“…it’s a fast-paced, novella-length work, reminiscent of Muriel Spark’s ‘Driver’s Seat’, both for its black humor and for the way its characters slide precipitously into danger.”
“There are a lot of advantages to writing in a European language, but I will continue to write in Arabic. Whether recognition comes or not, my world is the Arab world.”
“War destroyed the mainstream ethics which were generated by the ruling [Maronite] political power. It gave voice to underground Beirut, the peripheral areas.”
“While she made the choice of French…the rhythms and tropes of Arabic, its poetry and its oral traditions, can still be heard in the undulations of her sentences, her poems’ sinuous and knotty lines.”
MARCH continues to troll Lebanon’s censorship bureau with frustrating and funny results.
This is the first year siblings have been on the International Prize for Arabic Fiction longlist together.
Jabbour Douaihy on the IPAF: “As with all growth, there are some too-hasty writings, but there’s also a great, diverse, and exciting expression of Arab reality, and as time passes the wheat will be separated from the chaff.”
Antoine Douaihy on writing: “A single lifetime isn’t enough for this kind of calling. Really, you would need several.”
Dozens of Arab poets are getting ready to travel to Dubai for the next round of Prince of Poets interviews. Although Prince of Poets may have the biggest purse, televised competitive poetry isn’t a new thing.
A year after the al-Saeh Library bookshop was burned, and an attempt made on the owner’s life, Tripoli residents gathered for an official re-opening ceremony.
Hanan al-Shaykh’s latest novel — The Virgins of Londonistan — was released in late November at this year’s Beirut Book Fair. Reviewer Mishka Mojabber Mourani found it to be both flirtatious and important.
The Beirut International Arab Book Fair may not be as big as Arabic book fairs in Riyadh, Sharjah, or Cairo, but, by virtue of being Beirut, it draws in some of the region’s biggest writers.