AAC: New Voices of Modern Arab Literature

Transcription

alliance of
artists communities
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beirut39 | 39‫روت‬
New Voices of
Modern Arab Literature
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A series of residencies for emerging Arab writers, coordinated by
the Alliance of Artists Communities and in partnership with
Beirut39 | The Hay Festival.
2010 - 2013
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This report is funded in part by the National Endowment for the Arts and the Doris Duke
Foundation for Islamic Art
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alliance of artists communities
New Voices of Modern Arab Literature
a collaboration with Beirut39 | Hay Festival
chair
Dr. Wayne Lawson
executive director
Caitlin Strokosch
project manager
Lori Wood
2010 - 2013
about the alliance of artists communities
The Alliance of Artists Communities is an
association of artist communities, artist colonies,
and artist residency programs – representing a
field of 500 organizations in the US and more
than 1,500 worldwide that provide artists of any
discipline with dedicated time and space to create
new work. Believing that the cultivation of new
art and ideas is essential to human progress,
the mission of the Alliance is to advocate for
and support artist communities, to advance the
endeavors of artists.
Alliance of Artists Communities
144 Westminster Street
Providence, RI 02903 USA
Tel: (401) 351-4320
Fax: (401) 351-4507
Email: [email protected]
www.artistcommunities.org/beirut39
Beirut39 | 39‫روت‬
How far has Arab literature evolved, how far has it traveled? What messages
are the new generation of storytellers giving us? Beirut39 inspires a fresh
look at modern Arab literature. A collaboration between the Hay Festival and
Beirut World Capital of the Book, the Beirut39 project brings together 39 of the
most interesting writers of Arab heritage under 39 years of age, from over 500
worldwide submissions. All Beirut39 writers have published at least one book.
These authors were presented in over 50 literary conversations in the Beirut39
Festival in April 2010 in Beirut, and continue to appear in Hay Festival events
worldwide. In April 2010, a Beirut39 anthology was published by Bloomsbury in
the US, Europe, and the Arab world. For some of these writers, this represented
“What does a writer from a remote
the first time their work has appeared in English.
country like Yemen have to offer
Beirut39 represents an international effort to bring a new generation of Arab
that is new to literature?” I never
voices to a wider readership and to expand opportunities for them within the
raised this question to myself with
international community. Although important new literary awards have increased
the profile of Arabic literature in the Arab world and worldwide, the writers that
have benefited generally have a long writing career behind them. The Beirut39
competition set out to identify and honor writers who are at the start of their
careers and who are often struggling to find a wider audience. The 39 writers
selected are some of the most exciting new voices of Arab literature today.
More information about the project and the authors can be found at www.beirut39.com.
such urgency in my own country,
but my stay in America shocked me
to awareness, and I realized that
good writing is writing characterized
by authenticity, that is, by the
writer’s return to his roots and
native environment, and his ability
to find inspiration in them.
— Wajdi Al-Ahdal
1
Introduction
The Alliance of Artists Communities believes that
engaged in the company of other artists-in-residence, which is often the richest
collaboration and exchange that cross traditional
opportunity offered by a residency. It is frequently the fellowship around the
boundaries furthers our culture’s progress. In a
table that provides the strength required to return to the studio and unlock the
spirit of support for a new generation of Arab
creative beauty within. As Hyam Yared writes in her reflections on her time at The
writers, the Alliance of Artists Communities
Bogliasco Foundation’s Liguria Study Center and the “worrying serenity” of her
developed “New Voices of Modern Arab
hours there, “There is nothing more worrying than beauty. A worry that is rooted
Literature” – a series of residencies throughout
in the fear of losing even an instant of revealed beauty. Like a lost phrase that will
the United States and abroad for the winners of
never again return home to its text. Like the stroke of a brush lost forever. It is
the Beirut39 prize, a project of the Hay Festival
this astonishment that we are offered.”
in Wales. The Beirut39 writers – 39 Arab authors
under the age of 39 – were selected from a pool
of over 500 nominated from throughout the Arab
world.
We are deeply grateful to all the residency programs that hosted these writers
with great generosity and flexibility, accommodating visa delays, scheduling
changes, and other surprises. We thank the Doris Duke Foundation for Islamic
Art and the National Endowment for the Arts, whose generous support made
The Alliance sought residency hosts in 2010 and
it possible for us to cover travel expenses, public engagement activities in local
one of the first partners was the La Napoule Art
communities, documentation of these residencies, and management of this
Foundation, a US-based organization operating
project.
a residency at the Clews Center for the Arts in
France. La Napoule hosted the first residencies
and enabled us to pilot this project, which
ultimately resulted in 30 residencies for 18 writers
at 18 different residency programs, from 2010 to
2013. The writers hail from Egypt, Iraq, Lebanon,
Morocco, Palestine, Saudi Arabia, Sudan, and
Yemen and were hosted by residencies in unique
communities across the US – from Santa Fe to
Santa Monica, from an island off Puget Sound
to a historic house on a Midwestern prairie –
as well as programs in Turkey, Italy, Morocco,
France, and the United Arab Emirates. In
addition to providing residencies, many of the
host organizations also programmed activities
It has been a great pleasure to work with Cristina Fuentes LaRoche, Director
of the Americas and Middle East for the Hay Festival, and Hay Festival Project
Coordinator Izara García Rodríguez. Since we first approached the Hay Festival
and proposed this residency series nearly three years ago, we enjoyed their
gracious and good-humored collaboration. We would also like to thank Anita
Husen, whose ongoing translation of selected correspondence over two years
helped us guide many of the writers through the visa process and into the harbor
of their residencies, and for some of the translations in this final report; Mark
Pettigrew, for his invaluable translation and editing assistance on this document;
and Aicha Alami in Fes.
We hope that the tremendously positive experiences of these writers will attract
more artists from the Arab world to participate in artist residency programs. Our
programs welcome them. We hope the word will spread.
connecting the writers with a wider public.
The residencies began before the Arab Spring
surprised the world, and continued after it, at
times allowing writers a retreat to reflect on
rapidly-unfolding history before being plunged
back into it. In addition to being afforded
time to work in solitude, these writers also
Lori Wood
Project Manager, “New Voices of Modern Arab Literature”
Member, Alliance of Artists Communities
Founder and Director, Fes Medina
Caitlin Strokosch
Executive Director
June 2013
2
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3
Chairman’s Preface
Artists and the arts help us see the world in two
I am not sure we knew “New Voices of Modern Arab Literature” would be as
ways: First, you have to see it as it is. But if you
complex and consuming as this project turned out to be when the Alliance of
believe art can change lives, then you can also see
Artists Communities first entered into conversations to expand on the work of
it as it could be. Artists open our eyes and our ears
the Hay Festival’s “Beirut39.” The 39 Arab authors under the age of 39 – selected
to new sights and new sounds – to new thoughts.
by a prestigious jury from a pool of over 500 nominated from throughout the
As such, cultural exchange and international
Arab world – were all offered residencies at programs throughout the United
residency programs can never be adequately
States and in Europe and North Africa. Those who accepted the invitation found
measured in monetary terms. Their value can
themselves on a journey, both literal and metaphorical, and their stories are
only be appreciated and felt by those who have
included in this publication.
experienced the differences between people.
This publication for “New Voices of Modern Arab
Literature” gives us all an opportunity share in
those experiences.
Many thanks to Caitlin Strokosch, our director at the Alliance of Artists
Communities; Lori Wood, Project Manager for “New Voices of Modern Arab
Literature” as well as founder and director of Fes Medina; and to the many,
many residency directors and their staffs who made this project a great success.
Despite the differences among cultures, many
And special gratitude as well to the National Endowment for the Arts and Doris
values unite us as global citizens. Creativity
Duke Foundation for Islamic Art for their financial support. This publication is
and the arts can help facilitate genuine human
a wonderful example of why artist residency programs are so important to the
connection, and artists can push the engine of
support of individual artists from around the world.
mutual understanding that connects the world
and empowers societies. By working toward
a shared, valued human experience we can
On behalf of the entire board of the Alliance of Artists Communities, please enjoy
this publication.
search for the best in people and their cultures.
And yet the vastness of cultures in our world is
astounding. What one society celebrates, another
overlooks. What one group rejects, another
embraces. It is the cultures and values sustaining
a society that make it unique, bringing people
together with a shared sense of community and
belonging despite their differences.
Our artist residency partners around the world
offer a rare opportunity for artists from near and
far to engage in this critical work, by offering a
time to journey toward heightened discovery
and creativity. Creating a shared and valued
human experience in an international residency
can present a special challenge, however, with
strangers thrust into a temporary community in
an intimate setting poised between solitude and
solidarity. I believe those residency programs
chronicled in this publication met that special
challenge. Even more so, I know this project
helped people recognize the best in one another
and, as a result, achieved remarkable success in
bridging territorial divides.
4
Wayne P. Lawson, PhD
Chairman, Alliance of Artists Communities
Director Emeritus, Ohio Arts Council
Professor, Arts Administration, Education and Policy, The Ohio State University
Beirut39 | 39‫روت‬
As one of the leading literature festivals in the
world, Hay Festival has always been interested
in highlighting new talent and has collaborated
with the UNESCO “World Book Capital” project
so far in Bogotá and Beirut. This title is awarded
to a different city every year in recognition of the
quality and variety of its programmes to promote
books, readership, and the editorial industry.
The 39 Project consists of the selection of
39 writers under the age of 39 who have the
potential and the talent to define the trends that
will mark the future development of literature
in a certain language or region. The 39 Project
materialized for the first time in Bogotá (2007)
and for the second time in Beirut (2010), giving
way in both cases to four days of literature,
conversation, and the love of books. Hay Festival is very grateful for the wonderful
opportunities granted by the Alliance of Artists
Basim Al Ansar at 18th Street Arts Center. photo by 18th Street Arts Center
Communities to the writers selected as part of
the Beirut39 project.
Eighteen writers have benefited from the
programme of residencies, having the chance
to write and develop their work in a peaceful
and welcoming environment. In the case of the
Beirut39 writers, the opportunity to enjoy a
residency also meant the chance to travel and
meet other international writers from outside the
Middle East. What the Alliance and its member
organizations does is extremely valuable,
allowing writers to work on what they do best. Cristina Fuentes La Roche
Director of the Americas and Middle East
Hay Festival
www.hayfestival.org
5
18th Street Arts Center | Santa Monica, California (USA)
Basim al Ansar (b. Iraq, 1970)
April 2013
Reflections from the writer
My residency at the 18th Street Arts Center in
Santa Monica was more than beneficial and
amazing. The center gave me the opportunity to
write a second edition of my new poetry collection.
It also allowed me to read my poetry at a public
reading. And it allowed me the opportunity to
relax and think about many things in a peaceful
environment. The thing that pleased me the most
at the arts center was the wonderful relationship
between the staff and artists. The residency was a
new attempt to discover worlds that I did not know
before. — Basim al Ansar (translated)
18th Street Arts Center. photo by 18th Street Arts Center
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Basim Al Ansar. photo by Laurent Denimal
6
Reflections from the residency host
18th Street Arts Center is grateful to the organizers of the “New Voices of
translation of his works spoken by acclaimed Los
Modern Arab Literature” residencies and the Doris Duke Foundation for Islamic
Angeles poet Peter Harris. Two other poets read
Art for their support of the residency of Baghdad-born, Copenhagen-based
during the event, Travis Dielh and Diana Arterian.
poet Basim Alansar in April 2013. During his residency, Basim lived in housing
Approximately 40 people attended the event,
on our 1.5-acre campus in Santa Monica, CA, and participated in a series of
many of who participate in the poetry scene in
activities intended to engage the writer with the diverse public in Los Angeles.
Los Angeles.
Following the annual theme taking aim against presumptions of cultural
homogeneity, the program we organized situated Basim as a writer first, and
sought intersections within our community that are not only relevant to the
content of the author’s work and his country of origin, but with the literary and
artistic community as a whole, allowing for engagement and exchange as it
would occur naturally for any artist.
The gallery exhibition by artist Alexandra Grant
on display during Basim’s residency also became
a place for him to connect. Alexandra’s project
Forêt Intérieure/Interior Forest is based on the
literary works of Algerian-born, French author
Hélène Cixous, wherein the artist developed
Basim was welcomed to our community at 18th Street Arts Center with a
a collaborative drawing onsite illustrating the
potluck lunch during his first week of arrival. There he met Los Angeles-based
author’s texts. Basim drew/wrote a poetic text
residents of our center and our entire staff, as well as visual artist Hitman
in Arabic as part of the installation and will
Gurung, visiting our program from Kathmandu, Nepal. Hitman and Basim
be credited in the making of the work and its
became friendly and spent time together exploring the city throughout the
catalog. Basim engaged Alexandra during her
month. Basim participated in our public programs during his time here, joining
drawing sessions and discussed her project as
in on a lecture on April 9th by acclaimed theorist Stephen Wright and mingling
well as his own work. During his last weekend at
with over 60 attendees of the evening’s event.
18th Street, Basim read some of his works within
To present his work publicly, we organized a reading for Basim on April 12th
at the contemporary arts space Public Fiction, a site for experimentation and
exchange that frequently involves collaborations by writers, graphic designers,
and artists. Basim read his work in Arabic and was followed with the English
the installation. Furthering the conversation
between his work and Alexandra’s work, we are
producing a foldout newsprint publication that
will include one of Basim’s poems and drawings
by Alexandra to be produced for and distributed
during the opening of Forêt Intérieure/Interior
Forest on June 1, 2013. This piece serves as a small
collaboration between the two and documents
their concurrent residencies.
18th Street Arts Center engaged new partners
through Basim’s residency. As we are a program
primarily geared towards visual artists, “New
Voices of Modern Arab Literature” allowed us
the opportunity to cross over to new literary
audiences and organizations and to forge
new dialogs between artists, writers, scholars,
curators, and the general public.
18th Street Arts Center. photo by 18th Street Arts Center
7
Bogliasco Foundation, Liguria Study Center | Bogliasco (ITALY)
Hyam Yared (b. lebanon, 1975)
september/october 2011
Foundation residency offered to participants was conceived so as to afford the
ideal atmosphere for creativity to bloom. Around lovely, cordial meals gathered
writers and artists from various disciplines, enriching the exchange and dialogue,
and providing comfort in those moments of doubt inherent to creativity. A mere
look at the seemingly endless scene of pines, of the serrated Ligurian coast, and the
immense sea spreading before the windows of the residency, persuades you that
writing is achievable here and nowhere else. This beauty calls forth Prince Mychkine
in Dostoyevsky’s The Idiot, where this character reveals that beauty will save
the world. One thing is certain: the beauty that I encountered at this site elevates
creativity to ideal and almost ecstatic realms of tranquility and well-being. Bogliasco
was a privileged instant of writing, bathed in softness, but also of genuine culinary
achievements. Rarely in a writing residency do we find this plethora of flavors and
delicacies.… Of the Bogliasco residency, I hold vivid recollections!!!
— Hyam Yared (translated)
Hyam Yared reading at Villa dei Pini, Liguria Study Center.
photo by Teresa Crovetto
How can one not be enchanted by Italy, with all its
hidden recesses? How can one not be enchanted
by the beauty of this village clinging to the Ligurian
coast, like a jewel carved in the rock? How can one
not be enchanted and revitalized by the beauty
of this site that imposes itself with worrying
serenity? Yes, worrying. Because there is nothing
more worrying than beauty. A worry that is rooted
in the fear of losing even an instant of revealed
beauty. Like a lost phrase that will never again
return home to its text. Like the stroke of a brush
lost forever. This is exactly the astonishment that
the Bogliasco site offers us, regardless of the angle
from which we perceive it. At Bogliasco, a myriad
of beauties is displayed before the artist coming
to seek inspiration in these locales. While the
scenery in itself is a haven of peace, the Bogliasco
8
Comment ne pas être émerveillé par l’Italie, dans tous ses recoins. Comment
ne pas être émerveillé par la beauté de ce village accroché en contrebas de la
côte ligurienne et qui ressemble à un joyau sculpté dans la roche. Comment pas
être émerveillé et rasséréné par la beauté de ce site qui en impose en sérénité
inquiète. Oui inquiète. Car il n’y a rien de plus inquiétant que la beauté. Une
inquiétude qui prend racine dans la crainte de perdre l’instant même d’une
beauté révélée. Comme une phrase perdue qui ne reviendra jamais dans un texte.
Comme un coup de peinture à jamais disparu. Et c’est cette ébahissement que
nous offre le site de la Fondation Bogliasco, de n’importe quel coin que nous
le regardons. À Bogliasco, un horizon de beautés se déploie en éventail devant
l’artiste venu en ces lieux trouver l’inspiration. Si le paysage en soi est un havre de
paix, la résidence de la Fondation Bogliasco mise à la disposition des boursiers,
est aménagée de sorte à ce que la création prenne son essor dans les meilleures
conditions. Des repas conviviaux ont réunis les auteurs et artistes de disciplines
différentes, ce qui a apporté une grande richesse à l’échange et un réconfort dans
les moments de doute inhérents à la créativité. Il suffit de regarder à perte de
vue, ces pins, la côte dentelée de la Ligurie, et l’immensité de la mer déployée
devant les fenêtres de la résidence pour sentir qu’ici et nulle part ailleurs, l’écriture
peut avoir lieu. Cette beauté des lieux renvoie au Prince Mychkine dans l’Idiot de
Dostoievsky qui fait dire à son personnage que la beauté sauvera le monde. Une
chose est certaine, la beauté que j’ai rencontrée sur ce site porte la créativité dans
des conditions idéales de bien-être, quasi extatiques. Bogliasco fut un moment
privilégié d’écriture baignée de douceurs, mais aussi de prouesses culinaires.
Rarement, dans une résidence d’écriture, une pension complète fut une telle
farandole de saveurs et de mets….je garde de la résidence de Bogliasco un
souvenir mémorable !!!
The Bogliasco Foundation was delighted to
participate in this partnership with the 2011
residency of the extraordinary young Lebanese
writer Hyam Yared.
The Bogliasco Foundation is committed to
creating a haven of creativity for a highly
qualified, eclectic blend of residents, who will
inspire excellence and challenge one another to
think beyond the conventions of their respective
disciplines and subjects of interest. In order to
encourage stimulating international exchange,
the 8-10 Fellows in each residency group are
chosen to represent the greatest possible
Special event at Villa dei Pini, Liguria Study Center. photo by Teresa Crovetto
diversity in terms of discipline, nationality,
language, age, and experience. Because of this
commitment to diversity, we were particularly
interested in including a young Arab writer in our
program, thus expanding the experience base of
our Fellows.
Ms. Yared’s co-residents included a young
choreographer from Hong Kong, a Portuguese
playwright, and an American philosopher; while
Ms. Yared continued working on a fiction work
about Lebanese religious politics and their effect
on personal lives, other residents worked on
projects that included a historical film animation
about the first female professional balloonist,
a “pocket opera” based on King Lear, and a
scholarly investigation into ideals of female
beauty in Ancient Greece.
We are grateful for the opportunity to host Ms.
Yared, to get to know her, and to be inspired by
her work.
Bogliasco, Italy. photo by Sigrun Heinzelmann
9
Caravansarai | Istanbul (TURKEY)
Randa Jarrar (palestine/egypt, b. 1978)
july/august 2011
A gorgeous building located in the center of
Istanbul, close to the creative heart of Galata,
Caravansarai provided me with one month of
uninterrupted time to write and explore this old,
literary city. The rooftop of the building had a view
of the Golden Horn, and of the blue mosque, and
I would spend my mornings and evenings working
there on my laptop. In the afternoons, the city
provided countless inspiring spaces, not limited to
the art galleries and bookstores nearby. Simply a
breathtaking experience.
— Randa Jarrar
Randa Jarrar and dinner party at Caravansarai. photo courtesy of Caravansarai
The year 2010 was a pivotal one for Caravansarai.
It was the first year that we hosted residents
in our new building and we were thrilled to be
included in the “New Voices of Modern Arab
Literature” project. One of our intentions in the
creation of the space was to be a meeting point
for artists and creators from all parts of the globe.
We felt we were positioned perfectly to host
writers from the Arab countries, and when we
were invited to participate in this project we saw
it as the perfect opportunity to kick things off.
As the majority of the other residencies involved
in this project are located in the United States
and we are in Turkey, we realized that our
location may not be an Arab writer’s first choice.
The roof terrace at Caravansarai. photo courtesy of Caravansarai
Fortunately, Randa Jarrar – an American writer
of Palestinian/Greek/Egyptian descent – saw in
Turkey a departure from her daily life and she
speaking Turks. The immediate area around our building is an industrial hardware-
joined us in Istanbul for the swelteringly hot
selling neighborhood, away from residential homes. With few opportunity for
month of July.
public involvement, our community engagement took the form of a dinner party
of intellectuals and friends who came together to hear Randa Jarrar read new
Our community consists mostly of other local
and international artists and educated English-
10
work written while in residence at Caravansarai.
Civitella Ranieri Center | Umbertide (ITALY)
Randa Jarrar (palestine/egypt, b. 1978)
july 2012
Civitella Ranieri was a lush dream come true: from the private lodging overlooking
an expanse of Italian countryside dotted with hay bales; to the grounds of the
castle itself, a 15th-century marvel; to the staff, who made every accommodation
seamless; and to my writing room itself, a haven in which I wrote over 80 new
pages. This is the kind of residency every writer needs, with field trips organized by
the staff, so that I never felt like I had to plan anything. These trips to the many
nearby towns, as well as one to Florence and one to Rome, were filled with literary
events as well as once-in-a-lifetime viewings of art. I got to see, for example, many
works by Pierro della Francesca, most important of which was the Madonna del
Parto (The Pregnant Madonna), which the director of Civitella – the elegant and
fabulous Dana Prescott – drove us to herself in nearby Tuscany, and which very
much informed my work.
— Randa Jarrar
The Civitella Ranieri Foundation hosts a residency program committed to
Randa Jarrar. photo by Laurent Denimal
international collaborations, so we were thrilled to participate in the Alliance’s
“New Voices of Modern Arab Literature,” as we have had few previous fellows
from the Arab world. We knew it would lead us to a high quality writer with
connections to that region, and we were not disappointed. Randa Jarrar was a
spectacular addition to our group of Fellows. She is everything you could want
in a guest: honest, funny, talented, willing to share, self-aware, curious about
others, enthusiastic, intelligent, and articulate.
Many a late night gathering occurred when Randa was with us. She joined a
supportive and particularly dedicated group of Fellows that session who basked in
debates on language, fiction and fact, belly dancing demonstrations, music, and
food. Randa’s public lecture and reading were well attended and we included Villa
Randa Jarrar’s reading at Civitella Ranieri Center. photo
courtesy of Civitella Ranieri
La Pietra (NYU) students in the mix. After we gathered at the reception in the
castle courtyard, we went up to the atrium library, packed with attendees, and
celebrated in her brilliant reading and her willingness to answer questions from
the group.
Relationships are difficult to describe or to measure, but I can’t think of anyone
who didn’t feel lucky to have Randa at the table. Our only disappointment is not
having this connection annually. It was a great affiliation.
Civitella Ranieri Center. photo courtesy of Civitella Ranieri
11
Djerassi Resident Artists Program | Woodside, California (USA)
Abderrahim Elkhassar (b. Morocco, 1975)
August 2012
The Djerassi residency provided an expansive rural space that allowed me to focus
on my writing. There I wrote many short poems (about sixty poems) that constitute a
large portion of my new poetry collection (which will soon be released in Egypt). The
isolation and relative distance from the city allowed me to intensify my reading and
writing. The residency’s beauty and outstanding staff are two reasons that Djerassi
will always be present in my heart and mind.
— Abderrahim Elkhassar (translated)
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Rahim (left) walking at Djerassi with fellow resident.
photo courtesy of Djerassi
The night Abderrahim shared his work with us – first in Arabic, then in English
– was mesmerizing. Fellow resident composer Zachary James Watkins said it
best: “Abderrahim has a gentle smile that often becomes the most rich laughter
one could imagine. You feel honored to be in his presence sharing ideas and
moments. We often took walks sharing stories of home, the foods we love as well
as entertaining the idea of collaboration, so I invited Abderrahim to record his
poems in my composer’s studio. Though I do not understand Arabic, listening to
Abderrahim recite his poetry in person is a transcendent experience. Abderahim’s
voice alone is engaging, involving dynamic inflections and modulations,
complex rhythms and breath. I am fortunate to have met Abderrahim Elkhassar
via the unbelievable Djerassi Residency and I look forward to continuing our
collaboration!”
Abderrahim Elkhassar. photo by Laurent Denimal
12
Fes Medina | Old City of Fes (morocco)
Adania Shibli (b. Palestine, 1974)
february 2011
Hyam Yared (b. Lebanon, 1975)
february 2011
Yahya Amqassim (b. Saudi Arabia, 1971)
february 2011
Reflections from the writers
The residency in Fes contributed to my concentration on my artistic book –
Dispositions – that was published in 2012.
— Adania Shibli (translated)
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.2012 ‫م‬%-.‫ ا‬ !# ‫@ر‬H ‫<ي‬.‫اك "وا‬2E" ‫ان‬C"-6
Once in Fes, time stood still. Within the labyrinth of its alleys, edged with shops
and display cases of vegetables and meat, now and then you encounter a grocery
shop out of a tale of A Thousand and One Nights, offering products sometimes
of modernity, other times not. Faced with the odors ensuing from the displays of
meat circled by insects of all sorts, my heart all but stopped, and my reason inquired
whether it was not safer to become a vegetarian after all, and turn on my heels.
But I moved on, as when one drives toward disorientation, seeking to write even
better. To risk the shift, this is the very essence of writing. From time to time, a voice
sprung up behind me, in the midst of clops of hooves. I hardly had time to turn my
head to see the donkey groaning under a burden of gas bottles, and threading its
way through the tightening, labyrinthine alleys of the ancient Medina of Fes. This
magnificent city. Never had I thought before that such a place as the city of Fes
existed on earth, with that power to transport one into another dimension. Even my
imagination had never been able to wrest me from reality as did this city, bearing
in itself more than a thousand years of history, a city that seemed frozen within
a clock face from which, from this point forward, Fes alone can read the time.
What better place for an author than this, never mind the warm welcome we were
offered, worthy of Moroccan hospitality. That cultural and sincere hospitality that
the Fassis reserve for their guests was marvelously reproduced by the team that
directed this residency. For it was in keeping with the expression “heart in hand” that
we were received. Everything was made available to the writers accommodated in
magnificent riads in the heart of the city, with all the required comforts, so that the
act of writing could flourish, freed of any worries about logistics. All this shrouded in
scents, fragrances and smells of spices, and achieved thanks to a warm welcome,
keen on making Fes and its sites a shelter for literature. Writing in Fes was a real
ease to the senses thanks to this residency…and a unique journey through time….
Adania Shibli’s book We Are All Equally Far From Love.
Hyam Yared. photo by Laurent Denimal
13
Yahya Amqassim. photo by Laurent Denimal
Arrivée à Fes, le temps s’est arrêté. Dans ces petites ruelles sinueuses bordées
d’échoppes et d’étalages de légumes et de viandes. Ici et là des épiceries sortis
d’un conte des mille et une nuits et proposant des produits issus parfois de la
modernité, d’autres fois pas. Aux relents qui se dégageaient des étalages de
viandes entourés d’insectes en tous genres, mon cœur a failli s’arrêter de battre
et ma raison s’est alors interrogé s’il ne valait pas mieux devenir végétarienne,
tout compte fait, et faire demi-tour. Mais j’ai avancé, comme on s’enfonce vers
le dépaysement pour mieux écrire encore. Oser le déplacement, voilà l’essence
même de l’acte d’écrire. De temps en temps, une voix s’élevait dans mon dos,
accompagné d’un bruit de sabot. A peine avais-je le temps de me retourner que
je trouvais un âne ahanant sous le poids de plusieurs bombonnes de gaz et se
faufilant entre les dédales de plus en plus étroits de la vieille ville de Fès. Fès la
magnifique. Jamais je n’aurai cru qu’il existât un lieu capable de transporter un
individu dans une autre dimension, comme le fait Fès. Même mon imagination
n’a jamais pu m’extraire de la réalité comme le fit, cette ville qui porte en elle, plus
de mille ans d’histoire et qui semble arrêtée au cadran d’une montre dont elle,
seule, lit l’heure désormais. Quel meilleur lieu pour un auteur que celui-ci, sans
compter que l’accueil qui nous fut offert était digne de l’hospitalité marocaine.
Cette hospitalité culturelle, et néanmoins sincère que les fassi réservent à leurs
invités et qui fut reproduite à merveille par l’équipe qui dirigeait cette résidence.
Car c’est à cette image-là « du cœur dans la main » que nous fûmes reçus. Tout fut
mis à la disposition des auteurs installés dans de magnifiques riads au plein cœur
de la ville, avec tout le confort nécessaire pour que l’écriture, délestée de toutes
les questions logistiques, prenne son essor. Le tout dans des effluves de parfums
et de relents d’épices, mais aussi grâce à un accueil chaleureux et soucieux de voir
Fès et ses lieux, abriter la littérature. L’écriture à Fès fut un vrai bonheur des sens
grâce à cette résidence…et un voyage dans le temps unique….
Reading at Fes Medina. photo courtesy of Fes Medina
14
(continued)
This residency provided me with a palpable sense
of connection with a deep-rooted history and with
monuments that bear witness to a civilization
that has passed away.... I refer to the extension of
the Arab Islamic cultural tradition in the Andalus
and North Africa. The city of Fes has preserved
its architectural character and its commitment
to its heritage. This milieu stimulated me to write
aesthetically and historically, and to conjure up
new characters emanating from my interest in
tracing the origins of communal values, studying
the architecture of life and its social-economic
formation throughout history.
Before my visit to the historic city of Fes in February
2011, I had already started writing an historical
novel that focuses on a nomadic group in the
southwest Arabian Peninsula. My residency in
Fes helped me reconstruct various aspects of life
in the past two centuries, and provided a basis
for understanding the cultural contact between
groups in the Arab Maghreb and those of the
Arabian Peninsula, especially those of the Hijaz.
I came to appreciate the significant interaction
between the two regions in terms of social and
historical formation (and we know that the Hijaz
and the southern Arabian Peninsula embraced
tribes returning from the Maghreb to their place
of origin). This is why this residency proved to be a
great opportunity to make progress on my writing
project. Unfortunately, I do not yet have an English
excerpt (though one will appear soon, God willing)
with which to extol my residency in Fes, made
possible by the Alliance of Artists Communities,
which has, through the Beirut39 residencies,
provided so many writers with outstanding
residencies in cities around the world.
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— Yahya Amqassim (translated)
15
In February 2011, in the early weeks of the Arab Spring, Fes Medina hosted
Palestinian writer Adania Shibli, Saudi novelist Yahya Amqassim, and Lebanese
novelist and poet Hyam Yared for residencies in the medieval medina or Old
City of Fes, Morocco. This residency celebrated the many stories and routes of
transmission within the Arabic-speaking world, as well as Fes’ ancient heritage as
a convener of the best voices and minds from throughout the Arab world. Each
writer was housed in a traditional house in the medina that was donated by their
owners as a gift of time to these writers.
It was an exciting time to be in the Maghreb. Travel was disrupted and some
Hyam Yared at Fes Medina. photo courtesy of Fes Medina
of the writers’ flights were rerouted as they tried to make their way to Fes. As
thousands of protesters crowded Cairo’s Tahrir Square, protests reached Tripoli,
and Qaddafi hectored the world on Al Jazeera for hours at a stretch. The writers
worked in solitude in their quiet houses in the medina during the days, then
came together for occasional artist dinners at night. Meanwhile, demonstrations
were beginning in other Arab countries, and cafes in Fes were packed as
incredulous Fassis watched events unfold on television screens. Morocco’s own
demonstrations were planned for February 21, and the shops of the medina
were shut up tight and the medina empty that morning as people waited in
their homes to see what would happen in Fes. Fassis got a taste that day of how
difficult it is for the residents of a city to get accurate news of unfolding events.
As some Fes Medina staff were at home trying to get news to the writers of
what was happening in their neighborhoods, the writers themselves were out
experiencing the demonstrations personally.
In an extension of Fes’ literary month in February 2011, Fes Medina also acted as
Group dinner at Fes Medina. photo courtesy of Fes Medina
the local host for a Literature Across Frontiers Poetry in Translation workshop,
“Poetry Connections Morocco.” Five Arab and five European poets came to Fes
for an intensive, week-long workshop. The 10 poets worked intensively together
in the peaceful courtyard of the ALIF Riad to exchange their views on poetry and
to translate each other’s work, often using a bridge language. Two community
dinners brought together the three Beirut39 writers with these 10 poets, as well
as local poets from Fes and members of the community. A public reading was
held at the new ALIF Bookstore, and later at the Casablanca Book Fair. “Poetry
Connections Morocco” was sponsored locally by the American Language Center
and Arabic Language Institute in Fes (ALIF).
Special thanks to the following individuals for the generous donation of their
houses during February 2011: To Siham Benchekroun and Nicolas Guillou for the
donation of Dar Jad, to Hafid el Amrani for the donation of Dar Jnane, to David
Amster for the donation of Dar Bennis, and to Tom Jenkins for the donation of
Dar Ben Safi for community dinners. Special thanks also to ALIF, Dar Fes Medina,
Mostafa Bakkali, Mounia Chebl, Malika Chebl, and Fatima Bouhraka, and to Aicha
Alami and Hafid el Amrani for their gracious coordination of the project.
From early in its history, Fes has been both a refuge and a convener of artistic and
intellectual talent. We were delighted to extend this ancient tradition of welcome
in Fes to a new generation of Arab writers, and beyond.
16
Hedgebrook | Whidbey Island, Washington (USA)
Nagat Ali (b. Egypt, 1975)
july 2012
My second residency experience was at Hedgebrook in Seattle, Washington, which
was quite different from my first residency at Montalvo in California. The main
difference is that the group at Montalvo was men and women, while at Hedgebrook
the group consisted only of women writers. At Hedgebrook we met at dinner
to exchange ideas, which often turned into deep discussions about our creative
projects. We also took cultural excursions, especially to the city of Seattle. Many
participants shared common interests like walking and yoga. For me, Hedgebook
was a very important cultural and creative experience.
— Nagat Ali (translated)
Nagat Ali. photo by Laurent Denimal
Hedgebrook chose to participate in this
program to further our mission and deepen the
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,?NO%O5‫ا‬7" ‫ن‬#O/
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VN& !C‫ا‬K/4‫ ا‬ ‫وع‬7^\‫ ا‬ ‫?ل‬X ‫ر‬#N"1‫ وا‬ ‫راء‬a‫ ا‬ ‫دل‬#),E& ‫ء‬#^R&‫ ا‬ ‫ة‬Kc#2 @;C #R2
.#E2
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#E&?X B2 .EGK\‫ ا‬ !" #R2 ‫ت‬H?8/ ‫?م‬d5 #ET W%X, !2?G 7<‫ آ‬ g2#57/
‫ت‬#J‫ر‬#=2 e5#M @&‫ إ‬ ‫ا‬l*. I9#%J .EGK2 i%=G #2 j*‫ أ‬ @;C #%"#dk ‫ف‬7R,;&
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.%"#d6&‫ ا‬ !,/789 !" !& 7%6N&‫ ا‬ #$51 .=$2 ‫وك‬7)MK%* !" !& .)OE&#/
.%C‫ا‬K/H‫ا‬
experiences of all those in residence. Hedgebrook
has always hosted women writers from all parts
of the country and world and from a variety of
cultures, bringing with them a wide range of life
experiences. Participation in the collaboration
with the Alliance of Artists Communities and the
Hay Festival’s Beirut39 was a natural extension of
the work we have already been engaged in over
the past 25 years, and we were pleased for the
opportunity to work directly with these partners
to amplify this work. Nagat Ali joined us from
Egypt at a time when the upheaval within that
country was continuing to change their world
daily. Having the ability to interface with Nagat
directly about her experiences and for her to be
able to exchange with writers from other parts
of the world within the safety of the retreat
experience is what makes these collaborations so
important.
Nagat Ali enjoying a picnic at Hedgebrook. Photo courtesy of Hedgebrook
17
International Writing Program | Iowa City, Iowa (USA)
abdullah thabit (b. saudi arabia, 1973)
august/september 2012
The International Writing Program’s Fall 2012 Residency. Photo courtesy of IWP
Abdullah Thabit. photo by Laurent Denimal
The International Writing Program in the state of Iowa in the United States was
absolutely wonderful. I met writers from different parts of the world. We had several
discussions on culture, literature, writing and reading. And we all listened to each
other. What I liked the most during the residency was understanding with depth and
detail new things about the writers’ cultures and countries. I definitely progressed in
my writing, as each new experience means a new perspective and new ideas.
— Abdullah Thabit (translated)
‫"ت‬#$%&‫* )( ا‬+,-. ‫ي‬0&‫ ا‬12".3‫ ا‬42"567 ‫"ن‬9
:,;+&‫ &;< ا‬،>?@&"7 ً "B?C‫ا را‬%#‫ أ‬1#$%7 ،‫<ة‬G+H‫ا‬
"II,7 ‫"ن‬9 ،J&"?&‫"ء ا‬G5‫ أ‬LM+N2 O2 ً "B7"+9
،‫داب‬R‫ ا‬،‫;")"ت‬S&‫ ا‬OT ‫"ت‬U."IH‫ ا‬O2 <#<?&‫ا‬
V&‫" ً إ‬B?,XY "I?X+Z‫ وا‬،‫اءة‬6;&‫ وا‬،17"+\&‫ا‬
.]?^&‫" ا‬I-?7
12".3‫ة ا‬6+) () (I^_T‫" أ‬2 6S9‫"ن أ‬9
‫<ة‬#<Y 1;,XT >,`"@a 1)6?2 %b 42"56^&‫وا‬
.Jc5‫<ا‬M7‫ّ"ب و‬+B\&‫;")"ت ا‬e OT
176_a >\) ،(+7"+9 ‫ رت‬%ّ fa <;& <,9g+&"7
.‫<ة‬#<Y ً ‫ وأ)\"را‬،‫<ة‬#<Y 1#‫( رؤ‬I?a ‫<ة‬#<Y
Like the Alliance of Artists Communities, the University of Iowa’s International
Writing Program believes that creativity and connection move the world forward,
and partnering with the Alliance to host a Beirut39 author was a natural extension
of the IWP’s nearly half-century commitment to supporting writers, sharing
literatures, and forging long-term bonds with the global writing community. We
were particularly impressed with Beirut39, which, by supplementing a traditional
festival with an anthology of writings and placement of artists at residencies, has
offered a new model for raising awareness of a region’s contemporary literature.
The Saudi novelist Abdullah Thabit, who was selected to come to the IWP’s 2012
Fall Residency, had the opportunity to deepen his understanding of America and
to familiarize himself with the cultures and literary scenes of his three dozen
fellow participants. The residency’s slate of activities included, in part, scores of
public events in bookstores, libraries, schools, and universities; classroom visits;
virtual outreach activities; collaborations in theatre, translation, and dance; and
ten days of professional-development travel to various cities in the US – all of
which were balanced with the most important element, the time and space to
pursue writing and research projects.
18
Jumeirah | Dubai (United Arab Emirates)
Mansour El Souwaim (b. sudan, 1970)
march 2012
The period of my residency in Dubai (as part of the Writer in Residence program
hosted by the Jumeirah International Hotel Group’s Emirates Academy of Hospitality
Management) stands out as one of the most fruitful periods for me in recent years,
both in terms of daily writing, and daily reading and study as well. The period of
my residency afforded me all the conveniences necessary for me to devote myself
entirely to the goal of completing an artistic-literary text in the period of one full
month, without having to worry about anything besides narrative production. (That
freedom had previously eluded me, due to the demands of daily life.) The residency
also inspired me with many positive ideas as a result of my contact with new people
of various nationalities who, although they differed widely in their relationship with
literature and art, were all united by a refined human sentiment.
Thanks to coordination on the part of Beirut39, I also had an opportunity to
participate in the Emirates Airlines Festival of Literature – one of the largest
international literary festivals in the Arab world. At the festival, I met and interacted
with writers and had moving experiences that supplied me with fresh ideas and
inspired ideas for new projects, both on the level of individual literary production and
on the level of general cultural activity.
The experience of being a Writer in Residence at Jumeirah in Dubai helped me finish
a novel that had taken me a long time, Ashbah Faransawi (“French Ghosts”), and
set me on the way to preparing another novel, on which I am still working, Akhir
al-Salatin (“The Last Sultan”). It was a lovely time during which I was treated well
and attentively by both the hostess (Jumeirah) and the nursemaid (Beirut39).... I will
be thankful to them both forever.
— Mansour El Souwaim
From left: Art curator Katie Gass, artist Betty Cansas, writer Mansour El Souwaim, and
Jumeirah’s Corporate Communications Manager Sumaya Saeed Khalfan. Photo courtesy of
Jumeirah
!"#$%& '() *&+& *,"#-‫ إ‬ ‫ة‬%,0 ‫ت‬23(4
9:;(<" =>- '" ‫ف‬#@,AB‫ ا‬ ،"536" 74#8"
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‫ات‬%,OE‫ ا‬ %P8‫ أ‬ '" Q$#8 #R$S& ‫"؛‬90#3@E‫ ا‬ ‫دارة‬L
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=8 *E ‫ت‬%0‫ و‬ 9"#-L‫ ا‬ ‫ة‬%,O0 ،#@M‫ أ‬ *";3E‫ا‬
`$ ‫ز‬#<$‫ إ‬ ‫ف‬+R& ‫غ‬%O,cE ‫ة‬+:#AB‫ ا‬ ‫وط‬%eE‫ا‬
‫ دون‬ ="#8 %Rg ‫ة‬%,0 *0 *J0 – *&‫أد‬
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'M#>,4 ‫دة‬+r," ‫ت‬#3AJG '" ‫د‬+G ‫س‬#$S&
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98‫ر‬#e(cE 9x%0 ) 39 ‫وت‬%3&( 90%eB‫ ا‬ 9R<E‫ا‬
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‫ب‬#,8 zc: Q0%r4‫ و‬ ‫ورت‬#q4 {30‫ و‬ ،93&%rE‫ا‬
‫ة‬+M+G ‫ر‬#^0S& *J4‫ زود‬ 9(R" #p+:‫ أ‬ ‫رب‬#<4‫و‬
‫ج‬#,$L‫ ا‬ ‫;ى‬,A" zc: ‫ل‬#(:‫ أ‬ vM‫ر‬#e" *J,(RE‫وأ‬
*0#6PE‫ ا‬ =(rE‫ ا‬ ‫;ى‬,A" zc:‫ و‬ ‫دي‬%OE‫ ا‬ *&‫د‬X‫ا‬
. ‫م‬#rE‫ا‬
*J4+:#~ ،‫ا‬%3(G – *&+& 536" 74#8 9&%<4
[M;\ #,-‫ و‬ *J" ‫ت‬W‫ أ‬ 9M‫ روا‬ '" ‫ء‬#R,$l‫ ا‬ *0
=(: ‫اد‬+:L *J4S3p‫وي )و‬#A$%0 ‫ح‬#>g‫(أ‬
..)É\[AE‫ ا‬ %W‫ (آ‬ {3c: =k,g‫ ا‬ QE‫ ز‬ l %W‫ آ‬ *Ç‫روا‬
9>3\ 9c"#r" #RE[W ‫ت‬+G‫ و‬ 9c3(G ‫ة‬%,0 Q$#8
'"‫ا )و‬%3(G( 9O3@,AB‫ ا‬ 9R<E‫ ا‬ '" #"#(,p‫وا‬
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. +&X‫ ا‬ zE‫ وإ‬ #(Ç‫ دا‬ #(p%^g‫أ‬
19
As part of Jumeirah’s Culturally Connected platform, Emirates Academy of
Hospitality Management hosted Beirut39 writer Mansour El Souwaim in March
2012. In order to offer the most enriching, culturally connected experience,
Mansour’s residency was timed to coincide with the Emirates Airlines Festival of
Literature, where he participated in a Jumeirah-supported panel.
Beirut39 is a historic partnership that brings together key arts organizations and
cultural festivals from around the world. Jumeirah is the only hotel group that has
been invited to participate in the Alliance of Artists Communities’ “New Voices of
Modern Arab Literature” project and to host a Beirut39 writer.
Jumeirah’s Burj Al Arab hotel. photo courtesy of Jumeirah
20
Kansas City Artists Coalition | Kansas City, Missouri (USA)
adania shibli (b. palestine, 1974)
october/november 2012
The Kansas City Artists Coalition was a wonderful place. Not only did I finish a book
I had been working on for three years, but I also began working on a play – an idea
I have had for five years but I was not able to set my mind to until I arrived at this
place full of creativity, artists, and an atmosphere rich with cultural life.
— Adania Shibli (translated)
!"#$ %&'(‫ ا‬ ‫ق‬+,-.‫ ا‬ ‫ب‬0-1 ‫ء‬03456 7#'-8 09 :; <=; >"( ،0'@‫ را‬ ‫ن‬0C9 ‫ن‬01
DE&F %GH ‫ت‬+3J !K+C; ،:L+E9 M4 ‫م‬0&K56 0O8‫ أ‬ 0&4‫ إ‬ ،‫ات‬RS. ‫ث‬UV
+"WX‫ ا‬ ‫ن‬0CX‫ ا‬ ‫ا‬YZ [(‫ إ‬ :(R\‫ و‬ [-L !"#$ %&'(‫ ا‬ ^9 ^C&K‫ أ‬ _( :SSC( ،‫ام‬R$‫أ‬
.D";0=W(‫ ا‬ ‫ة‬0"a(06 D"S,(‫ ا‬ !@‫ا‬Rb‫ وأ‬ ^8c8c'(‫ ا‬ !"40Sd6 D\0F ،‫اع‬c6f(
The Alliance of Artists Communities’ “New Voices of Modern Arab Literature”
Adania Shibli reading from her work. photo courtesy of
Kansas City Artists Coalition
residency series was a great opportunity for the Kansas City International
Residency at the Artists Coalition. Our residency is primarily for visual artists but
we wanted to explore what we could offer and gain from working with writers. I
am glad we did.
Adania Shibli is the writer who chose our residency. Meeting her and working
with her was a wonderful experience. Adania’s disciplined work schedule allowed
her to meet her goals for her work and engage with interested people in the
community.
Community engagement is one of the goals for our residency program. While
here, Adania gave a radio interview on our local public radio station, presented at
the Alliance of Artists Communities conference, and gave a reading in both Arabic
and English. Informally she met with local writers, visual artists, and musicians,
and visited many of the city’s jazz venues. She was very well received and
embraced by everyone who met her.
The Artists Coalition believes that working with artists from around the world
allows for the exchange of ideas and possibility of friendships. We hope that our
community and resident artists can learn from each other and have experiences
that encourage understanding and personal growth.
Kansas City Artists Coalition’s residency facility. photo
courtesy of Kansas City Artists Coalition
21
La Napoule Art Foundation | Mandelieu-La Napoule (FRANCE)
adania Shibli (b. Palestine, 1974)
october 2010
hamdy el gazzar (b. egypt, 1970)
october 2010
Hyam Yared (b. Lebanon, 1975)
october 2010
Yassin adnan (b. morocco, 1970)
march 2011
youssef rakha (b. egypt, 1976)
march 2011
La Napoule was an ideal place to which to retreat and to return to work on my novel
that I had taken a break from for five years.
— Adania Shibli
!"#$ %&' ()*‫ روا‬ ./0 12&3‫ ا‬ .3‫ إ‬ ‫دة‬#&3‫ وا‬ 789 ‫=<;واء‬3 (3>?@ ‫>ن‬BC‫ ا‬ ‫>ن‬D
.‫ات‬#FG H2I3
Château de La Napoule | Clews Art Center. photo
courtesy of La Napoule Art Foundation
During my residency at La Napoule, I benefited by working on my book of poetry
(A Traveler’s Notebook) that was published in 2012 and which, to my luck, was
received well on the Arabic poetic scene. Because it is a book about cities and places
and capitols, I included passages about this tower and about the Lazourdi coast.
In this particular residence I started to write my first novel, which I am still working
on. The residency was comfortable, the services were good, and I enjoyed the great
meetings. Also, La Napoule’s proximity to cities like Cannes, Nice, and Monaco allow
the residents to enjoy wonderful opportunities for evening entertainment after a
day’s work.
— Yassin Adnan (translated)
=:> 2011 ‫رس‬#$ %& #'($ ‫*ت‬+,-‫ ا‬ %,/‫ ا‬ 0$#12‫ ا‬ ‫ه‬45 ‫ل‬78 9:;,<‫ا‬
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=/‫ إ‬ #'O:> [A,<‫ أ‬ 9/‫ ز‬ #$ %,/‫ ا‬ =/‫و‬T‫ ا‬ %,E‫ روا‬ 0G#,X ‫ات‬4/#G 0$#12‫ ا‬ ‫ه‬45 %&
#bX ‫ة‬dOb,$ ‫ءات‬#J:G #'O& 9A,b,-‫ وا‬ ،‫*ة‬OP ‫ت‬#$*g/‫ ا‬ ،0hE@$ 0$#12‫ا‬. ‫ن‬a‫ا‬
[AjE DX#CD$‫ و‬ kOC‫ و‬ ‫ن‬#X [l$ ‫*ن‬$ V$ #'G@1 #mE‫أ‬. ‫&@ة‬D,$ [bA/‫ ا‬ ‫ <@وط‬ ‫أن‬
.[bA/‫ ا‬ V$ ‫م‬DE *AG 0Oo#\N‫ ا‬ ‫ت‬#h\+:/ 0Ao‫ را‬ ‫@ص‬+G q,b,\E #'G QOJN‫ا‬
Yassin Adnan in front of the Clews Art Center. photo
courtesy of La Napoule Art Foundation
22
In October 2010 I was in literary residence at the La Napoule Art Foundation,
dividing my time between the chateau, the sea, and Villa Marguerite. It was the first
time I had visited France. I remember the unique location of the chateau. The first
dinner was held at the chateau jutting into the sea, by candlelight, in the pleasant
company of the director, Alexis, his wife, Hélène, and the wonderful Lise. We dined
with the sound of the sea for background music, the soft light illuminating friendly
faces.
That first night at Villa Marguerite, I was the only person sleeping there – I was
completely alone. I went out onto the balcony of my room. The sea before me was
a limpid blue, breathing gently and deeply; the promontories around it were green,
and the sky above me was strewn with thousands of twinkling stars. I felt close to
nature, a part of everything around me. I felt as if I would grow ever closer to it in
that intimate stillness.
I had intended to work on my new novel about “the women of Cairo.” I wrote several
chapters, but something else happened. At Villa Marguerite, I tried writing poetry
for the first time. I did not succeed, exactly, but it was the beginning of a deep
relationship with nature, silence, and poetry.
Two years after my residency, I published my first poetic work, Kitab al-sutur
al-arbaà (“The Book of Four Lines”).
— Hamdy El Gazzar (translated)
Hamdy El Gazzar. photo by Laurent Denimal
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ُ
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، ً1#S( =E$% ،"‫^!ة‬/IF‫ ا‬ ‫ء‬/30" r, ‫ة‬O?OuF‫ ا‬ '$?‫ روا‬ LH, {UGF‫ ا‬ ‫ى‬#0‫ أ‬ ُ=>%
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ُ
The Clews Art Center. photo courtesy of La Napoule Art
Foundation
23
My residency at that wonderful, flowery house by the beach was the ideal
opportunity to reconsider the Egyptian Revolution of January 25, 2011, which
directly preceded my stay at La Napoule, and about which I wrote while I was
there. (I finished the texts of a complete book, available online for free under the
title La yujad samak fi-l-bahr – “There Are No Fish in the Sea” – at http://issuu.
com/youssefrakha; I am now preparing to supplement these essays in a new book
cowritten with the poet Muhab Nasr.) The surrounding environment of the Riviera
– the rocks on the beach, the colors of the sky, the miniature forest around the
house – represented the “objective correlative” to the charged atmosphere of Tahrir
Square, to which it seemed diametrically opposed.... I discovered, during my first
literary residency, that isolation and tranquility do not necessarily encourage literary
production, but they do give the writer the necessary spaces and gaps to roll ideas
around in his head, to view his subject from a distance.
— Youssef Rakha (translated)
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ّ
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Hamdy El Gazzar (left) and Adania Shibli (center) with other artists-in-residence. photo courtesy
of La Napoule Art Foundation
24
Youssef Rakha. photo by Laurent Denimal
An ideal site for peacefulness and writing. The managing team, present on site, takes
care of all practical details, providing the conditions of comfort necessary and vital
for any writer who desires to devote herself to writing. Every effort was made for
writers to be free of any worries whatsoever. The meals provided were pleasurable.
All this without forgetting the magical site of La Napoule Castle, where the journey
through time becomes inevitable for the visitor, from the very moment he or she
steps inside. The journey is not only made through time. Beyond the 14th-century
walls, the site releases a mystery imprinted with the spirits of its latest owners,
the American couple Henry and Marie Clews. Passionate about art, endowed with
a sense of beauty, in architecture as well as in the art of living, they succeeded in
redesigning the castle in their own image, preserving its history and rendering it into
a little world of art. And writers feel this atmosphere, and their writing can’t help but
be inspired. An unforgettable experience.
When Marie Clews founded La Napoule Art
Foundation in 1951, she dreamed of creating an
international arts center in southern France that
would bring together artists from around the
world for cultural exchange. As an American living
in France, Marie had witnessed two world wars.
Lieu idéal pour le calme et l’écriture. L’équipe de la direction, présente sur les
lieux apporte, pour tout ce qui concerne la logistique, le réconfort nécessaire et
vital pour tout écrivain désireux de s’adonner à l’écriture. Tout fut mis en œuvre
pour que l’écrivain n’ait à se soucier de rien. Les repas organisés étaient délicieux.
Tout ceci sans compter le lieu féerique du château de La Napoule, où le voyage
dans le temps s’impose au visiteur à peine s’est-il engagé sur les lieux. Voyage
pas seulement dans le temps. Puisqu’au-delà des murs datant du XIVème siècle,
ce lieu dégage un mystère et l’âme très présente de ses derniers propriétaires,
Henry et Marie Clews, ce couple américain passionné d’art et d’un sens profond
de l’esthétique, d’une esthétique architecturale aussi bien que d’une réelle
esthétique de vivre, et qui ont réussi à réaménager ce château à leur image, tout à
la fois dans le respect de l’histoire de la bâtisee que dans le souci de le voir devenir
un écrin pour l’art. Et cette atmosphère l’écrivain le ressent, et son écriture et sa
créativité ne peut que s’en inspirer….Une expérience inoubliable.
She had watched as the Château she had lovingly
restored with her husband Henry was occupied
by foreign troops. But Marie believed that the
unique communicative powers of art could bring
about understanding and lasting peace.
La Napoule was thrilled to partner with the
Alliance of Artists Communities and Beirut39
to help offer a window into the multifaceted
modern Arabic culture unfamiliar to so many
throughout the rest of the world. Six writers
received residencies at La Napoule. LNAF
organized an international video seminar
between one resident, Youssef Rakha, and
students at the University of New Hampshire.
Rakha had been a participant in and witness
to the Egyptian revolution; through a series of
readings and candid answers to the students’
questions, Youssef offered an in-depth
perspective of the events.
Marie would have been both proud and
astounded to witness this technological feat –
an Egyptian writer sitting in southern France,
speaking to a group of New Hampshire college
students about his culture.
Youssef Rakha, speaking with students at the University of New Hampshire via video feed.
photo courtesy of La Napoule Art Foundation
25
Lucas Artists Programs at Montalvo Arts Center | Saratoga, California (USA)
Nagat Ali (b. Egypt, 1975)
August 2011
Yassin Adnan (b. Morocco, 1970)
july/August 2011
My literary residency experience at Montalvo,
located near San Francisco, California, was
very exciting and stimulating, especially as it
was my first experience outside of Egypt. The
residency grant I received provided me with a
unique opportunity to devote myself to writing
and reading, far from the uproar of Cairo. I left
for Montalvo Arts Center just months after the
outbreak of the January 25th revolution, which
I had taken part in from the beginning, and the
residency gave me the time I needed to complete
my book about the Egyptian revolution, Diary of a
Woman Writer.
For me this residency was a wonderful opportunity
to learn about American culture firsthand,
especially given that San Francisco is among the
most beautiful cities in the world and filled with
important cultural landmarks.
It was my good luck that the residency at Montalvo
was very comfortable. Those in charge spared no
efforts to provide us with everything we needed.
Moreover, it was a place where writers and artists
from all directions of life gathered, giving me the
chance to be in close contact with a community of
artists. The constant conversation and discussions
between us, especially those held after dinner,
helped me further develop my ideas about
literature and life.
While at Montalvo I also wrote a number of poems,
inspired by the enchanting natural beauty that
serves as a source of inspiration for any poet or
artist who visits.
— Nagat Ali (translated)
26
Nagat, Yassin, and other artists-in-residence enjoy a picnic at Montalvo Arts Center. photo
courtesy of Montalvo
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Participating in the “New Voices of Modern Arab Literature” partnership was an
important opportunity for the Lucas Artists Residency Program at Montalvo Arts
Center. Nagat Ali and Yassin Adnan were the Beirut39 Literary Fellows in the Lucas
Program during the summer of 2011 following the Arab Spring. The optimism and
enthusiasm for the future these artists brought to the residency was palpable.
Ali, a poet, communicated primarily in Arabic through an interpreter, sharing
endless stories of her winter spent on the front lines of the revolution and what
this social/political change meant to her and her peers living in Egypt and working
as artists. Adnan shared stories of the cultural life of Morocco and the Arab world,
enlightening the global consciousness of our artist community.
The other California residents during this time were delighted to share the
greater Bay Area with Ali and Adnan. This afforded them an opportunity to see
the area with fresh eyes as they introduced the artists to the surrounding cultural
communities. The artists were all so pleased to have an extended period of time
together to exchange stories, ideas, and creative works. The US artists proved to
Yassin at Montalvo Arts Center. photo courtesy of Montalvo
We believe strongly in the value of our residency’s international focus to foster a
Montalvo is an enchanted place, amongst the most
beautiful residencies, artist and otherwise, that
I have been to in my life. The forest environment
was gorgeous, while the accommodations were
expansive and elegant in structure and form. The
benefits I received were excellent. At Montalvo
I completed my book of poetry, A Traveler’s
Notebook. Of course, I added important poetic
passages about San Francisco. At Montalvo I also
continued working on my first novel, one that I am
still belaboring now. I met amazing artists, and
we had wonderful, intimate dinners and creative
cultural exchange and wonderful visits to the
beach in Santa Cruz and the amazing city of San
Francisco. Montalvo is a beautiful dream, where I
spent mere days, perhaps the most beautiful days
of my life.
rich cultural exchange between artists, supporting a variety of perspectives we in
— Yassin Adnan (translated)
have an insatiable appetite for stories about the Middle East, the revolution, and
life and art in Morocco and Egypt; that same appetite was reciprocated by our
Beirut39 artists. To celebrate the “New Voices” residencies and share the work
of Adnan and Ali’s work with the greater Montalvo community, the Final Friday
events of August were dedicated to the Beirut39 partnership, with time for the
artists to read their current works and reflect on the significance of this time for
them personally and professionally.
The Alliance’s “New Voices of Modern Arab Literature” residencies offered an
opportunity for the Lucas Artists Program to expand the reach of our international
literary arts community. As a residency program that seeks nominations for
artists, this expansion of our nominator’s pool is an invaluable gift to our program.
We appreciate the support of the funders who made this program possible and
look forward to having many Arab writers included in our program in the future.
turn share with our local community in an effort to encourage deep understanding
of our global community.
Studio building at Montalvo Arts Center. photo courtesy of Montalvo
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27
Ragdale Foundation | Lake Forest, Illinois (USA)
Abdelaziz Errachidi (b. Morocco, 1978)
April 2013
April 2013
My experience at Ragdale was absolutely amazing.
I met many nice people, and I progressed in my
writing. It afforded me two opportunities: First, to
write in a calm, beautiful, and different space with
a professional work team. I remember the first day
there when my computer was having technical
issues, how they very quickly responded and fixed
the issue. The food was also good at Ragdale, and
the hospitality was excellent. And second, the
opportunity to be near the gigantic, beautiful city
of Chicago. I am a writer of places, especially, and I
always yearn to see many places. For this reason, I
took this residency as an opportunity to live, meet
people and gain experience.
The night of readings at Ragdale was truly
amazing – one of the most important moments of
my life. Thank you, Ragdale.
The Ragdale House. photo courtesy of Ragdale
— Abdelaziz Errachidi (translated)
At Ragdale, the proximity to a cosmopolitan city like Chicago was an important
factor. It provided a sense of urgency to write cosmopolitan literature that reflects
the city. I used to dream about writing literature as high as the Sears Tower that we
visited and from which we viewed the entire city from above. The residency staff
treated us with warmth and generosity. Ragdale’s dense trees and calm weather
allowed us to write and particularly to think about writing and the desire to develop
it. While there, I continued working on a very large poetry project that is still in the
process of completion.
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28
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Ragdale has been welcoming international residents throughout the history of
the residency program, and it was fitting to welcome the Beirut39 writers to Lake
Forest. One of the most important aspects of having international writers in the
group of residents is to create a greater scope of creativity within our artistic
world. Many times residency programs will draw a unique group of individuals
who share such similar lifestyles: they teach at institutions, they follow the same
circle of colleagues, they share the same political agenda, etc., and when they
come to the table for dinner they generally know the type of peer group they will
encounter. Having international residents present offers unexpected scenarios,
which may ultimately lend new perspectives to the work being created.
Ragdale’s Board president, Phoebe Turner, sponsored one of Ragdale’s first Cross
Cultural Fellowships, which funded Aziz and Rahim’s residency. She hosted a
Abdelaziz Errachidi. photo by Laurent Denimal
“New Voices of Modern Arab Literature” reception in the Ragdale house where
Board members and guests, staff, and other residents listened to a reading by
the two writers. Christine Piper – a resident from Sydney, Australia, who was also
Ragdale’s Alice Hayes Fellowship recipient – read some of Aziz’s and Rahim’s
work in English. Other parts of the reading were in French, by members from the
Alliance Française de Chicago visiting for the event.
Aziz and Rahim were able to visit nearby Chicago as well, venturing out on their
own to explore the city together and getting a personal tour of some of Chicago’s
culturally-rich neighborhoods from Ragdale’s residency director, Regin Igloria, on
the last day of their stay at Ragdale.
Abdelaziz and Abderrahim at Ragdale Foundation. photo courtesy of Ragdale
29
Santa Fe Art Institute | Santa Fe, New Mexico (USA)
Najwan Darwish (b. Palestine, 1978)
October 2012
This residency has given me the chance to meet up-close with Native Americans,
including some of their poets and intellectuals. I also had the chance to get closer
to Mexico and its people, with whom I feel solidarity. This land, known these days
as “New Mexico,” used to have nations, languages, and culture which were all
exterminated. I am in strong solidarity with this culture and I always try to learn
more about it.
On the personal level, I enjoyed seeing the Arab influence on the city, especially the
Adobe building style that was brought by the Spaniards from Andalusia. Meditating
on the desert landscape in Santa Fe has altered my perception of what a desert is
and helped me free the word from its false negative connotations in my mind. After
the residency in Santa Fe, I can now grasp the superficiality of any use of the word
“desert” to express the opposite of civilization or fertility. Nature is our first teacher of
plurality and diversity. The desert is wealthy in its own way and has its own charm.
This residency also allowed me to get in touch with part of the artistic and writing
community of Santa Fe, as I met several artists, writers and poets. I also attended
some Lannan Foundation events and came back home with many friendships. I was
lucky to be a neighbor of a lovely group of artists and writers at Santa Fe Art Institute
with its lovely and efficient team.
— Najwan Darwish (translated)
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Najwan Darwish and fellow artist-in-residence Faith
Purvey. photo courtesy of Santa Fe Art Institute
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. 5)=$/‫ ا‬ B)> ‫@ار‬% ])f ;/ ‫ =!رس‬ ‫ك‬É% 5Q!L^Q <Y!Z‫; "و‬6 !2Y!h"
30
Najwan Darwish. photo by Laurent Denimal
Founded in 1985, the Santa Fe Art Institute is a community-based arts center
whose mission is to promote and present art as a positive social force, supporting
and enlivening local discourse on issues of social justice, cultural freedom, and
environmental responsibility. The Santa Fe Art Institute’s residency program
began in 2001 as a New York City Emergency Relief Residency initiative, providing
a means for artists of Lower Manhattan to escape the incredible tension and
devastation after the events of September 11, 2001. Since 2002, the SFAI has
operated with time and space as the central focus of the residency program,
offering a beautiful place to live and work among the vibrant and active arts
communities of Santa Fe to artists from around the globe.
As part of the “New Voices of Modern Arab Literature” project, Palestinian poet
Najwan Darwish spent one month in residence at the SFAI amongst a diverse
group of international artists-in-residence. During his residency, he shared his
work during public readings, on the local airwaves, and at SFAI’s monthly Open
Studios and Readings. He participated in SFAI-related programming which
included exhibition openings, lectures, and a special event honoring late architect
Ricardo Legorreta, as well as attended the Lannan Foundation “In Pursuit of
Cultural Freedom” Series event featuring Democracy Now’s Amy Goodman and
the Lannan Literary Series event featuring Nathalie Handal. Not only did Najwan
have time and space to focus on his work, but he brought a unique voice to Santa
Fe and was an active member of the SFAI-community, where a platform for
sharing cultural, social, and creative dialogue is supported.
Santa Fe Art Institute. Photo courtesy of Santa Fe Art Institute
31
Vermont Studio Center | Johnson, Vermont (USA)
Ahmad Yamani (b. Egypt, 1970)
August/September 2012
In the late nineties, my great friend – Egyptian
painter Mohamed Abla – was a resident at Vermont
Studio Center for three months, after which Abla
had a large exhibition in Cairo entitled “Vermont.”
This was my first exposure to this area, and I loved
it. During my residency at Vermont Studio Center, I
was finishing a collection of about 60 short poems.
I began another ambitious project there as well
– a mixture of prose poems and free verse with a
focus on nature. I have never before had a closer
relationship with nature because I have always
lived in cities. I wanted to take this opportunity to
connect with nature in Vermont, with everything:
the river, trees, insects….
The best thing for me was meeting many
interesting people – artists, writers and creators....
It was an unforgettable experience that I will
remember all my life. I am very grateful to Vermont
Studio Center for that unique opportunity.
It was very interesting also to practice several
languages, including English, Spanish, Italian, and
even Arabic, speaking with American poet Marilyn
Hacker, who lives in Paris – we found we have
many mutual friends.
— Ahmad Yamani (translated)
‫"ن‬#$%‫ ا‬ '()*%‫ ا‬ +,-./ 01*2 +3"4‫ ا‬ ‫ن‬5,%‫ ا‬ 67 ‫"ت‬#(9:;%‫ ا‬ <-"=> +?
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.‫)"ل‬Z%‫ ا‬ <[%"\ ‫]"ت‬C% +? P>C75($% <(I(LM;%‫ ا‬ W;-‫ رؤ‬ W(? ‫م‬.@" P>C75(?"
+%C1] 67 ‫ة‬.-.J ‫ات‬C#O 0Q@ P>C75(? _7 H%‫و‬a‫ ا‬ +;\5Z2 +U bI2 P>"R
+? <7"@g‫ ا‬ +% P]"2‫أ‬. 6-5=D ‫ة‬.4 ‫"ك‬#U +;7"@‫ وإ‬ ‫;ّ"ب‬fL%‫ ا‬ <*#7 HIJ
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+% 6:;- 'I? <9(Qi%"\ +;@FJ HIJ qL25- ‫ح‬C)s ‫وع‬5M7 +? ‫ة‬.-.p .u"1@
+#>‫ أ‬ b%‫ ذ‬ P>C75(? +? +% ‫ث‬.] ")Ix7 <9(Qi%‫ ا‬ _7 <,(E‫ و‬ <@FJ <7"@‫ إ‬ 0Q@ 67
0R _7 0/‫ا‬C2‫ أ‬ +R </5$%‫ ا‬ bI2 q=;>‫ أ‬ ‫ أن‬ ‫ أردت‬ ،‫ن‬.7 +? PMJ "7 ")u‫دا‬
...‫ر‬Cy/‫ و‬ ‫ا>"ت‬C(]‫ و‬ ‫ات‬5M]‫ و‬ ‫("ه‬7‫ و‬ ‫"ر‬ZD‫ أ‬ 67 ‫"ت‬#u"L%‫ وا‬ ‫دات‬CpC4‫ا‬
67 .-.9%‫ ا‬ _7 +u",% ‫"ن‬R P>C75(? +? W(IJ PI1*2 "7 0{?‫ أ‬ ‫ أن‬ HIJ
k(?‫ا‬5jC2C?‫ و‬ k2"*>‫ و‬ ‫;ّ"ب‬fR 67 ‫;)"م‬UF% 6-5(x4‫ ا‬ ‫"ص‬yDa‫ا‬
ّ k7"O‫ ور‬ ّ
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."=JC> 67 ‫ة‬.-5$%‫ا‬
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"#-.% ‫ أن‬ "#x-.] ‫"ء‬#E‫ أ‬ "#$M;R‫ا‬
.kR5;M4‫ ا‬ ‫@"ء‬./a‫ ا‬ 67 5(xL%‫ا‬
+u"@./‫ وأ‬ +2",-./ 67 0L% 5(QL%‫ ا‬ +>"#;7‫ ا‬ 6J 5QJ‫ أ‬ ‫ أن‬ ‫ أود‬ "7";o‫و‬
‫"ن‬-‫ ورا‬ b(IQ#(>‫ زو‬ ‫س‬5((\‫ و‬ ‫ن‬CO5\ P(R‫ و‬ ‫رك‬FR ‫"ري‬j: ‫;ّ"ب‬fL%‫ وا‬ ‫اء‬59M%‫ا‬
‫ا‬5o‫ آ‬ h(%‫ و‬ ‫ا‬5(o‫ وأ‬ qR54‫ ا‬ +? +;7"@‫ إ‬ ‫ال‬Cs +% '=;-"J‫ ور‬ '=$iJ HIJ Ü%‫وو‬
HIJ PI1*2 "4 qR54‫ ا‬ _7 0/‫ا‬C;%‫ ا‬ +? 5(QL%‫ ا‬ "U.=p ÄCI? ‫ وود‬ ‫ري‬C% H%‫إ‬
.<(u"#x;Og‫ ا‬ ‫ة‬5Qy%‫ ا‬ bI2 HIJ‫ و‬ <*#4‫ ا‬ bI2
32
Ahmed Yamani was in residence at the Vermont
Studio Center for 8 weeks through a fellowship
for Middle Eastern writers funded by the
Educational Foundation of America. These
fellowships are part of a greater effort to develop
and sustain a vibrant, diverse international
creative community at the Vermont Studio
Center. Ahmad Yamani’s residency coincided with
VSC’s 3rd annual Literature in Translation (LiT)
Forum, a bilingual celebration of literary and
cultural translation, featuring Emmanuel Moses
(Moroccan born Israeli/French poet and translator
of Hebrew and German) and Marilyn Hacker
(American poet and French translator). The 4th
Annual LiT Forum (in October 2013) focuses
on Hebrew and Arabic writing, with poet and
translator Peter Cole and writer Adina Hoffman.
Through the success of the Middle Eastern Artists
& Writers Fellowship Program and partnerships
such as the Alliance’s “New Voices of Modern
Arab Literature” program, VSC continues to
Artists-in-residence at Vermont Studio Center. photo courtesy of Vermont Studio Center
expand its offerings for writers and visual artists
in the Middle East through fellowships for Arabic
and Hebrew writers, as well as US translators
of contemporary Hebrew and Arabic literature,
supported by the National Endowment for the
Arts.
Ahmad on the lawn at Vermont Studio Center. photo courtesy of Vermont Studio Center
33
Virginia Center for the Creative Arts | Amherst, Virginia (USA)
November/December 2011
November/December 2011
Samuel Shimon (b. Iraq)
October/November 2012
Samuel Shimon with VCCA residents and guests. photo
courtesy of VCCA
It was a wonderful experience living at Virginia Center for the Creative Arts. It was
my first time in America, so I took many pictures, and after a while the character of
these photos changed. I met very nice, decent, clever people who love to discover
the “other.” At this center, I lived in serenity and I had sufficient time to work and to
escape my routine (aka, my work and home routine). This experience reaffirmed my
certainty that the best way to write is to focus far away from our personal lives. At
VCCA I was determined to complete my novel, The Kitchen of Love, and I felt great
joy when I sent it to the publishers. Thank you to this amazing institution VCCA, for
this beautiful opportunity. And thank you to the Alliance of Artists Communities in
America.
!" !' ‫ة‬.7 ‫ أول‬ #123 . VCCA !" #$% !&'‫ ا‬ )*+‫ را‬ )-./0 #123 45'
.ّ<=0 ،#?@'‫ ا‬ ‫ور‬.7 4*-‫ و‬ ،‫ ّ@ر‬A'‫ ا‬ B7 .<CD'2- EFG7 #HI ‫ا‬JK'‫ و‬ ،2DL.7‫أ‬
ّ
‫@ن‬QGL ،R?JST&7 ،RQ<U ،‫ا‬4I ‫ء‬2WX' 2Y21‫ أ‬ #<5&'‫ ا‬ 45'. ‫@ر‬A'‫ ا‬ ‫ه‬JN O7E7
. Z1@W$&DL‫ و‬ .[\‫ا‬
B7 ‫وب‬.K'‫ وا‬ ^F*S' _Y2à‫ ا‬ #?@'‫ ا‬ ‫ت‬4I‫ وو‬ ‫وء‬4K'‫ ا‬ #$% ،c3.a‫ ا‬ ‫ا‬JN !"
)S<Y‫ و‬ ê"‫ أ‬ ‫ ّن‬f- 2`<5L ‫ ازددت‬ 4?‫ و‬ ،)‫ل‬cà‫ وا‬ ^F*'‫ ا‬ ‫دات‬2% !`%‫!(أ‬0‫دا‬2%
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‫ا‬.Dj. .j21k 2KC*-‫ أ‬ 21‫ وأ‬ 4L4j ‫ح‬.W- ‫ت‬.*j‫ و‬ ،_G'‫ ا‬ mQX7 !&L‫ روا‬ ‫ل‬2F3‫إ‬
‫د‬2G0k ‫ا‬.Dj‫و‬. )S<F/'‫ ا‬ )h.W'‫ ا‬ ‫ه‬JN qS% VCCA ‫ة‬c<F&a‫ ا‬ )oYpa‫ ا‬ ‫ه‬JK'
.2DL.7f- R12`W'‫ا‬
VCCA’s Mt. San Angelo campus. photo courtesy of VCCA
34
Aziz and Rahim at VCCA. photo by VCCA
At Virginia Center for the Creative Arts, the benefits
were clear. I met colleagues of many nationalities:
American, German, Cuban, etc. And my poetic
texts were translated into English. The expansive
natural surroundings allowed me to write with
great focus. The nature of the place inspired me
this time to write text in free verse and not just
poetry, but prose and poetry together. The staff
administering the residency was very close to me
and treated us in a positive and distinguished way.
What really touched me and what I felt was greatly beneficial for me during my stay
at Virginia Center for the Creative Arts were the many American writers, poets, and
artists that I met there. During our almost daily literary readings and our discussions
during breakfast and dinner, I felt that my understanding of American life and
experience increased tremendously. On top of that, I got the chance to discover
several literary talents in the field of literature. Everyone shared a sense of respect
and the entire environment was peaceful and pleasant. This enabled me to work for
hours on end. I was able to finish three whole chapters of a novel I am still working
on about the Lebanese civil war in the 1970s. I can with full confidence say that my
stay at VCCA was very useful and left me with many pleasant impressions. Finally,
I would like to point out that thanks to VCCA, I am still in touch with many of the
writers and artists that I met during my residency.
— Samuel Shimon (translated)
!"4<= >? VCCA !" !#$%&‫ ا‬ ‫ *)ل‬ +$ ,-$ ‫ت‬/0#1‫ وا‬ ّ!" 45‫ أ‬ ‫!ء‬8 49:‫ ا‬ ‫ان‬
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,f3K. ‫ا‬5Eg />2. %hH;-6 %L5a0 ‫ص‬HT0
5L!L ‫ي‬Y.‫ ا‬ k7,^.‫ ا‬ . 5ER.,G %:#,h‫ و‬ %L‫د‬5Z
,3E6 dD,-;L ‫ و‬ ‫!ي‬4 ,36 ,]L57 ‫ن‬,1 %6,7l‫ا‬
.N2M;6 ‫ و‬ 9G,OL‫ إ‬ dKRG
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>f ‫ان‬. RAW‫د‬B‫ ا‬ ‫ت‬%$%&B‫ ا‬ !" ‫درة‬%-D‫ ا‬ ‫>ر‬$B‫ ا‬ +$ ‫ه‬e?‫ "و‬bKc$" à8
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.‫ك‬%-? NiAJK Y"4<= +HeD‫ ا‬ @A:4A$B‫ ا‬ @C%-0D‫ وا‬ ‫ء‬%W‫د‬B‫ا‬
35
VCCA hosted three writers for the “New Voices
of Modern Arab Literature” project – Abderrahim
Elkhassar and Abdelaziz Errachidi, both from
Morocco, and Samuel Shimon, from Iraq. Aziz
and Rahim were in residence together in late
2011 and Samuel came in 2012. The VCCA was
very happy to have the opportunity to extend our
international reach. Our flagship international
program is in France and our five international
exchanges are also European, so we are eager to
bring artists from other parts of the world.
The residency of the two Moroccan writers also
offered us the opportunity to have a rare public
event at our Mt. San Angelo facility in Virginia.
Rahim at the reading at VCCA. photo courtesy VCCA
We invited writers from all around the area to
a dinner and reading of the works of Aziz and
Rahim. The reading included poems read in
both Arabic and in translation as well as much
discussion in both English and French. The
reading was wonderful and was a great comingtogether of the community.
Aziz in front of the studio barn at VCCA. photo courtesy of VCCA
36
Vitosha Cultural Center | Ann Arbor, Michigan (USA)
July/August 2012
Samuel Shimon (b. Iraq)
June/August 2012
wajdi al-ahdal (b. yemen, 1973)
July/August 2012
During my residency at Vitosha I wrote whatever
the places and people I saw brought to mind. I
discovered within myself a talent for capturing
images and signs with extraordinary ease, never
exerting myself when writing about places, but
rather contenting myself with the natural flow of
ideas. Perhaps that is just the special way I look at
things and places.
Michigan, with its vast and different space and
its university city, Ann Arbor, was an important
location for capturing images. I spent happy
moments at Vitosha with the writers Wajdi
al-Ahdal and Samuel Shimon. Those were
memorable moments, in which we engaged in deep
conversation, connected in a positive way, and
discussed texts.
!" #$%& '()* )+ ',-* )./-012 3+)4‫ إ‬ !1
'@A-*‫ ا‬ . )%6)(‫ أ‬ 89 #$%: )+‫ و‬ 3<=+>‫ ا‬ 89
‫)رات‬.D‫ وا‬ ‫ر‬/E"‫ ا‬ ‫)ط‬G-"‫ ا‬ 3,H/+ !I@( !1
‫ا‬J0,* ‫دا‬/%$+ ‫ل‬M9‫ أ‬ 2 ،‫ة‬P+ M<+ 3GQ)1 3"/%I9
، !R‫ا‬P-")9 !@-*‫ أ‬ S9 3<=+>‫ ا‬ TR U-*‫ أ‬ VW
X"‫ إ‬ )%9 ‫ أرى‬ !-"‫ ا‬ VZ"‫ ا‬ X"‫ إ‬ [\‫ را‬ ]"‫ ذ‬ SZ"‫و‬
. 3<=+>‫ وا‬ ‫)ء‬0.>‫ا‬
)%-<:P+‫ و‬ ،à-bc‫ ا‬ )%Q)d@9 Te0A0+
‫)ط‬G-"2 3+)H 3fg+ '()* ‫ر‬/9‫ ار‬ ‫ آن‬ 30Z+)$"‫ا‬
‫)ت‬jg" )./-012 3+)4‫ إ‬ !1 'AR. ‫ر‬/E"‫ا‬
U&)="‫ وا‬ ‫ل‬PH>‫ ا‬ ‫ي‬P\‫ و‬ U&)="‫ ا‬ [+ ‫ة‬P0Z6
XI<& 2 ‫)ت‬jg" '()*. ‫ن‬/Zl. S:/lm
n:Pg"‫ ا‬ ‫اف‬Jp‫ أ‬ ‫)ذب‬$& T+ )%01 )<<=l&
.‫ص‬/E<"‫ ا‬ ‫)ورة‬g+‫ و‬ P0\ S=A9 Sm‫ا‬/-"‫وا‬
Vitosha Guest Haus. photo courtesy of Vitosha
In the summer of 2012, Beirut39 prize-winners Abdelaziz Errachidi and Wajdi
Al-Ahdal, and writer and editor of the Beirut39 anthology Samuel Shimon were in
residence at Vitosha Guest Haus. A public reading was presented in the Pinocchio
Theatre, hosted by University of Michigan poet and professor Khaled Mattawa.
The artists read short excerpts of their work in English and Arabic, followed by
readings by Yasser Tabbaa and Edward Morin. It was an honor to offer residencies
to these three writers and to share their work with our community.
37
During my time at Vitosha I spent memorable
times in the city of Ann Arbor. Immediately after
breakfast, I would go to Forest Hill cemetery. I
would wander among the graves, reading the
names of the people who had passed away, and at
the same time, my mind was busy writing the next
chapter of my novel. About two hours later, I would
return to my room and sit behind the computer.
In Forest Hill Cemetery in Ann Arbor, I found the
rhythm that I had been searching for to write my
novel.
And I must say that, away from the daily writing
at Vitosha, I enjoyed the company of wonderful
writers, the Yemeni Wajdi Al-Ahdal, and the
Moroccan Abdelaziz Errachidi, who were also
Beirut39 writers. Despite the demands of our
daily work, we used to meet together and go
out downtown. I took many pictures of these
two friends. At Vitosha we organized a beautiful
evening of poetry by Wajdi and Abdelaziz. The
American-Libyan poet and translator Khalid
Matawwa introduced the poetry evening and
the American poet Edward Morin participated
by reading Wajdi’s text in English. The SyrianAmerican academic Yasser Tabbaa read the English
translation of Abdelaziz’s text. I will never forget
the surprise prepared for me by Khalid Matawwa
on the occasion of my birthday, which happened
to fall during my stay at Vitosha. Abdelaziz, Wajdi,
and I will also not forget the afternoon we spent
in the company of the Iraqi-American poet Dunya
Mikhail, who picked us up and took us to her home
in Detroit to drink Iraqi tea exactly as it is served in
Iraq. She then invited us to lunch at a restaurant
run by an Iraqi family of Chaldean origins, and gave
us a tour of Detroit. She was so kind and generous
that she was willing to take us to the other bank of
the Detroit River on the Canadian side.
— Samuel Shimon (translated)
Samuel Shimon at Vitosha Guest Haus. photo courtesy of the author
.‫'ر‬2‫ آر‬ ‫ آن‬ 5+6$7 !" 89+( : *(*;‫ أو‬ =0>7‫*" أ‬.'/0"" !" ‫ي‬$%‫ ('ا‬ ‫*ء‬+,‫أ‬
‫'ل‬N(‫ أ‬ =+K ،"L0E =96‫ ""'ر‬ ‫@ة‬AB7 8C‫ ا‬ DE‫ اذ‬ ،‫'ر‬HIC‫ ا‬ $J2 ‫@ة‬.*A7 ،=+K
!+E‫ ذ‬ ‫*ن‬K ،=;'C‫ ا‬ OIP !"‫ و‬ ،‫'ا‬QR‫ ر‬ S6TC‫ ا‬ @UAC‫ ا‬ ‫*ء‬VW‫ ا‬ ‫ وا;@أ‬ ،‫'ر‬ABC‫ ا‬ X2
‫ أ\'د‬ =+K ،*A6@B( X/\*W $J2 . !/6‫ روا‬ S7 !C*/C‫ ا‬ LYIC‫ ا‬ 52*/K !" :'ZU7
‫ آن‬ !" "L0E =96‫ ""'ر‬ ‫@ة‬AB7 !" . @('0A7']C‫ ا‬ ‫ وراء‬ OQ%‫ وأ‬ ،!/"@^ 8C‫ا‬
.!/6‫ روا‬ 52*/]C _+\ à2‫ أ‬ =+K ‫ي‬TC‫ ا‬ ‫*ع‬B6:‫ ا‬ 8Q\ ‫@ت‬d\ ،‫'ر‬2‫آر‬
=J/V/W‫ ا‬ ،"*.'/0"" !" 507'0C‫ ا‬ 52*/]C‫ ا‬ S\ ‫ا‬$0J2 ،!+P‫ ا‬ ‫ أ;'ل‬ ‫ ان‬ $2 :‫و‬
e6eJC‫ ا‬ $A\ !2@Zf‫ وا‬ ،‫ل‬$Eg‫ ا‬ ‫ي‬$%‫ و‬ !+V0C‫ ا‬ ،XJh‫@ا‬C‫ ا‬ XA(*]C‫ ا‬ 5AaY2
LVJC‫ ا‬ m^‫ر‬. )"39 ‫@وت‬02" ‫ّ*ب‬/k]C 5YYlf‫ ا‬ 5a+f‫ ا‬ OIP !" *P*K) ‫ي‬$.‫@ا‬C‫ا‬
‫'ر‬YC‫ ا‬ S7 @0d]C‫ ا‬ =HB/C‫ ا‬ $BC . 5+6$f‫ ا‬ nW‫ و‬ 8C‫ ا‬ ‫@ج‬lP‫ و‬ !B/QP *+K ،!7'0C‫ا‬
.XB6$YC‫ ا‬ S6TpC
m%@/f‫ وا‬ @\*UC‫ ا‬ . e6eJC‫ ا‬ $A\‫ و‬ ‫ي‬$%'C 5Q0V% 5097‫ أ‬ *+V;‫*" أ‬.'/0"" !"
!K@07g‫ ا‬ @\*UC‫ ا‬ ‫*رك‬.‫ و‬ ،LIaC‫ ا‬ ‫م‬$ّ ; ،‫*وع‬H7 $C*s !A0QC‫ ا‬ !K@07:‫ا‬
!K@07:‫ ا‬ !V6‫*د‬K:‫ ا‬ ،56e0Q]P:*2 ‫ي‬$%‫ و‬ tP ‫ ;@اءة‬ !" S6‫'ر‬7 ‫ادوارد‬
.e6eJC‫ ا‬ $A\ tP 56e0Q]P:*2 ‫ ;@أ‬ ،‫*ع‬AHC‫ ا‬ @W*6 ،‫'ري‬9C‫ا‬
$0\ 5AW*+V2 ،‫*وع‬H7 $C*s !C *E$\‫ أ‬ !/C‫ ا‬ ‫ة‬u%*If‫ ا‬ 89P‫ ا‬ ‫ أن‬ S]V6 :‫و‬
e6eJC‫ ا‬ $A\ ،89+P :‫ و‬ . *.'/0" !" ‫ي‬$%‫ ('ا‬ ‫*ء‬+,‫ أ‬ ‫*دف‬w ‫ي‬TC‫ ا‬ ‫دي‬x07
50K@07g‫ا‬-50;‫@ا‬JC‫ ا‬ ‫*\@ة‬UC‫ ا‬ 5B"@2 *E*+0>7‫ أ‬ !/C‫ ا‬ ‫@ة‬0pyC‫ ا‬ ،*P‫ وأ‬ ‫ي‬$%‫وو‬
‫@ب‬U+C =6‫@و‬/6‫ د‬ !" *pCe+7 8C‫ ا‬ *+/QVR‫ و‬ ،*+0C‫ ا‬ ‫*ءت‬% !/C‫ ا‬ ،L0h*l07 *0P‫د‬
‫@ه‬6$( !;‫ \@ا‬ mJH7 !" ‫اء‬$ZC‫ ا‬ 8C‫ ا‬ *+/\‫ د‬ m, ،50;‫@ا‬JC‫ ا‬ 5B6@HC‫ ا‬ 8Q\ ‫*ي‬UC‫ا‬
‫ "@ط‬ S7 =P*K‫ و‬ ،=6‫@و‬/6‫ د‬ !" *+2 ‫ دارت‬ m, ،50P‫ا‬$QK ‫'ل‬w‫ ا‬ S7 50;‫ \@ا‬ 5Qh*\
،=6‫@و‬/6‫ د‬ @pP S7 ‫@ى‬s:‫ ا‬ 5I>C‫ ا‬ 8C‫ ا‬ *PTsu( ‫ أن‬ }.‫ و‬ 8Q\ ،*p7@K‫ و‬ *pIHC
.‫ا‬$+K 8C‫ا‬
38
What delighted me most about my residency was the warm hospitality of Kei
Constantinov, owner of Vitosha Guest Haus, who showed great concern for our
comfort and provided for our needs. I also enjoyed the peaceful city of Ann Arbor
and its beautiful green lawns. The people there seemed very friendly and pleasant as
well.
I left for my residency without anything specific in mind. After some days of
residence at Vitosha, an idea came to me for a book of stories based on folktales
handed down from my ancestors. I wrote seven short stories in Ann Arbor, and the
book continues to grow. The main themes that I set down there have generated
others, providing seeds for a similar number of stories. I have learned something
new: to write interconnected stories, with events set in the same geographic space
and in a particular historical period, so that each story appears as part of a bigger
picture.
My creative residency in the USA inspired me to return to the tales and legends
of my heritage, to use them as material for my stories. When I find myself in the
West or in other developed countries, I ask myself: “What does a writer from a
remote country like Yemen have to offer that is new to literature?” I never raised this
question to myself with such urgency in my own country, but my stay in America
shocked me to awareness, and I realized that good writing is writing characterized
by authenticity, that is, by the writer’s return to his roots and native environment,
and his ability to find inspiration in them.
— Wajdi Al-Ahdal (translated)
‫"ف‬#$%#%&' ‫ *)ي‬ ‫ة‬,$&-‫ ا‬ /0 1$2)&23‫ ا‬ ‫)وة‬56-‫ ا‬ "7 8#9:;‫ أ‬ ‫ء‬8> ?@*‫أ‬
N-O*. )#A)B)$CD‫ ا‬ ?$E"A‫ و‬ )#CD‫?ا‬F )G0)HC7‫ وا‬ 1E)$IJ- )>"C$E ‫ دار‬ 1M-)0
8- ‫ا‬,F )H* ،1J$H:-‫ ا‬ ‫?اء‬IQ-‫ ا‬ ‫?وج‬S‫ وا‬ ،1T‫)د‬G-‫ ا‬ ‫"ر‬F‫ أر‬ ‫ آن‬ 1#W,HF ً ‫ا‬,B Y9:;‫أ‬
.19$%-‫ ا‬ /0 ?$9* ‫ر‬,' ZJ;‫ و‬ ً ‫ا‬,B ‫)ء‬5%- ‫"ر‬F‫ آر‬ ‫ آن‬ ‫)ن‬M[ ‫أن‬
)>"C$E 8E 10)'3‫ ا‬ /0 ‫)م‬W‫ أ‬ ,]F‫ و‬ ،‫د‬,60 ‫ء‬8> 8#7‫ ذ‬ 8E _$-‫ و‬ Y97‫ ذ‬ ,`/; 1a‫"ار‬CS‫ ا‬ 1$E‫?ا‬Q-‫ ا‬ ‫)ت‬W)M6-‫ ا‬ /; ‫ث‬,6CW 8dd' ‫)ب‬C* ‫?ة‬ME ‫ت‬,-‫و‬
،"H#W ‫ال‬hW )0 ‫)ب‬CM-‫ ا‬ ،‫"ر‬F‫ آر‬ ‫ أن‬ 8E ‫?ة‬$d' id' 7 Y9C* ,`- ،8Ef[‫أ‬
/0 ja)H0 ‫د‬,]- ً ‫ورا‬OF ‫?ى‬lm‫ ا‬ 87 jMnA ‫)ك‬#7 )GC2‫ دو‬ 8C-‫ ا‬ p$q‫"ا‬S‫ ا‬ ‫رؤوس‬
‫ور‬,A ،)GI]9F 1JdC0 ً )tdd' uC*‫ أ‬ ‫ أن‬ ،ً‫ا‬,W,B ً )tv$> YHJ]A ,`-. id`-‫ا‬
1d' j* ‫و‬,9CE ،1#$]0 1$QW‫)ر‬A ‫?ة‬CE‫ و‬ ،‫ة‬,D‫ وا‬ 1$E‫?ا‬wB 1D)&0 8E )Ga‫ا‬,D‫أ‬
.‫?ة‬$9* ‫"رة‬ttx /0 1]%' )G2y*‫و‬
Z-‫ إ‬ ‫]"دة‬-‫ ا‬ 1$MW?0m‫ ا‬ ‫ة‬,6CS‫ ا‬ ‫)ت‬W{"-‫ ا‬ 8E 1$;‫ا‬,F3‫ ا‬ 10)'3‫ ا‬ 8#CHG-‫ أ‬ ,`.8dd' 8E ‫)دة‬H* )G0‫ا‬,QC[‫ وا‬ ،?$|)[m‫ وا‬ ‫)ت‬W)M6-‫ ا‬ /0 8Ef[‫ أ‬ ‫?اث‬A
8E ‫?ت‬ME ،ً‫"را‬tt%A }-)]-‫ ا‬ ‫ان‬,JF ?@*‫ أ‬ 8E‫ و‬ ،‫?ب‬w-‫ ا‬ 8E 8&52 ‫ت‬,B‫ و‬ ~D
8E ,W,B /0 ‫م‬,`ُW ‫ أن‬ /H$-)* 1$T)2 ‫د‬fF /0 ‫ ')دم‬ uA)M- /MHW ‫)ذا‬0" 8&52
8E Y#* )0,#; ‫ة‬,6-‫ ا‬ ‫ه‬OGF 8&52 ZJ; ÇD?|‫ أ‬ }- ‫ال‬É&-‫ ا‬ ‫ا‬O7 ."‫دب؟؟‬m‫ا‬
1F)CM-‫ ا‬ ‫ أن‬ Y*‫ وأدر‬ ،8$;‫ و‬ 8E 10,x Ya,D‫ أ‬ )*?$0‫ أ‬ 8E 10)'3‫ ا‬ /M-‫ و‬ ،‫ي‬,JF
ÇCv$F‫ و‬ ‫وره‬OB Z-‫ إ‬ uA)M-‫ ا‬ ‫ ;"دة‬ ‫ أي‬ ،1-)xm)F h$HCA 8C-‫ ا‬ 1F)CM-‫ ا‬ 87 ‫ة‬,$:-‫ا‬
.ÇA)F)C* 8E )G0)GJC[‫وا‬
Wajdi Al-Ahdal’s book, A Land Without Jasmine.
39
alliance of
artists communities
www.artistcommunities.org/beirut39

AAC: New Voices of Modern Arab Literature

Transcription

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