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Because Choukri used so many quotes from Bowles, Burroughs, Ginsberg etc. This meant that I spent a lot of time reading their work on Tangier in a concentrated way. Bowles published the book in , when the international zone was already winding down, so even his novel is an act of colonial nostalgia. In the footage, Bowles describes all the ways his life was idyllic during this period, the lavish parties, the luxury, the indulgence in vice etc. Colonial writing in general also tends to have a very specific kind of affective register. Looking at the way emotions work in Let it Come Down can be very revealing, and brings students back to question of how external politics and socioeconomic structures can affect internal textual form.

The Recluse of Tangier, and the fact that the English text came out in , circulating for a nearly a decade before the Arabic was finally published in , only to be banned in Morocco a year later, which lasted until It opens up a concrete way for students to think about the contemporary politics of translation, literary circulation, and reception. Likewise for Goytisolo, who was really rooted in Marrakech. Of course, for a slightly different theme, both of these authors could work.

Thou Shalt Not Speak My Language (Modern Middle East Literature in Translation Series)

Let me explain what I mean when I say I could see using Zafzaf for a slightly different theme. The Tangier unit is really tied to a specific time and place: We see the same place in the same historical moment from radically different angles and it comes together like a cubist painting. So, our initial context is one of post-independence disillusionment. The influx of Western artists and musicians into Morocco in the 60s the Rolling Stones probably most famously would indeed seem to be something of a legacy of the interzone, but the context is different enough so that I would want to have a unit with a revised focus that asked slightly different questions.

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In this case, an accurate understanding of the space of the camp is crucial to the narrative and the type of displacement it describes. Gate of the Sun is an interesting case. Yet in so many ways the novel resists this status, which is one of the main reasons I like to think about it in this framework. Gate of the Sun presumes that its reader already has a working understanding of key events and concepts: What questions do you want to raise and consider about the absent intertext s?

The novel is set in Tripoli, but it could be almost anywhere. This quality of abstraction has an effect on how intertextual references work as well, which is why I reference the absent intertext. The references need to be spelled out, explained. For reasons like these, I would position Gate of the Sun as a text that happened to become a work of World Literature, while In the Country of Men is a work explicitly designed for global circulation.

I find that the issue of Global English actually needs to be brought to their attention. The particularities of my current institution mean that every student takes what is in essence a year-long class in World Literature their first year. They read texts and authors from across the globe, everything naturally in translation. At the same time, none of our students are monolingual so they have a point of reference when it comes to questions of language choice, why one might choose one language over another, the different points of access different languages provide at particular historical moments.

Their attention can be brought to these issues fairly easily. In your first question, you referenced the difference between Classical and Modern Arabic literature when we think of its position in the world literary system, how it was once in the center, and certainly perceived itself as such, whereas now it perceives itself to be on the margins.

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Kilito explains this tension in a way that I think is easily grasped by students. In contrast, many contemporary novelists write with an eye to their work ultimately being translated into English and French.

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What other texts might you add in a future iteration of the course? What might you subtract? This is an easy way to refresh the class without having to completely restructure it. Orientalisms and World Literature. Certainly, the topic of literary prizes would make an excellent unit, especially in light of the new canon currently being created by the Arabic Booker.

Teaching with Arabic Literature in Translation: ‘World Literature and its Discontents’ – ArabLit

Of course, one of his central concerns, evident enough in his title, is the hegemony of the English language. The texts that will circulate as world literary texts will never be those that are most intimately linked to the Arabic tradition, that resist the critical categories of Western theory or the expectations of global audiences. The Politics of Translation and the Construction of Islam. Gender and Discourse in Arabo-Islamic Writing.

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Presentation of research on the Nights. Watch Let It Come Down: Toward a Minor Literature. When the Intertext is Absent: Return to Book Page. It has been said that the difference between a language and a dialect is that a language is a dialect with an army. Both the act of translation and bilingualism are steeped in a tension between surrender and conquest, yielding conscious and unconscious effects on language.

First published in Arabic in , Abdelfattah Kilito's Thou Shalt Not Speak My Language explores the It has been said that the difference between a language and a dialect is that a language is a dialect with an army. First published in Arabic in , Abdelfattah Kilito's Thou Shalt Not Speak My Language explores the tension between dynamics of literary influence and canon formation within the Arabic literary tradition. As one of the Arab world's most original and provocative literary critics, Kilito challenges the reader to reexamine contemporary notions of translation, bilingualism, postcoloniality, and the discipline of comparative literature.

Hassan's superb translation makes Thou Shalt Not Speak My Language available to an English-speaking audience for the first time, capturing the charm and elegance of the original in a chaste and seemingly effortless style. Kindle Edition , pages.

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