Issue 11

The Man Who Was Killed

By LUAY HAMZA ABBAS
Translated by YASMEEN HANOOSH

There once was a man who left his home every morning at about six or six-thirty after shaving his face. He sprinkled heavy golden droplets of cologne onto his palm and then patted his cheeks. His cheeks tingled, and he experienced the subtle scent of lemon. The sting and aroma made him feel as if he were passing by a fruit orchard whose scent was dispelled in the air. Next, he put on a clean pair of shoes, one that he had polished as the final chore of the previous day, just before going to bed. He quietly stepped out of the house. In wintertime he encountered the first beams of the rising sun. In summertime, everything was lit already. He picked up a pebble from the sidewalk nearby. He used to choose one carefully, scooping up and inspecting a handful until one special pebble called out to him and his heart was pleased with it. Now he automatically put a pebble in the pocket of his pants, feeling it from time to time. The mute texture gave him comfort, and the solid roundness made him feel that he was carrying something unique and precious, something whose value was not diminished by the fact that it was picked up from the sidewalk.

Megan DoThe Man Who Was Killed
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Issue 11 Art

A compilation of the Visual Art from Issue 11.

Metallic face sculptures

All What Will Remain. Photography. Bahaa Souki.

CollageToy Men—Plastic Women. Mixed media on wood, 84 x 69 cm, 2012. Bahaa Souki.

Collage

Decision Keeper. Mixed media on canvas, 100 x 100 cm, 2014. Bahaa Souki.

Painting-- man walking a dog

One Arm Man With His Dog. Oil on cotton paper, 95 x 68 cm, 2015. Bahaa Souki.

Two people holding one another

Home, Part 1. Photography, 105 x 70 cm, 2013. Ons Ghimagi.

Two people sitting back to back

Home, Part 2. Photography, 105 x 70 cm, 2013. Ons Ghimagi.

Woman sitting against a wall on the phone

In the Mood for Love. Photography, 105 x 70 cm, 2013. Ons Ghimagi.

Sculpture of a figure010. Oil on canvas, 100 x 120 cm, 2004. Bader Mahasneh.

Figure sitting017. Archival print of 3 editions, 90 x 90 cm, 2010. Bader Mahasneh.

Painting TamimiUntitled. Acrylic on canvas, 175 x 95 cm, 2015.

Painting of three figures under an umbrella

Untitled. Acrylic on canvas, 80 x 80 cm, 2015.

Figure in red

Untitled. Acrylic on canvas, 80 x 80 cm, 2015.

Collage of children and birds

Child’s Message (1). Mixed media on canvas, 100 x 100 cm, 2014.

Collage of child angels over building

Cold Breezes. Mixed media on canvas, 100 x 100 cm, 2012.

Collage of children and buildings

Dialogue. Mixed media on canvas, 200 x 100 cm, 2015.

Photograph of dancers

The Original Fall. Photography. Bahaa Souki.

Julia PikeIssue 11 Art
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A Space for Dreaming

By M. LYNX QUALEY

Scholars of Arabic literature were, for a time, obsessed with naming a “first” Arabic novel to stand at the head of an apparently new literary tradition. Was it M. H. Haykal’s 1914 Zaynab? Was it one of the many novels that were serialized in popular magazines that sprouted up in Egypt, Syria, and Lebanon in the late 1800s and early 1900s? Or perhaps Ahmad Faris al-Shidyaq’s peripatetic, language-glorifying Leg Over Leg (1855)? Never mind that al-Shidyaq mocked the obsessions of European writing.

Willa JarnaginA Space for Dreaming
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Four Very Short Stories

By KHALED SAMEH

The Guard of Darkness
In the dark depths of this pit, I try to touch the light seeping in through the cracks. My hands clasp nothing but dust, while the silence carries its nightly promise of my everlasting confinement.

On the very first night, one thousand years ago, or… wait, why do we always begin our stories with the first night? There is absolutely no difference between what happened in that distant time and what is happening now. The same columns of men march beneath the sun’s rays in the afternoon’s scorching heat, the same tear-soaked supplications and hymns: “O God, make his grave a green pasture in the gardens of Paradise—don’t cast him into a burning pit of hell.” “O God, grant him a better spouse than the one he has, a better home, and better children.” “O God, forgive his sins and those of your faithful worshippers.”

Test EditorFour Very Short Stories
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Burdens

By MOHAMMAD RABIE

Translated by MOHAMED EL-SAWI HASSAN

It was the first of February 1957, and in the entrance of Prince Abdul Munem’s palace, a young officer stood facing the prince. With the usual sternness, the officer told the prince that he must leave the palace immediately.¹ Without saying a word, the prince went back inside and came out carrying a suitcase. He smiled at the officer and walked toward the southern wall of the palace.

At first the officer was astounded by this, as there was only one entrance to the palace and it was located in the northern wall. His amazement only grew as he watched the prince open the door of a room built against the southern wall and step inside it. Thinking he must have been duped and that his assignment had not been successfully completed, the officer went into the room and yelled furiously at the prince, threatening to use force to get him out of the palace. But the prince claimed that because the room was not part of the palace and he did not actually own it, he was still allowed to stay and live in it. He told the officer that his father had given the little room away a long time ago. He also informed him that Sheikh Abu Annoor was buried inside. He pointed to a structure in the middle of the room covered with a thin rug. “Don’t you see the tomb?” he asked. He then whirled his forefinger around in the air, pointing around the room, and asked the officer: “Would you really nationalize a shrine?”

Willa JarnaginBurdens
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A Thousand and One Pebbles

By YOUSSEF RAKHA

April 5, 2016

On his last visit to Cairo, the German translator Hartmut Fähndrich was despondent about the lack of interest in contemporary Arabic writing, and he offered this interesting explanation of Western reluctance to engage with Arabic literature: “I think [readers] fear that it will destroy The Thousand and One Nights image they have in their minds.” One might argue about the number of potential German book buyers who have the timeless classic lodged in their minds, but even those who do need not worry. No one writing today could possibly live up to the lack of sophistication, unadorned sensuality, and aimless fantasizing found in The Thousand and One Nights.

Willa JarnaginA Thousand and One Pebbles
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The Abandoned Village

By HASSAN BLASIM

Translated by JONATHAN WRIGHT

“Wait here. We’ll get in touch with you later. Don’t go beyond the confines of the village.”

The village seemed to have been abandoned, although there were still goats roaming here and there. I didn’t know how long I would have to wait. To pass the time I wandered in and out of the abandoned houses. I felt tired, but I wasn’t sure whether sleeping had a place in my new life. I went up on the roof of one of the houses and looked out over the neighborhood. The smoke of battle was rising from the nearby towns, and two military helicopters were skimming along the horizon. Fields of cotton surrounded the village on all sides. I had never before had a chance to see cotton flowers. Or maybe I’d seen them in documentaries and other films; I don’t exactly remember. I had spent my life working in a bakery, then as a taxi driver, and finally as a prison guard. When the revolution broke out, I joined the resistance. I fought to my last breath. The cotton flowers looked like snowflakes, but they would have had to be artificial or else the fierce rays of the sun would have melted them all.

Willa JarnaginThe Abandoned Village
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Vermilion Daze

By ESTABRAQ AHMAD
Translated by SAWAD HUSSAIN

In your stained dishdasha, drooping collar, and sneakers with grimy laces, you stand waiting. You see him poring over a faded paper, its lines glowing red with numbers and scribbles. The paper yells: Overdue payment!

Staggered, the grocer asks, “When did you come?”

“A few minutes ago.”

“I didn’t notice.”

“Well, now that you have, cough up your rent.”

Willa JarnaginVermilion Daze
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Au Revoir Akka

By ALA HLEHEL

Translated by ALICE GUTHRIE

 

The Second Battle
March 26
The women were weirdly dressed: short, revealing, feminine dresses over naval uniform trousers. An attractive French woman was topless, her lower half crammed into a pair of tight military trousers, while some of the soldiers living it up down in the belly of the ship were wearing women’s silk negligees, once bright white but now so heavily stained with vomit, urine, and semen that they were closer to dark grey. On board the Josephine—over the many days of her voyage so far—a professional, serious, and accurate reenactment of some of Sodom and Gomorrah’s wildest days had been performed. Thus the Josephine rocked heavily on the surface of the sea, her cargo consisting of dozens of woozy French women and dozens of French soldiers who were “guarding them,” while the port of Saint Jean d’Acre blinked on the distant horizon.

Isabel MeyersAu Revoir Akka
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