Une révolte Tunisienne is set in between history and fiction, with the main story taking place in the days of the Tunisian “bread riots.”
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Najwan Darwish and the Politics/Poetics of Translating Exhaustion
“Translators of Palestinian poetry, in addition to untangling the poetics of pain (or in our case, exhaustion), carry the additional burden of making people listen.”
Read moreReview & Excerpt: ‘The Marooned Mirror,’ A Wonderland Revisited
Captured in the Twilight Wood, Faris and Farah go on a page-turning adventure while taking part in a long-awaited uprising against evil.
Read moreAll That Ali Kotb Knows: On ‘Meccano’
Before it was published by the now-shuttered Sharkiat publishing house in 2011, the novel won the Ihsan Abdel Quddous Award that same year.
Read more‘No Sun in the Closed Room’: An Exploration of Kuwaiti-Palestinian Identity and Belonging
Writer and translator Jenan Alhamli has put together a special section — with interview, excerpt, and review — to celebrate the 2021 release of Eman Assad’s debut novel, No Sun in the Closed Room, an exploration of Kuwaiti-Palestinian identity and belonging set in late summer, 1991.
Read morePost-Liberation Kuwait: Finding the Sun in the Summer of 1991
“Eman Assad successfully captures the complexities of this struggle between Kuwaitis and Palestinians, and the lives of the “halfsies”; those who fall in between, not knowing exactly where to land, as they’re being constantly pushed by one group toward the other. Eman doesn’t leave Ghassan in Kuwait’s glowing and beaming September sun; instead, she hints at a return.”
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The Truth and the Story in ‘The Actual True Story of Ahmed and Zarga’
The novel is a caper with a serious bent, an ecocritical story from a context where life was never anthropocentric enough to need “posthumanism.”
Read moreFrom the Archives: Safia Ketou, the First Algerian Sci-fi Novelist of Post-independence Algeria
“– You are on the Mauve Planet.”
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On the Redemptive Power of Madness
History of the Gods of Egypt is a metaficitional narrative that not only addresses the transgenerational political and social trauma in an unsettling near-future Egypt but also ponders the nature of madness as a powerful creative force and as a tool of resistance against the inescapability of guilt.
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