Posts filed under 'imperialism'

The Ghost of Coexistence: On a Narrative of Jewish-Muslim Kinship

A Land Like You is a historical rendition . . . but it is also, much more, a testament of a multicultural homeland that no longer exists.

On May 12, Egypt joined South Africa in its International Court of Justice case accusing Israel of genocide. As one of the first countries to recognize the Palestinian Declaration of Independence in 1988, Egypt has continually occupied a close position in this ongoing catastrophe; the nation opposed Zionism in the 1930s and accepted tens of thousands of Palestinian refugees in the aftermath of the Nakba but, in more recent decades, the government has worked to covertly “normalize” relations with Israel. This seeming contradiction culminates from the complex, multi-cultural, and syncretic history of the region, in which Jewish and Muslim peoples lived with intertwined fates, and it is that increasingly implausible reality which the French writer and psychologist Tobie Nathan explores in A Land Like You, an absorbing, panoramic narrative of Egypt in the twentieth century. In the following essay, Moumita Ghosh looks at how the nation of Egypt formed out of an overarching Ottoman unity, and how Nathan’s stirring novel of this tumultuous period can inform our understanding of the region today.

We live beside the Arabs the way a man might live beside his innards. Our tales fill their Qur’an, their tongue fills our mouth. Why aren’t they us? Why aren’t we them?

—Tobie Nathan, from A Land Like You (translated by Joyce Zonana)

In Ottoman Brothers, Michele U. Campos writes about how objective distinctions between empires and nations are often murky, especially as demonstrated in the late Ottoman context. In the years before the First World War, the rise of ethno-nationalist sentiments such as Zionism and Arabism were essentially in negotiation with the responsibilities of imperial citizenship in a multi-ethnic and multi-religious Muslim empire. Rather than separating from the Ottoman empire, there were attempts to preserve its existence. As familiar calls for a two-state solution re-emerge in Palestine, now undergoing a second Nakba, this history of collective identity and a shared homeland in the Middle East—though short-lived, incomplete, and within the context of imperialism—has gained a new relevancy.

In the wake of the 1908 Young Turk Revolution and the collapse of the old Hamidian absolutist state, the new epoch of democracy linked the individual Ottoman citizen—irrespective of ethnicity, religion, or mother tongue—to the reforming constitutional state, and citizenship to the “Ottoman-nation” became a distinct socio-political identity. Palestine, even under rule, somewhat differed from the other Ottoman provinces in terms of being a site of worldwide religious devotion, as its daily life involved a mutuality whereby local Muslims, Christians, and Jews came together—especially in Jerusalem—to execute the vision of a “modern” urban city.

Sephardi Jews in particular were grateful to the Ottoman Empire for being their historical saviors, and were consistently mediating between the ideological commitments of multicultural, civic Ottomanism and the European import of particularistic Zionism in the years following the 1908 revolution. Shaped by cultural Hebraism, the Sephardi Jews of Palestine believed in the compatibility of Ottomanism and Zionism; they thought that the socio-cultural and economic rebirth of the Jewish community would be enriching for the Ottoman Empire and, most importantly, that such a revival would be taking place within the Ottoman body-politic. However, such views were not free of contentions—especially due to the continual forces of territorial colonialism. READ MORE…

Weekly Dispatches From the Frontlines of World Literature

The latest literary news from Palestine, the United States, and the Philippines

This week, one of our editors-at-large reports from Palestine, amidst the outbreak of war. Our editors also report on new publications from the Philippines and literary festivals in New York. 

Carol Khoury, Editor-at-Large, reporting from Palestine

In a normal world, you would expect me to write my dispatch this week about the latest version of Palestine International Book Fair, or about Raja Shehadeh making the 2023 National Book Awards finalists list, or the just-concluded Palestine Writes Festival. But this week, Palestine is far from normal, although what we are living now is also déjà vu.

My last dispatch was about Gaza, but it was pleasant news. Little did I know what the following month would hold when I wrote “Each morning, as the sun timidly broke through the horizon, Mosab Abu Toha’s words flowed like a river, weaving tales of resilience and hope from the depths of despair.”

I will give the floor to Mosab this dispatch too:

Picture1 READ MORE…

Tales of Contagion: A Comparative Reading of Goran Stefanovski’s Divo Meso

[T]he image of Western Europe as a cataclysmic pathogen becomes a motif, repeated unto the ages of ages.

The Macedonian playwright Goran Stefanovski, working against the background of ex-Yugoslavia, has long used the microcosm of the theatre to address shifting politics, disintegrating identities, and violence in both physical and spiritual levels. His most well-known work, which encapsulates this lifelong address, is perhaps Divo Meso, an intimate family drama that speaks to the overarching condition of the Macedonian nation, as it is subsumed by invasive forces. In this following essay, Sofija Popovska discusses how the play’s oft-overlooked pathogenic themes dialogue with other texts and narratives from across history, and how, seen along these lines, it speaks universally to the private tragedy of loss, as hidden within the greater global narrative of cultural collisions.

The horseman on the white horse was clad in a showy and barbarous attire. . . While his horse continued galloping, he was bending his bow in order to spread pestilence abroad. At his back swung the brass quiver filled with poisoned arrows, containing the germs of all diseases.

—Vicente Blasco Ibáñez, The Four Horsemen of the Apocalypse

In Scene VIII of Goran Stefanovski’s 1979 theatrical piece, Divo Meso, a destitute Macedonian household is paid a visit by a German investor, who offers to buy their house in order to have it remodeled into a showroom. Upon his arrival, Maria, the mother of the family, plunges into reverie, ruminating about a mythical condition she’s certain she’s plagued by: the eponymous divo meso. It is, we are told, an “old wives’ tale”—flesh which forms around a hair inside the throat, and grows until its victim asphyxiates. Despite its superstitious roots, Maria’s fear sublimates the intuition of a condition more cataclysmic and widespread: the body of Macedonian society, weakened by discord and poverty, being infiltrated by foreign interests as if by a pathogen. Transformed into an eschatological growth, the will of their German visitor continues its indomitable conquest throughout the play, leading the family to a coda marked by desolation, surrender, and powerless rage.

Though indicated by the title, the element of illness in Divo Meso hasn’t been explored much, relegated to the background in favor of discussing the loss of tradition. Regardless, the pathogen metaphor is especially apt at describing imperialist intervention into cultures; rather than cultivating a mutualistic or commensalistic relationship between two consenting cultures, it introduces a drastically one-sided power dynamic, to the profit of one and the undoing of another. However, before we delve further into the specificities of Divo Meso, I would like to invite you to consider two episodes, one historical and one literary, that tell stories of cultural contagion. These will help unravel the pathogen-host relationship in its cultural, imperialist context, and illuminate individual processes that comprise it—such as the transformation of identity into a collision site of imposed, internalized, and inherent traits. Rather than the reductive (albeit also valid) reading of Divo Meso as a tragedy of familial and national scope, a simultaneous reading of the following tragic—and in many ways analogous—texts will allow for a richer understanding of the theatrical piece, one that includes transcultural motifs.

On June 23, 1763, trader and land speculator William Trent recorded in his diary that two Native American diplomats had arrived at Fort Pitt in order to persuade the British to abandon the location. After negotiations failed, the British offered the Delaware emissaries a parting gift. “Out of our regard to them we gave them two Blankets and a Handkerchief out of the Small Pox Hospital. I hope it will have the desired effect,” wrote Trent. It remains unknown whether this instance of biological warfare succeeded, though the Native American population around Fort Pitt was “struck hard” by smallpox in the spring and summer of 1763. This wasn’t the first, nor last tale of contamination to be found in the imperialist trajectories of Western Europeans. Engraved upon traditions, echoing through languages, and rising scar-like from the surface of collective memory, the image of Western Europe as a cataclysmic pathogen becomes a motif, repeated unto the ages of ages. READ MORE…

Spring 2022: Highlights from the Team

Still don’t know where to start with our latest edition? Here are some more entry points, courtesy of our generous multicontinental team!

I felt that the Spring Asymptote was an incredibly timely and unsettling issue and I hope that broader readers can use it as a lens to think about ongoing dynamics of imperialism, capitalism, and more. I was drawn immediately to Kim Hyesoon’s poems from The Hell of That Star (tr. Cindy Juyoung Ok), with its overwhelming and abundant female presence that kept mutating. In Signe Gjessing’s poems from Tractatus (tr. Denise Newman), I really enjoyed the tension between the abstract and the material—for example, the fact that shampoo is able to exist alongside transcendence. The voice of Nina Yargekov’s “The Obedient Little Girl” (tr. Charles Lee) was immediately disarming! I was delighted by the emphasis on disobedience at the end. Last but not least, I enjoyed reading Agnieszka Taborska’s The World Has Gone Mad: A Surrealist Handbook How to Survive (tr. Soren Gauger). Leonora Carrington is my favorite artist and writer (I actually have a tattoo of one of her paintings); it was exciting to see her mentioned at the conclusion. I also enjoyed the automatic writing components. This is a text I do need to spend more time with and I am so glad that it was included in this issue.

—AM Ringwalt, Educational Arm Assistant

I have a love for Nordic literature in general, there is something about its directness and its simplicity, and yet at the same time its ability to confront existential issues through the details of the everyday. As I live in Sweden and yet am not Swedish, I see literature as a way into understanding the place and society where I am. I was struck by how so many of the pieces in the Swedish special feature confronted the deep hypocrisy that is there in Sweden’s self-presentation as a tolerant, progressive, consensual, and equal society: The uncovering of misogyny and violence against women in the Kristina Lugn (tr. Zach Maher), Lina Hagelbäck (tr. Freke Räihä) and Hanna Nordenhök (tr. Saskia Vogel) (there is a reason that the original Swedish title of The Girl with the Dragon Tattoo was Män som hatar kvinnor [Men Who Hate Women]); or history of institutionalized homophobia in the Jonas Gardell (tr. Elizabeth Clark Wessel); and racism in the Majgull Axelsson (tr. Kathy Saranpa). These all show that there is something deeply troubling in the supposedly comfortable Swedish society that people here live in. And yet, for all this social awareness, these texts are not themselves sanctimonious or worthy. There is a distinct existential edge in each of them, they show how these social issues penetrate deep down into the world of the characters affected by them. Oppression is not an accident or mistake that can be simply rectified or remedied, it is a constitutive fact of the world as it exists and is revealed and experienced: violence, oppression, and torment penetrate and persist right through the world, into each blade of grass, bunch of flowers, childhood memory, or everyday action, and all this writing captures something of that pain and its penetration. This is the world. And it needs to be shown and seen again, recognized for what it is, as it is in this writing; and through the seeing again that this writing provides, it can also be recreated as other than it is.

—Liam Sprod, Copy Editor

Andrii Krasnyashchikh’s As Bombs Fall (tr. Matthew Hyde) made me cry. This account of daily life in Kharkiv made me think of my grandmother living in Rome under Nazi occupation—the immediacy of daily life while the world crumbles around you. Accounts such as this allow us a window into the individual human impact of war that newspaper reportage does not. Johannes Lilleøre’s My Sick Friend (tr. Sharon E. Rhodes) read like prose poetry. I love the way it plays with time: we move through a life, and then once illness strikes, time slows down. The taut, matter-of-fact sentences, with their seemingly throwaway observations and details, evoke not just the immediacy created by bodily illness and suffering, but also convey the pain and helplessness of the narrator. Kate Tsurkan’s interview with Zenia Tompkins discusses so many vital questions, for example: what responsibility do we children of the diaspora have to our homelands? How much is our image of homeland shaped by the trauma of our parents and grandparents?

—Amaryllis Gacioppo, Newsletter Editor

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Land / Water: A Chronicle of Vietnamese as a Diasporic Condition

There can be no firm diasporic life. Only affirmation of the un-firm: the resolution of irresolution between one home and another.

The journey that a language takes to arrive at us is often unimaginably intricate, with all the marks of history, people, and land upon it. In the following essay, gorgeous with lyricism and intimate with the facts and ideas of past and present, Maya Nguen takes us through the emotional and physical cartography of Vietnam and its language, and how such structures reverberate against the ever-mutable definitions of identity, personhood, and home.

In the beginning is a creation myth.
Âu Cơ meets Lạc Long Quân where mountain meets sea.
They form a bond and Âu Cơ bears an egg sac with a hundred children.
At the core of their bond with one another is another bond of one with the mountain and the other with the sea. So it came to be that fifty children followed Âu Cơ for the mountain whence she came and fifty followed Lạc Long Quân for the sea whence he came. And as Âu Cơ calls for land and Lạc Long Quân calls for water their children come to call a country
land  water
đất   nước ¹
where land begins at the edge of the water that starts at the end of the land: is a shore that holds the country in the crossing between one word and another: between 越南 & Indochine Française & Việt Nam & Vietnam
the Vietnamese language emerges at the border
thoroughly other & utterly ones own
& defined by a border endures
Diasporic
& Pure

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In prehistory: Austroasiatic tribes living in the Red River Delta (today’s Northern Vietnam) speak a Proto-Viet language belonging to the Mon-Khmer language family.

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Beginning in 111 BC: Colonization by the Chinese empire for eleven centuries to follow. Classical Chinese is imposed as the written language of the government elite, forming the basis of politics, science, and literature. Proto-Viet continues to be spoken, and its speech, to be influenced by Classical Chinese.

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Beginning in the tenth century: Independence from the Chinese won by King Ngô Quyền at the shores of Bạch Đằng River. After a millennium of foreign occupation without a formal writing system of its own, independent Vietnam continues as before: with Classical Chinese at its helm.

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Beginning in the thirteenth century: A vernacular written script called Chữ Nôm (lit. “southern characters”) is developed on the basis of Classical Chinese to record Vietnamese folk music and poetry. Considered as the pillar of Vietnamese literature, Truyện Kiều (Tale of Kieu) by Nguyễn Du is written in Chữ Nôm. For this script, Chinese characters are naturalized to fit the Vietnamese spoken language, which itself includes Chinese words naturalized into Vietnamese. “Southern characters” in Chữ Nôm: 𡨸喃. “Southern characters” in Classical Chinese: 字南𡨸喃 is taught in reference to 字南𡨸喃 exists alongside 字南: forming a pillar: a porous border. READ MORE…

Two Failed Rappers Translating a Garifuna Wordsmith: An Interview with Urayoán Noel

I guess since I wrote a book about the Nuyorican poets, I have to think of myself as a teorista del flow—a theorist of flow.

Urayoán Noel has translated Garifuna poet Wingston González. I have too. His translation was for Ugly Duckling Presse (UDP). Mine was for Asymptote and Simon Fraser University. He grew up in a Spanish-language environment, yet speaking English. I did too, sort of. He’s a poet. I tried to be one. He’s puertorriqueño. I’m guatemalteco. He’s got a Ph.D. Yo no. We both like hip-hop. The three of us—Wingston included. I knew Urayoán because of Los días porosos, a book of poetry he put out with the Guatemalan press Catafixia. I remember liking the cover, and being blown away by his use of Spanglish—this was a time when I had only seen this kind of linguistic duality in the lyrics of musical acts such as Cypress Hill and Rage Against the Machine.

I knew Urayoán because of his poetry. He knew of me because I sent him an email saying that I had read his translation of Wingston’s poems, entitled No Budu Please, for UDP and that I wanted to interview him.

I thought it’d be interesting to match up two translators who had worked with the same poet. See if our process and approach were alike. Admittedly, I wanted to know if, in any way, Wingston’s electricity had affected us similarly.

I wanted a duel. Perhaps a rap battle. READ MORE…

Dispatch from Boundless 2017: A Festival of Diverse Writers

"We are the Other with a capital 'O'; we are the back corner of the book shop; we are the addition, we are the afterthought."

It is difficult to convey just how excited I was when I learned that a festival devoted to Indigenous and culturally diverse Australian writers would be taking place this year. I immediately blocked off the date in my calendar, eagerly followed announcements of the festival’s lineup and official program, and counted down the days. On the long-awaited morning, I cheerfully thanked my spouse in advance for minding our toddler, clambered into my car, and sped off to the western suburbs of Sydney to have my mind blown by the incredible experience that would be Boundless 2017.

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In Review: The Sound of the One Hand: 281 Zen Koans with Answers

“Our Greater I”: Teachings of Zen unity for divisive times

For many around the world, 2016 was a turbulent year of political and social unrest that brought into the limelight issues of rampant nationalism and ethnocentrism: the refugee crisis, Brexit, the “alt-right” white supremacist and nationalist movement in the US, and the election of Donald Trump are just a handful of examples. The hierarchies of difference and the rhetoric of divisiveness that give power to these issues reflect the danger of an I-versus-the-world dialectic that insists the lives of the citizens of one nation[1] are more important the lives of another. Against the divisiveness of these times, the re-issue of Yoel Hoffman’s The Sound of the One Hand: 281 Zen Koans with Answers provides a breath of fresh air with poetic teachings from Zen masters on the universal one-ness of all existence.

While it may sound like a paradox, the sound of the one hand in fact illustrates the Zen notion of a universal one-ness that stands against divisions of any sort, be they nationalist, linguistic, ethnic, gendered, racial, or other. Resistance to the idea that the self is separate from the other, that the individual is separate from the world, rests at the core of Zen Buddhist philosophies. As Dror Burstein explains in his introduction, the individual in Zen is nestled in a network of interconnected actions, reactions, and processes. The individual in such an existential view resembles what the twentieth-century Zen master Shunryu Suzuki called a “revolving door,” where inner and outer, the internal world and the external, are at all times connected. An understanding of the self in such a way, Burstein suggests, “can define our more expansive self, our ‘greater I,’ as opposed to the “I” circumscribed by our national, social, professional, and ethnic identities”.

The koan, or riddle, from which the book takes its title is a lesson in universal harmony. It begins with an exchange between master and pupil when the master demands, “In clapping both hands a sound is heard; what is the sound of the one hand?” According to the Inzan school, the correct answer is, “The pupil faces his master, takes a correct posture, and without a word, thrusts one hand forward”. Various Zen schools follow this same discourse, but for the Takujū school, the pupil’s answer may be “The sky is the one hand, the earth is the one hand; man, woman, you, me are the one hand; grass, trees, cows, horses are the one hand; everything, all things are the one hand”. Both the insistence of the non-verbal one hand thrust forward and the eloquence of the voiced response embrace the same notion of universal connectivity and one-ness. The one hand thrust forward represents the essence of all hands, one being no better and no less than any other hand, so that the sound of the one hand is also the sound of every hand. The hand’s representativeness of a universal hand-ness is akin to the cosmopolitan spirit of humanist universalism while also upholding diversity through the uniqueness of the one hand.

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