Language: Arabic

In Review: Ali and His Russian Mother by Alexandra Chreiteh

"Can you be loyal to your homeland and religion at the same time, even if they are at loggerheads in the grand scheme of things?"

As an avid fan of Alexandra Chreiteh’s first translated work in English, Always Coca-Cola, I couldn’t wait to dive into her latest effort, Ali and His Russian Mother (similarly translated by Michelle Hartman). While Always Coca-Cola possesses a dynamic, jump-off-the-page narrative, I found Ali and His Russian Mother to be quite the opposite, leaving me rather deflated.

The setting is July 2006. Israel has just declared war on Lebanon while our unnamed female protagonist (let’s call her “X”) is out for sushi. Over the course of the next three-some days, the reader is towed along as X is evacuated along with other Russian citizens to safety. READ MORE…

In Review: Ebola ’76 by Amir Tag Elsir

Sawad Hussain reviews a book with a spooky streak of prescience.

Ebola ’76, by Sudanese novelist Amir Tag Elsir (and exquisitely translated by Charis Bredin and Emily Danby) is a fictionalized account of the first historically documented Ebola virus outbreak that took place in the Democratic Republic of Congo (DRC) and South Sudan. Published in April of this year, it was undeniably a shrewd choice by Darf Publishers to release it now: the original Arabic edition was sent to the presses back in 2012, prior to the major West African outbreak. As such, one would be hard-pressed to argue that they were not immediately drawn to it by the title. READ MORE…

Arab Literature, In Review: “The Bride of Amman” by Fadi Zaghmout

Sawad Hussain reviews a Jordanian LGBT runaway bestseller, finally available in English translation

Fadi Zaghmout’s The Bride of Amman (translated into English by Ruth Ahmedzai Kemp) is a bold, charged novel detailing the struggle Jordanians face in abiding societal strictures on sexual orientation and gender identity. The taboo topics explored in the novel–including homosexuality, sexual abuse within tight-knit families, sexual harassment in the workplace, extramarital liaisons and interreligious marriage–have rendered the novel quite controversial in the Arab world, with readers either wildly celebrating or denigrating the novel for its “unrealistic” portrayals of Jordanian society.

If we are talking strictly about content, then I belong to the former category. The uninhibited manner in which Zaghmout addresses such realities as living as a homosexual man in a modern, predominantly Muslim community is fresh, engaging, and educational (even for someone who considers herself well-versed in LGBT literature).

It is easy for an author to fall into didactic narration when dealing with such topics. But The Bride of Amman escapes this trap: here is a novel I would encourage both old and young to read simply for its piercing insight into the life of an Arab man—who happens to be both homosexual and a practicing Muslim. This is a story told with such probity that it could be anyone’s. READ MORE…

Asymptote Spring 2014 Issue – Out Now!

…and it's packed with the most exciting new literary translations, critical pieces, and more from around the world.

What are you waiting for? Highlights from Asymptote’s Spring 2014 issue include new work by Nobel laureate Herta MüllerDavid Bellos (author of “Is that a Fish in Your Ear?”), and Prix Goncourt-winner Jonathan Littell. Plus, our annual English-language fiction feature spotlights Diasporic literature from Bosnia, China, India, Japan, and Singapore.

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Pop Around The World: الأرنب الأبيض

Cover songs in American Hustle and The Wolf of Wall Street

There’s a great deal of music in American Hustle (originally and more appropriately called American Bullshit), no surprise for a period picture that takes great care with the costumes and especially the curls of its con-men characters. What is surprising is that a great deal of the admittedly great music chosen is a little rote, either in terms of sonic 70s shorthand (Donna Summer’s “I Feel Love” stands for disco and drugs) or through blunt lyrical parallels (Santana’s “Evil Ways” or Steely Dan’s “Dirty Work”). It’s not all that obvious, though, as on-set improvisation led director David O. Russell and Jennifer Lawrence to take Wings’ “Live and Let Die” and turn McCartney’s Bond tune into a villainous call to arms for Lawrence’s dangerously unbalanced character.

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