{"id":655,"date":"2017-11-18T20:59:58","date_gmt":"2017-11-18T20:59:58","guid":{"rendered":"http:\/\/www.lavenderink.org\/site\/?p=655"},"modified":"2017-11-28T12:41:51","modified_gmt":"2017-11-28T12:41:51","slug":"north-africa","status":"publish","type":"post","link":"https:\/\/www.lavenderink.org\/site\/new-releases\/north-africa\/","title":{"rendered":"Recent Writing from North Africa"},"content":{"rendered":"

I’ve been reading Francophone writers of Northern Africa lately and thought to recommend a few that might serve as background to those which have appeared and are appearing from Di\u00e1logos.\u00a0Recent Francophone literature from and of Northern Africa\u2014Algeria, Morocco, Tunisia\u2014ranks as some of the most ambitious, incisive and artistically interesting literary work of the past half century, though it is little known in the English-speaking world. Many thanks to Peter Thompson who got me started in this investigation.<\/p>\n

One author I would recommend to everyone is\u00a0Assia Djebar<\/a>, and of her many books especially Fantasia: An Algerian Calvalcade<\/a><\/em>. In this work that defies easy classification as fiction, nonfiction, or even poetry, Djebar collages together a sequence of narratives that include factual histories, Djebar’s own lyrical memoirs, excerpts from diaries of both French and Algerian actors, and fictionalized narratives from various personae, to trace the recent history of Algeria. Beginning with the French blockade of Algiers in 1830, Fantasia<\/em> traces the country’s conquest and suppression by the French, which precipitated an almost constant state of war that culminated in the Algerian Revolution in 1954. Both a stylistic, theoretical and political tour-de-force, Fantasia<\/em>, in the excellent translation by Dorothy S. Blair, is essential reading for anyone with an interest in the historical forces that are shaping North Africa, the Mideast and Europe today.<\/p>\n

I also just read\u00a0Abdelwahab Meddeb<\/a>‘s Talismano<\/a>.\u00a0<\/em>Meddeb grew up in Tunis. 10 years old when Tunisia gained independence, he benefited from an education that taught him both French and Arabic classics, and apparently everything in between. Talismano<\/em> abounds with cultural references from all sides of the Mediterranean; indeed, he treats the coastline of Mare Nostrum<\/em> as a single country, almost as a single city. With his vast erudition and wide-ranging travels he is equally at home in Tunis or Rome or Marseilles or Athens, with Jewish alchemists, Greek classicists and Koranic scholars, with prostitutes, priests, magicians and scientists. He punctuates his dense, incantatory prose with an array of allusions and hints buried in a syntax as labyrinthine as the medinas of Marrakesh or back streets of Rome. Talismano<\/em>, in fact, is a novel of back streets, perhaps of all back streets, for as the author or narrator (one is never certain which) is wandering the alleys of one city he can turn a corner and suddenly be in another, as a chance encounter in \u00a0Tunis or Algiers will remind him of Rome or Paris and the narrative will simply follow. Meddeb is as bawdy as Henry Miller, as ambitious as Joyce, as visionary as Rimbaud and as wily as Proust, though likely he’ll first remind you of Celine. Jane Kuntz’s translation of this challenging work is, too, a stunning achievement.<\/p>\n

Another I want to mention is\u00a0Tattooed Memory<\/em><\/a>, by\u00a0Abdelk\u00e9bir Khatibi<\/a>, recently translated by\u00a0Peter Thompson\u00a0<\/a>and released from Editions L’Harmattan. Like the other two books I’ve mentioned here, Tattooed Memory<\/em> is hard to classify. Is it a novel, a memoir, a theoretical work or even a long poem? Amazon<\/a> refers to it as a novel, but if we take that term as is commonly taken in the book business in the US, as a form in which the matters of first importance are “plot” and “character,” in which language is considered best when it is “invisible” and not even worthy of critical attention, I would have to say that Tattooed Memory<\/em> could be almost anything but that. As Thompson says in the Translator’s Introduction:<\/p>\n

This is a translation that \u201creads like a translation,\u201d and it does so because it is meant to. That is because the original reads like a translation. Or, to be exact about it, the original reads in Khatibi\u2019s unique \u201cbilangue.\u201d This is a word, different from the adjective \u201cbilingue\u201d (bilingual) which Khatibi invented to explain what language was doing to him.<\/p>\n

For Khatibi, born in Morocco but educated at the Sorbonne, whose dissertation was entitled\u00a0Le Roman maghr\u00e9bin<\/i> (The Maghrebin Novel<\/i>), language can never be invisible. To speak French is always to speak the language of force, the language that the colonizers forced on his parents and on him. Thus his memoir will be a memoir of language, of how his language came to reside in him as translation, from the very beginning, from the first pronoun to the last period of the theoretical discourse. Tattoed Memory<\/em> is a kind of Derridean memoir, a memoir that does not have recourse to le mot juste<\/em>\u00a0Flaubert imagined to be his goal. It is a memoir in which every word is, in fact, unjust.<\/p>\n

Still to come, for me, several writers of the generation before Djebar, Meddeb and Khatibi, like Kateb Yacine and Driss Chra\u00efbi, and the lesser known (ie less translated)\u00a0Albert Memmi and Mohammed Dib.<\/p>\n

\n

My hope is that\u00a0the work of Nabile Far\u00e8s, Youssouf Amine Elalamy,\u00a0Abdelkader Djema\u00ef and\u00a0Mohamed Loakira<\/a>, herein, makes some contribution to this most vital branch of post-colonial literature. As with Khatibi, Djebar and Meddeb, it is difficult to classify their work as fiction or nonfiction or poetry. While Far\u00e8s and Loakira utilize the convention of the line, Exile: Women’s Turn<\/em> and …and the spring is veiled over<\/em> are not collections of discreet poems but series composing unified narratives. Conversely, Elalamy’s use of anaphora and lyrical refrains in Nomad Love<\/em> makes that work read as much like a poem as a novel, and the same can be said of Far\u00e8s’ novel, Exile and Helplessness<\/em>, and the two novellas that comprise Djema\u00ef’s Father \/ Son<\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":"

I’ve been reading Francophone writers of Northern Africa lately and thought to recommend a few that might serve as background to those which have appeared and are appearing from Di\u00e1logos.\u00a0Recent Francophone literature from and of Northern Africa\u2014Algeria, Morocco, Tunisia\u2014ranks as some of the most ambitious, incisive and artistically interesting literary work of the past half […]<\/p>\n","protected":false},"author":2,"featured_media":696,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"_wpas_customize_per_network":false},"categories":[202],"tags":[230,232,229,235,231,234,228,233],"class_list":["post-655","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-new-releases","tag-djebar","tag-djemai","tag-elalamy","tag-khatibi","tag-meddeb","tag-mohamed-loakira","tag-north-africa","tag-peter-thompson"],"yoast_head":"\nRecent Writing from North Africa - 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