Correction: Palestinian-Chilean Writer Diamela Eltit
I incorrectly wrote yesterday that Nathalie Handal had nominated a non-Arab for the prestigious Neustadt prize, Chilean writer Diamela Eltit.
I incorrectly wrote yesterday that Nathalie Handal had nominated a non-Arab for the prestigious Neustadt prize, Chilean writer Diamela Eltit.
The June issue of Words Without Borders is now up (Queer II), and it features the writing of Beirut39 laureate Abdallah Taia. His “The Algerian and the Moroccan” was translated […]
Humphrey Davies’ translation of Eliash Khoury’s 2007 كأنها نائمة, As Though She Were Sleeping, is now available in the UK. I wish the Marilyn Booth translation (Archipelago, 2012) were out at the same time, so we could compare their strategies. This book is a particularly complex beast: Khoury’s novels have long been interested in what language can’t (and can) do, but كأنها نائمة is perhaps his most language-obsessed work.
It wasn’t a tremendously wide field—just 28 books were submitted to Arab American Book Award (AABA) judges—but the AABA’s four winners and three honorable mentions are certainly worth a look.
Have not revolutions and historical rebellions always passed through these two stages?
Edward Said once called Denys Johnson-Davies “the leading Arabic-English translator of our times.”
I wrote a bit about the difficulty of translating humor last week; the idea seemed worth pursuing, so I followed that with an essay for Al Masry Al Youm. One of the most obvious differences in the books I looked at was whether or not authors chose to use footnotes.
I do believe that poets can become too easily shackled to ideology.* A certain sort of political poem (the “Arab Spring” poem, the “confessional Western feminist” poem, the “confessional Arab feminist” poem) becomes un-surprising. It makes us fall into a deep, dreamless sleep. Zzzzzzzzzzzzzz.
In recent days, two very different views of poets and politics have appeared online.