks contained his attempts. The whole history of our Nakba is unwritten. Does that mean we don’t have a history? That there was no Nakba? Does that make sense?

It possibly cannot be the unfathomable pain of the Nakba or the senseless violence of the Lebanese Civil War that keeps me coming back to Elias Khoury. It’s probably not the history either, because he is the kind of writer who questions it.

Or maybe it is because he questions history that I keep coming back. Maybe it’s also for the reason that every book I’ve read that’s written by a Lebanese reveals how capricious and adventurous the Lebanese are with form, or with the defiance of form. Maybe I’ve been lucky with the chronology of which I read, and of which the books came to my possession, that instead of being thwarted by this unconventional and sometimes disorienting quality, each book has only heightened the allure for me.

And maybe it is because Khoury, as a writer, urges and trusts the reader to be the one to bring a story to life; a truly Eastern composer of tales who wants to obliterate the author and make his identity of no interest so that literature becomes, like Eastern music, not a fixed composition, but an unfolding.

Bachtyar Ali: The Last Pomegranate Tree

“You want us to form a friendship built on disregarding the past, on ignorance and forgetting. Like all rulers, you want to burn your secrets so nobody can look at them after you die… We are not on the same path.”

How fittingly this line can be addressed to our current leader, and how I’d love to take some of Bachtyar Ali’s allegories to take a jab at the state of our politics!

But I doubt if railing against authorities was the main intent of this novel. Bachtyar Ali, injured in 1983 during a protest against Saddam Hussein’s Ba’ath Party and author of the first Kurdish novel to be translated in English, surely knows about unjust leaders and speaking out against them. 

This story of a peshmerga fighter who is released after being detained in a desert prison for twenty one years and goes on a quest to find the son he left behind is told with the magical realism of A Thousand and One Nights, but with a more discernible moral aim, which also weaves in its tale the sufferings and the violent history of the Iraqi Kurds.

The Last Pomegranate Tree, with its moments of breathtaking lyricism, seems to me more of a profound contemplation on freedom, on what it means to be really free, and on what it is we should seek and hold on to when all seems lost.

“Only one thing has been left to us, the one thing they can’t reach: our hearts, our inner worlds.”

Sait Faik: A Useless Man & Ferit Edgü: The Wounded Age and Eastern Tales

“Would Chekhov have suffered writer’s block?” Maria wondered, as the hull of the sunflower seed snapped open between her lightly clamped teeth.

Had it not been for gravity and absentmindedness, it might have appeared like a final attempt of helpless rebellion as the kernel fled in its nakedness, first escaping through Maria’s lips and slipping straight into the narrow entrance of a cowl-necked blouse, lapsing between two mounds of mysterious bosomy matter, and finally shelving itself in the black hole of the navel.

There, cradled in the darkness was the sunflower seed, and it knew not what parallel or different fate it would have encountered had it slipped inside – on the other side, of that warm, heaving skin. At that moment, it knew not time nor space, it only knew of warmth, suspension, and a false feeling of relief.

Maria’s eyes swept the floor but found no trace of the seed, so she picked up another one when suddenly, an idea! A writing idea after weeks of creative standstill! She mock-kissed the second sunflower seed with glee and tossed it back on the table. “If Chekhov could eye an ashtray and tomorrow furnish a story called ‘The Ashtray,’ what tales I could conjure from a sunflower seed!”

With confident strokes of her pen she inked ‘The Sunflower Seed’ on the top of a blank sheet, and Maria wrote:

“Would Chekhov have suffered writer’s block?” Alejandra wondered, just as the sunflower seed snapped open between her semi-clenched teeth.

Of what seemed as a definitive act of impetuous rebellion, the seed fled in its nakedness, first escaping through Alejandra’s lips and slipping straight into the abyss of a cowl-necked blouse, lapsing between two mounds of mysterious bosomy matter, and at last shelved itself in a black hole which was the navel. There, cradled in the darkness was the sunflower kernel, and it knew not what parallel or different fate it would have encountered had it slipped inside – on the other side, of that warm, heaving skin. At that moment, it knew not time nor space, it only knew of warmth, suspension, and an ersatz feeling that resembled belongingness.

Maria continued to write vigorously and narrated how Alejandra’s husband discovered the mutinous seed in her bellybutton later that night and punished it by plopping it into his mouth with a teasing gleam in his eyes.

Pleased with the South American tone of absurdity in her story despite aiming for a Russian shade, and unaware that her tale was half fiction-half accidental truth, she put her pen down with a satisfying staccato. “Ah, the sound of a period!” she exclaimed. As she stood up, the sunflower seed fell to the floor, later to be identified as midnight snack by the little mouse that lived in between Maria’s walls.

The above story is not from the two books featured here. I wrote this in 2009 when reading a volume of Chekhov, who happens to be one of the most handsome of authors, ignited a spark of creative inspiration. Since then, I’ve found that the best short story compendiums do not inspire me to write reviews; they nudge me to pay more attention to the details of everyday life and to write my own short stories however inferior mine may be.

Ferit Edgü is more minimalist than Sait Faik but I find both their stories to be of a distinctive hue. There is something almost monochromatic about them: But akin to the most masterful black and white photographs, this quality does not reduce them to something less but raises and intensifies their expressiveness.

My best attempt to describe them would be to ask one to look into photographer Ara Guler’s black and white images; or better yet, grab that photo book, Ara Guler’s Istanbul with a foreword by Orhan Pamuk. Each photograph a story, each story an evocative photograph.

It is said that every Turk knows a Sait Faik line or story by heart. He is, after all, considered the Turkish counterpart of Anton Chekhov. Turkey’s most prestigious short story award, the Sait Faik Prize, is named after him — which Ferit Edgü received in 1979.

Needless to say, last month’s release of this Ferit Edgü collection resulted in yet another NYRB | Archipelago book-pairing at my end.

Now, excuse me as I attempt to write another short story. If that doesn’t work, I’ll be content with seeking beauty in the ordinary.

“And so the role of literature on this earth: It is that thing seeking beauty.” — Sait Faik

Elias Khoury: Broken Mirrors (Sinalcol)

“In the old days pomegranates stood for a woman’s breasts and when a lover spoke words of love to his beloved he would liken her breasts to pomegranate fruit. Do you know what we mean today when we say ‘pomegranate’? A pomegranate is a hand grenade. See how far pomegranate has fallen from the throne of love and become a part of war?”

NYRB’s launching of Anton Shammas’ Arabesques with an afterword by Elias Khoury prompted this reading. I am thrilled to finally see Khoury’s name on an NYRB cover, but still baffled as to why this virtuoso of form, poetic prose, historical and political insight continues to be unbelievably underrated! 

One probably cannot read his books consecutively because of all the trauma they contain, and how he presents a different form of the novel each time could disorient those who prefer the familiar; but on my fourth novel by Khoury, I remain amazed…

…especially when I disliked the main character for his views on marital infidelity right from the beginning, and I found more repulsive revelations in other characters; and yet, the hypnotic storytelling with beautiful lines about words and meaning just pulled me in. Strong female characters emerged, the plight of foreign domestic workers in Lebanon was addressed (an especially meaningful aspect as I’ve noticed how Lebanese authors from Alameddine, al-Shaykh, to Khoury have often included Filipina domestic help in their depiction of the Beiruti socio-scape), Lebanon’s history came through in well-executed layers, with two brothers on different sides of the civil war clashing ideologies were dissected, but as broken pieces of the mirror began to come together for the reader, the characters’ lives fell apart.

Khoury is less abstract here. These are all symptoms of the same sickness, he says. “He’d told her that his soul hurt and that there was no pain worse than that of the soul.” This is what war does to lives, he says. This is what war does to identity. This is what war does to love. This is how war never ends if it lives inside us.

On a lighter note, Archipelago Books hit the bull’s eye with that Wassily Kandinsky cover art!

Sevgi Soysal: Dawn & Yashar Kemal: Memed, My Hawk

When Archipelago Books released their edition of Dawn, I immediately placed an order and entertained myself with Memed, My Hawk and a few other books while waiting for its arrival. This is my second NYRB/Archipelago book-pairing and I’m finding these serendipitous duos to be highly rewarding.

Maureen Freely, whose translations of works by Sabahattin Ali and Orhan Pamuk I have enjoyed, pens an insightful preface to Dawn that enlightens readers about Sevgi Soysal’s life and the paradox in Turkish women’s rights that she was born into; and for the 2005 NYRB edition of Memed, My Hawk, launched on the fiftieth anniversary of its publication, Yashar Kemal himself wrote the introduction wherein he reflects on people whose destiny it is to revolt.

Little did I know that the two Turkish works would complement each other and provide a rare glimpse of the Çukurova plain when it was still a setting for poor villagers, cruel landlords, bandits, orchards, and fields of thistles in Memed, My Hawk, and the same district on the cusp of urbanization in Dawn — far removed from the glorious domes and minarets of Istanbul that are more familiar to the international reader but closer to the woes of the working class.

Kemal (1923-2015) and Soysal (1936-1976) were no strangers to arrests and serving prison time for political activism. Memed, My Hawk is Kemal’s first novel, and Dawn Soysal’s last. But the symmetries are endless. The lives that both authors lived as leftist intellectuals and the fights they fought against authoritarianism and injustice are fervently manifested in these works.

The word “leftist” might cause some to flinch as it comes with a lot of baggage and it is deplorable how the mere association to the word can lead to “red-tagging” in my country; but the flawed and deeply human characters in both works reveal various shades of this problematic term that, stripped to its purest state, is simply the pursuit of equality, equity, basic human rights, liberty, and justice.

“Since when did we start thinking that struggling is a crime, and doing nothing was innocence and brilliance?” — Sevgi Soysal, Dawn

Miljenko Jergovic: Sarajevo Marlboro & Ivo Andric: Omer Pasha Latas

She knew there would be pain in these books. But don’t people in the warmest climes imbibe hot drinks to temper the body’s response to heat? By that logic, here she is; steeped in the rich wordscape and sorrowful history of the Balkans.

The first days of November find this reader still silenced by life. A point in which literature remains among the few things left that can coax words out of her.

Sarajevo Marlboro and Omer Pasha Latas fell into her possession around the same time. That both books come from two of her favorite publishers, that the earth tones of their elegant covers match her autumnal soul, that both authors are exemplary, that their stories juxtapose on the same geographical region, were reasons enough to read them together.

Jergović’s extraordinary vignettes is a dip into a sea of humanity and tragedy in the midst of the Yugoslav wars. Andrić, born a century before these wars, whose words seem to flow as naturally as a limpid stream in the Bosnian countryside, write of a different time under the Ottoman rule, but of eerily similar sufferings.

Sarajevo Marlboro, traces of life retrieved from the rubble, fragments that suggest that the real casualties of war are the living; Omer Pasha Latas, unfinished at the time of Andrić’s death. But none of these books leave this reader dissatisfied. It is strangely easy to be drawn into the hypnotic quality of the details.

Both books intimate our need for context and our need for stories if only to make sense of life and divine its purpose; they whisper about the lies of those in power and of fabricated histories; but both beautifully manifest the ephemerality of life.

Andrić’s last word: “Music”. Jergović’s last paragraph: “You can never list or recall the private libraries that have burned down in Sarajevo… But the fate of the Sarajevo University Library, its famous city hall, whose books took a whole night and day to go up in flames, will be remembered as the fire to end all fires, a last mythical celebration of ash and dust. It happened, after a whistle and an explosion… Gently stroke your books, dear stranger, and remember they are dust.”

Dust: Like everything else we deem precious in this world. So while she can, this reader will stroke her books. They don’t always hold the answers, but they hold her, and hold the dusty, broken pieces of herself together.

Tarjei Vesaas: The Hills Reply

“Because when I read, I don’t really read; I pop a beautiful sentence into my mouth and suck it like a fruit drop, or sip it like a liquer until the thought dissolves in me like alcohol, infusing brain and heart and coursing on through the veins to the root of each blood vessel.” This is how Bohumil Hrabal’s Haňta reads — or how he doesn’t really read.

This is how I read, or how I did not really read, The Hills Reply by Tarjei Vesaas. I do not think there is any other way to read, or to not really read, this book.

What is this book? I can say, “A collection of sixteen short pieces of literature.” Or I can also say, “A lyrical poem, two hundred and seventy five pages long.”

But I’d rather say: A Lispector attuned to nature. An impressionistic artwork so keenly aware of the elements, of the light in different times of the day, and of its sounds and its silences. A swan song of sheer beauty that leaves you quiet and asks your heart, for the time being, to dwell inside its pages… a heart so full, so open, it breaks.

Halldór Laxness: Wayward Heroes

“With these words, she drew back the bolts that Kolbakur had made to fasten her window frame, pulled the frame aside, and let the man into her bower. Images of gods were carved on the bower’s pillars and stiles and rails of her chair, but they were only half done — Christianity having come to Iceland before the artist completed his work.”

And with this fleeting imagery, a beautiful and ingenious depiction of the religious landscape in which the story is set. An age on the cusp between the fading world of paganism and the force of a new religion of peace, ironically preached by adventurers and men waging selfish crusades in the name of Christ. It was this melancholy conflict that I heard playing as a soundtrack throughout its pages.

It seemed revolutionary when Hollywood recently began to highlight the dark side of legends and heroes. These have become sombre reminders that even superhuman abilities are not enough to protect one from ego, the perilous thirst for fame, power, revenge, and from mere mortals’ tragedies.

Then there’s Halldór Laxness who had Wayward Heroes published way back in 1952, part of the body of work that earned him the Nobel Prize in 1955.

Written in the style of ancient Icelandic sagas, it is replete with violence, adventures amorous and otherwise, and the barbarism of medieval Europe. But how wonderfully Laxness refashions the old to become accessible and relevant to the new.

On the surface, these are the exploits of blood-brothers, Þorgeir and Þormóður. One can read it as such and it will remain entertaining. But one can always choose to go beyond that and take note of the language, the veiled ironies, how wit and sarcasm remain elegant, and the subtleties that only a master can pull off, and how this story remains especially timeless for being a cautionary tale about the heroes, kings, and causes to whom and to which we pledge fealty.

But do we ever listen?

Hanne Ørstavik: Love

This. Is. Art.

This is art that will haunt you for a while.

It brings to mind the Shepard Tone, an auditory illusion used in film soundtracks to create a palpable disquiet. It occurs when layers of the same scale sequence are played at the same time; the highest layer decrescendos, the middle pitch maintains a consistent volume, and the bottom frequency increases in loudness. Played simultaneously, it manipulates the brain into believing that it is hearing an infinitely ascending tension.

In what appears to be the most original writing style I have encountered in a while, Hanne Ørstavik seems to have invented a literary equivalent of the Shepard Tone, camouflaged in a narrative that demands complete attention.

A village in northern Norway. A mother and son. The frost and the night are tangible.

And love?

Love is left out in the cold.

Scholastique Mukasonga: Cockroaches and Our Lady of the Nile

It is and it isn’t Kafkaesque. 

It is; because, not too long ago, the Tutsi woke up as inyenzi — cockroaches.

It isn’t; because it is no longer allegory, no longer fiction. 

“The soldiers… were always there to remind us what we were… cockroaches. Nothing human about us. One day we’d have to be got rid of.”

Mukasonga, who lost a family, a clan, and an entire people in the Rwandan genocide, chronicles life as a Tutsi in Hutu-dominated Rwanda in Cockroaches. As a child, she and her family were forced to relocate to a camp during the first pogroms against the Tutsi; and from then on, they knew what awaited them.

“Humiliated, afraid, waiting day after day for what was to come, what we didn’t have a word for: genocide.”

In this exceptional albeit disturbing account, we become witnesses to how hatred and prejudice crescendoed from the 1950s into what erupted as the Rwandan genocide in 1994.

“And I alone preserve the memory of it. That’s why I’m writing this.”

This book is, indeed, a paper grave; written by someone who, in Mukasonga’s words, has the sorrow of surviving.

_ _ _

In two chapters of Cockroaches, she gives an account of being unexpectedly accepted to the prestigious Lycée Notre Dame de Citeaux, a Catholic boarding school in Kigali. What was a mere couple of chapters in Cockroaches becomes a fictionalized novel in Our Lady of the Nile.

The elite boarding school for young women perched on the ridge of the Nile remarkably becomes a microcosm of Rwandan society. Corruption, ethnopolitical conflict, history, their myths, Rwanda’s relationship with the west, orientalists, disinformation and lies that fuel prejudice — “It’s not lies,” justifies one of the girls, “it’s politics” — the complexities of government and society; how Mukasonga proficiently mirrors these through the lives of the young women makes it one of the most powerful works of fiction I have ever read.

I found myself wanting for not having read her sooner, and these works make me believe that an African section of a library would be inadequate without Mukasonga.

These are essentials in world literature. The word essential has been abused, but there are times when essential is appropriate.