Perm Man Who Earlier Avoided Criminal Charges Due to Decriminalization of Domestic Violence Beats Mother to Death Takie Dela
August 3, 2017
A court in Perm has sentenced a 38-year-old man to ten years in prison for beating his mother to death. The old-age pensioner had complained to the police on several occasions that he was beating her, but law enforcement agencies were unable to defend, according to the prosecutor’s statement, as reported by Rifei TV.
Police investigators determined that the man, who was unemployed, had repeated beaten up his elderly mother to take money from her. During a quarrel over two thousand rubles remaining from the woman’s pension, her son beat her to death.
As reported by the TV channel, citing information that had come to light during the investigation, the pensioner had asked the district police precinct for protection from her son. A month before her death, she had gone to hospital due to injuries caused by her son. The police, however, did not qualify his actions as criminal.
Anton Abitov, assistant prosecutor in the Industrial District, said criminal charges of negligence had been filed.
“If the case does go to court, it will not be one or two people who will stand trial, but probably the district commissioner and someone from the police top brass,” Abitov explained
In turn, the police explained that they had gone to speak with the woman every time she had complained and questioned her. After one such inspection, the son was charged with battery, but the case was dropped because the law decriminalizing domestic violence entered into force.
“In one instance, the files from the inspection were sent to a justice of the peace to make a decision on the merits, while Police Investigative Department No. 2 of Russian Interior Ministry’s Perm office filed charges under Article 116 (“Battery”) of the Russian Federal Criminal Code. The justice of the peace ruled that criminal prosecution of the victim’s son be ceased due to the entry into force of Federal Law No. 8-FZ, dated February 7, 2017, “On Amendments to Russian Federal Criminal Code Article 116,” the Interior Ministry wrote in a press release.
On February 7, Russian President Vladimir Putin signed a law decriminalizing battery within families. The law makes battery against family members an administrative offense.
In May, an Ufa man beat his 68-year-old adoptive mother to death. The disabled woman had repeatedly complained to police about the assaults, but she had been ignored.
At the same time as he has been getting ready for the anti-corruption protests, Navalny has been opening election campaign headquarters in different cities. These events have also been subject violent attacks. In Barnaul, Navalny was doused with Brilliant Green antiseptic (zelyonka). In Petersburg, the door of his headquarters was set on fire. In Volgograd, Navalny was dragged by his feet and nearly beaten.
Not Only Navalny: Crackdowns on Freedom of Assembly
Long-haul truckers have planned a nationwide strike for March 27. Around twelve people were detained during a meeting of truckers in Vladivostok. Police claimed they had received intelligence on a meeting of mafia leaders. In Krasnodar Territory, an activist got three days of arrest in jail for handing out leaflets about the upcoming strike.
Moscow City Court ruled that meetings of lawmakers with their constituents should be regarded as the equivalent of protest rallies.
The Constitutional Court ruled the police can detain a solo picketer only if it is impossible to ensure security. The very next day, two solo picketers bearing placards on which Vyacheslav Makarov, speaker of the St. Petersburg Legislative Assembly, was depicted as a demon were detained by police.
Criminal Prosecutions and Other Forms of Coercion
Sergei Mokhnatkin, whose spine was broken in prison, was sentenced to two years in a maximum security penal colony for, allegedly, striking a Federal Penitentiary Service officer.
As for talk of a new Thaw, two Ufa residents, accused of involvement in Hizb ut-Tahrir, had their suspended sentences changed to four years in a penal colony.
In Stavropol, Kirill Bobro, head of the local branch of Youth Yabloko, was jailed for two months, accused of narcotics possession. Bobro himself claims police planted the drugs on him.
A graduate student at Moscow State University was detained and beaten for flying a Ukrainian flag from the window of his dormitory. In addition, he was forced to sign a paper stating he agreed to be an FSB informant. Ukrainian journalist Roman Tsymbalyuk was detained while trying to interview the graduate student.
What to Read
LGBT activist Dmitry Samoilenko describes how he has been persecuted in Kamchatka for a brochure about the history of gender identity in the Far North. Activist Rafis Kashapov, an activist with the Tatar Social Center, who was convicted for posts on the social networks, sent us a letter about life in a prison hospital.
The Week Ahead (March 26—April 1)
Closing arguments are scheduled for March 27 in the trial of Bolotnaya Square defendant Maxim Panfilov, who has been declared mentally incompetent. Prosecutors will apparently ask the judge to sentence him to compulsory hospitalization.
On March 29, an appeals court is expected to hear the appeal against the verdict of Alexander Belov (Potkin), co-chair of the Russians Ethnopolitical Movement.
Thanks for Your Attention
We continue to raise money for our monitoring group, which collects information on political persecution and takes calls about detentions at protest rallies. Thanks to all of you who have already supported us. You can now make monthly donations to OVD Info here.
The fantastic story of how a small Moscow monastery has contrived to sue the state and take over a huge wing of the Fisheries Research Institute forces us to take a closer look at at a church official who has long remained partly in the shadows, Mother Superior Ksenia (Chernega), abbess of the selfsame St. Alexius Convent that sued the state and, simulaneously, head of the Moscow Patriarchate’s legal department. Chernega is not entirely unknown to the public. She has often been quoted in official reports of restitution of large pieces of real estate to the Russian Orthodox Church (ROC). However, as holder of a “boring” post, she has not been particularly prominent in the public eye.
And that’s too bad. Chernega is not only one of the most influential women in the ROC (in 2013, she took fourth place in an internal church rating) but also a successful raider who skillfully manipulates clerics and laymen alike. The adjudged research institute, a huge building that incorporated part of the foundations and a wall of a demolished church, is the most striking but hardly the largest victory in her career. The 46-year-old Oksana Chernega (her name until 2009, a name she still uses in secular contexts) is probably the longest-serving staff member of the Moscow Patriarchate’s legal office. She has worked there since 1993, while also working in secular law schools, achieving professorial rank. She became a leading authority on church law in the early 2000s. Generations of politicians and MPs have come and gone, but Chernega has the whole time testified at hearings of the relevant parliamentary committees and governmental review boards, lobbying the laws the ROC has wanted passed.
Her main achievement has been the law, signed by President Medvedev in late 2010, “On the Transfer of Religious Assets in State or Municipal Ownership to Religious Organizations.” It is this law under which movable and immovable property has been transferred to the ROC the past six years. Yet the Church has behaved capriciously, taking only what looks good or has real value. The Perm Diocese is unlikely to restore to its former use the huge military institute that took over what used to be its seminary: there are catastrophically few people who want to go into the priesthood, and the poor diocese is incapable of maintaining the enormous premises. But how sweet it is to get a huge building on the river embankment in the city center as a freebie. Whatever you do with it you’re bound to make money.
But not everything has been had so smoothly. The property the ROC has set its sights on has owners, and they are capable of mounting a resistance. That is when Chernega takes the stage. When she announces the Church has set its sights on a piece of real estate, it is usually a bad sign. The day before yesterday, it was St. Isaac’s Cathedral, yesterday it was the Andronikov Monastery, today it is the Fisheries Research Institute. What will it be tomorrow? Anything whatsoever.
On the eve of March 8 [International Women’s Day] and amidst the debates on feminism in Russia, it would seem that Chernegas has pursued a successful, independent career as a woman in the Church. But it’s not as simple as all that.
It is well known in ecclesiastical circles that Chernega acts in tandem with a notable priest, Artemy Vladimirov. He is not only confessor at the St. Alexius Convent but is also well known throughout the Church. A graduate of Moscow State University’s philolology department and rector of All Saints Church (a neighbor of the convent and the reclaimed fisheries institute), Vladimirov is a glib preacher who specializes in denouncing fornication; he is, therefore, a member of the Patriarchal Council on Family and Motherhood. The council has become a haven for the Church’s choicest monarchistically inclined conservatives, including Dmitry Smirnov, who has led an aggressive campaign against Silver Rain radio station, Konstantin Malofeev, Igor Girkin‘s ex-boss and, concurrently, an expert on web-based pedophilia, and the wife of Vladimir Yakunin, former director of Russian Railways, a billionaire, and former KGB officer.
Vladimirov vigorously espouses monarchist views and has made a huge number of basically stupid public statements, such as the demand to remove a number of works by Chekhov and Bunin from the school curriculum and a call to campaign against Coca-Cola. Such radicalism is not rare in the ROC, however, Since the late 1990s and the publication of the novel Celibacy by church journalist Natalya Babasyan, Vladimirov has served as a clear example for many observant and quasi-observant Orthodox believers of where the line should be drawn in interactions between a priest and his flock, especially his young, female parishioners.
Because of this reputation, Vladimirov has remained in the background even during periods when the grouping of monarchists and Russian nationalists to which he has belonged has had the upper hand in the ROC. But if you can’t do something directly, you can do it indirectly, and Oksana Chernega has come in very handy in this case. As is typical of a young woman in the modern ROC, she is utterly dependent on her confessor. During the late 1980s and early 1990s, Orthodox fundamentalists and monarchist heterosexuals developed a curious lifestyle. Young and handsome, usually university grads with the gift of gab, and often married, many of them newly arrived in the Church, they formed small “communities” consisting of young women, communities with unclear or flexible status in terms of ecclesiastical law.
In theory, a convent is established by order of a bishop, and a married or elderly priest is appointed as the convent’s confessor. He does not live on the convent’s grounds and is present there during “working hours,” when he has to serve mass and take confession from the women who inhabit the convent. As part of the so-called Orthodox revival, a monk or a young priest who had “complicated” relations with his wife would first form a group of female “adorers” in the church, later organizing them into a “sisterhood” and then a “convent community,” which he would settle in a building reclaimed from local authorities, sometimes the site of a former convent, sometimes not. He would immediately take up residence there himself in order to “revive Orthodoxy” and denounce fornicators and homosexuals in the outside world. The record holder in this respect was Archimandrite Ambrosius (Yurasov) of the Ivanovo Diocese, who built a huge convent in Ivanovo, where he officially lived in the same house as the mother superior and yet never left the apartments of the rapturous Moscow women whom he had pushed to come live with him after they had bequeathed their dwellings to the convent.
For those who did not want to leave the capital even nominally, historical buildings in the city center were found. That, for example, was the story of the ultra-fundamentalist Abbot Kirill (Sakharov), who took over St. Nicholas Church on Bersenevka opposite the Kremlin. There, according to a correspondent of mine, “the Old Believer girls creatively accessorized their robes with manicures.” In Petersburg, the so-called Leushinskaya community, led by the main local monarchist Archpriest Gennady Belobolov, has been “restoring” a church townhouse for twenty years. However, the archpriest himself lives on site, while his wife raises their children somewhere else in town. It is a good arrangement for a young man from the provinces: come to the capital, occupy a large building in the city center under a plausible pretext, and shack up there with attractive and spiritually congenial sisters in the faith while putting on shows at press conferences stacked with selected reporters and confessing pious female sponsors who are thrilled by their pastor’s superficial strictness and inaccessibility.
So in this system of interwoven personal and political interests how could one not help out a dear friend? The affairs of the alliance between Vladimirov and Chernega, especially when it comes to dispensing other people’s property, are so broad and varied that observers sometimes wonder whether it isn’t time for police investigators to have a crack at them.
Where do you think the part of the church community sympathetic to Belovolov’s plight would want to transfer such a managerially gifted and cultured pastor, a pastor capable of creating a little museum and one who knows a thing or two about restoration? To St. Isaac’s Cathedral, of course, and the post of sexton, the chief steward of the church and its property. What would Chernega, who is coordinating the legal aspects of transferring such a huge chunk of public property, have to do with this? Formally, of course, nothing, and it isn’t a sure bet that the appointment will take place, just as it’s not a sure bet the ROC will get its hands on the entire cathedral.
On February 23, female feminists spoke out—finally!—in defense of men.
“We think the very idea of ‘defenders’ is one of the pillars of oppression, whether ethnic, gender or whatever other kind. From the time they are babies, men are inculcated with the notion that they must be defenders. Actually, however, they are merely taught to behave aggressively and completely suppress their emotions. And they grow up as people prone to exercise violence and control. They become cogs used by those in power, dogs who have been taught a single command: ‘attack.’
“We believe society must change, that a more humane society is a sign of progress. Armies and armed conflicts must become things of the past, like human sacrifice and the bonfires of the Inquisition. Like the first winged chimeras, which had been built but still could not fly.”
Female Workers at Urals Emerald Plant Complain of Abuse during Strip Searches URA.Ru
December 5, 2016
Employees of a well-known emerald extraction enterprise in Sverdlovsk Region believe they have been abused during strip searches. The women are forced to freeze while standing on a concrete floor and answer intimate questions, and in the future they have been threatened with searches in gynecological exam chairs.
Employees at the Malyshevskoye Field Emerald Extraction Plant, a separate division of Kaliningrad Amber Factory JSC, have complained of outrages on the part of security guards. Having failed to get justice from various authorities, the workforce has turned to journalists for help.
“We are prohibited from being in the toilet for more than ten minutes. When we ‘violate the rules,’ the security guards demand explanations for things about which we are sometimes ashamed and embarrassed to talk, given that we are women, and anything can happen,” female plant employees told URA.Ru.
For obvious reasons, they were afraid to give their names.
“We get the impression that the security guards, who are mostly men, are really interested in the juicy details,” they said.
However, the female employees consider so-called selective strip searches the most agonizing procedure, despite the fact they are conducted by female security guards. Female employees can be subjected to the procedure repeatedly over a single shift.
“Without giving any reason, the guards can remove any of us from our workplace and take us away for a strip search,” the women continued. “They happen in a shabby room with a concrete floor and a broken window that opens onto a room where male security guards are on duty. The guards force the women to strip naked and pat down their clothes for a long time without wearing gloves. The whole time we arestanding barefoot on a rag on the icy floor. The temperature in the room cannot be higher than fifteen degrees Celsius. Any questions and objections on our part are met with blatant rudeness. They say straight to our faces, “Shut up! You’re all potential thieves and recidivists, and an emerald buyer is waiting for each of you outside the plant.’ The guards make dirty hints about where we might hide the stones. They have promised that, from the new year, we will be examined daily in a gynecological chair. Allegedly, the chair has been ordered. After this humiliating procedure, one of the gals felt sick and had to be taken away in an ambulance.”
The harassment has mainly affected mineworkers on the picking belt, where only women are employed. The guards behave respectfully towards the male mineworkers, although they too are subjected to frequent strip searches and blatant remarks about where they might be hiding emeralds. This happens despite the fact that all employees at the plant work under the watchful eye of numerous surveillance cameras and security guards, and wear special uniforms whose pockets have been sewn shut.
“Not all the guards are like this. There are also guards who are tactful and treat us politely,” the women continued. “But then there are those who come to work with one thing in mind: to choose a victim and bully her all day. The security company [that provides the guards] is supervised by the plant’s security department. They give the orders to the guards. Their attitude towards us is like that of the Gestapo.”
According to employees, the bullying and humiliation at the emerald field started late last year, when a new director, Yevgeny Vasilyevsky, took over. It was Vasilyevsky who established the security department, which signed a contract with the security firm Rostec Protection. Over the following year, the plant stopped providing workers with gloves and soap, but surveillance was beefed up. The mineworkers were subjected to strip searches for scratching their nose or adjusting their kerchiefs. Curiously, for no apparent reason, the security personnel themselves sometimes approach the conveyor belt on which the emeralds are washed. The female workers managed to capture one such incident on video.
“We have conducted strip searches since 2006, and it goes without saying that everything has been approved by various official organizations,” explained Sergei Babushkin, head of custodial services and economic security at the plant. “The strip search is the same for everyone. Even the plant director goes through it after he has been down in the mineshaft, and no one has complained except for one shift. Three female employees on that shift were detained while attempting to take crystals out of the plant. The employees on that shift ometimes violate the rules. After they have taken a stone from the conveyor belt and put it in a cup, they are obliged to raise their hands and show the camera they are empty. They fail to do this sometimes, and after several verbal warnings we are forced to take them to the search room. Before the new management was installed, private security firms worked at the plant for a long time. Guards and employees mixed, and raw gems were taken from the plant. Now we have put an end to the thefts and hired inhouse security. The business about the gynecological chair is not true. We are a state enterprise, and we have more serious needs.”
Specialists will have to put the complicated matter to a rest. The woman have sent written appeals to the Office of the Human Rights Commissioner and the State Labor Inspectorate for Sverdlovsk Region. Both agencies confirmed they have received the complaints, and assured us that measures would be taken to arbitrate the conflict.
War in Translation: Giving Voice to the Women of Syria
Lina Mouzner Literary Hub
October 6, 2016
In the last few months, I’ve moved houses no less than 35 times.
I have been threatened, beaten, strip-searched, thrown in prison, tortured and made to watch as my mother knelt weeping at the dirty feet of tribal leaders to beg for any information about my kidnapped father. I have waited at countless checkpoints, praying that no one finds the bread, the money, the schoolbooks, the chocolates I have hidden in my bag, on my body, trying to smuggle them through to people on the other side. I have buried seven husbands, three fiancés, fifteen sons and a two-week old daughter I finally agreed to have at 42 for my husband’s sake, to bring life back to his tongue after we laid our two grown, handsome sons to rest, one after the other, and grief took all his words away. Our daughter did not die because of a bullet or mortar shell or carbomb, like my father, sister, brother, cousin, mother, neighbor, pharmacist, teacher. She died because the siege had cut off not only our food and electricity, but also our medicine and medical supplies. There were no child-size incubators to be found in our city. My husband rushed her slowly asphyxiating body from one hospital to another until he finally found one in the next town over. He left her with the nurses there and came home at dawn, exhausted but joyful in his relief. In the afternoon he went back to bring her home, and was led away from the small pediatric ward and down to the morgue, where her perfect blue body lay among countless others they had not yet found place enough to bury. Her name was Fatma.
In the last few months, I have watched my city, Maarrat al-Numan, burn, I have watched my city, Raqqa, burn, I have fled Aleppo from the increased fanaticism of the rebels, I have fled Aleppo from the chokehold of the regime, I have fled Aleppo to Turkey, I have fled Aleppo to Lebanon, I have fled Aleppo not knowing if I will ever return, or what I might find if I do.
All this I have watched from my living room in Beirut. Sitting on a worn gray couch with earplugs in, trying to block out the sounds of sheering metal from the construction site right under my window as I translate stories from Arabic to English for the Damascus Bureau, an under-project of the Institute for War and Peace Reporting.
I was tasked with translating mostly those dispatches sent in by women, first-person accounts of life under siege and war, written for the “women’s blog” section. Though they are as far from our understanding of “women’s blog” in marketing terms as Raqqa now is from Beirut, the degradation and exhaustion of waiting at borders and checkpoints factored into the physical distance.
The women, the writers, range in age from their teens to their sixties and seventies, come from all walks of life, all parts of Syria. They are teachers, activists, seamstresses, farmers, doctors, volunteer paramedics, housewives, writers, aspiring writers, students and revolutionaries.
My body vibrating, whether to the shattering of an earth drill or to the tension of what I read, I have witnessed them march in the streets calling for change, bury loved ones, resuscitate strangers, defy soldiers and snipers, wait in breadlines, pack their whole lives into vans and cars, undergo daily humiliation at checkpoints on their way to and from work, to and from university, which they have refused to leave or discontinue.
To witness, however, feels too passive a word. It is an action that is at its heart, inaction. Their writing is filled with crossings; they are constantly traversing borders both visible and invisible, and it makes me think about the one between these two languages, Arabic and English, each a landscape unto itself. I am also hoping that what I am allowed to smuggle through will survive the journey.
In Arabic, the root of the verb, to witness, is sh-h-d. Roots are important in Arabic. They are present, that is, known and recognizable, not obscure etymologies but immediate and close, giving life directly to all the words that bud and branch from them. From the three-letter root verb, you make the subject and the object, but also adjectives, adverbs and a whole host of other, more complex verbs, subjects and objects related to the first. Even these words—subject, verb, object—are more directly related in Arabic. Translated literally, the subject is the doer, the verb is the doing, the object the one it is done to. In English, a writer writes a book; a letter. In Arabic, al-katib yaktubu kitab; maktoob. All from the root k-t-b, to write.
From “to witness,” we get shahed, the one who witnesses; mashhad, the spectacle or the scene, but also shaheed, martyr; istishhad, to be martyred, to die for a cause.
As if the act of bearing witness, followed to the end of one of its branches, snaps under the weight of what is seen, and you fall to your death. As if to die for a cause in Arabic is to bear witness to something until it annihilates the self.
For the last few nights I have been glued to the news, unable to turn it off. Following the progress of the Kurdish forces as they fight the ISIS militants out of Kobane. Over coffees and drinks with friends in our local watering hole in Beirut, we go over headlines, possibilities, projections, trying to keep the quaver of hope out of our voices and words. Unable to allow ourselves to truly believe anymore, after all that we have lived and seen, that a people might be allowed to bear their fates in their own hands without outside interference bending the situation in favor of the hegemonic political agenda. And then it is confirmed: the battle has been won in our favor. The enemy has been driven out of our town. The town council invites us back to reclaim our homes. Immediately I pile into a bus with my mother and sisters for the long journey back to our village, singing and ululating all the way. All I can think of is my journal, with all the poems I have written over the years. Left behind in the rush to leave, I have mourned it every day since, cursing myself for forgetting it. We climb the hill together, a key buried in my mother’s pocket, that never once left my mother’s pocket, flying the last half kilometer over jagged rocks and dried clumps of earth that were once orchards and fields. I see my mother pull out the key, ready to open the door, only to find a pile of rubble where our house once was. My clothes my journal my needlework our photos shards of our treasured blue cups ground into the dirt. Everything everything gone.
I let out a sob then, breathless with anguish, standing on a hill in Tell Maarouf in a living room in Beirut.
* * * *
To translate a text is to enter into the most intimate relationship with it possible. It is the translator’s body, almost more so than the translator’s mind, that is the vessel of transfer. The mind equates words, expressions, deals with techniques and logistics; it is within the body that the real alchemy—mysterious, unnamed and inexplicable—takes place. That alchemy has to do with truth more than signification, that is, the animating force behind signification, which transforms it into meaning, into something that moves. Gayarti Spivak qualifies the act of translation as “erotic,” but there is something too gentle about that word to ring true for me. The word captures the act of surrender, and the abundantly physical communion with the text, but there is something messier and bloodier that is elided. More agonized and agonizing too. There is a violence in undoing someone’s words and reconstituting them in a vocabulary foreign to them, a vocabulary of your own choosing. There is a violence, too, in the way you are—for long moments—annihilated by the other; undone in return. Neither the translator nor the text emerges from the act unscathed.
I cry a lot while doing this work. It isn’t something I can control. Every time I think I have become hardened to these stories, a moment, an expression, a detail will throw me off the scaffolding of language, away from the structural safety of its grammar and rules and headlong into the wilderness beyond. There is always something unexpected, unimagined, no matter how used to the narrative of loss and displacement and violence I think I have become.
When I first receive one of these texts and sit down to read it, I can see her, the writer, clearly in my mind’s eye. She gets on the mini-bus. She emerges from a taxi. She calls the neighbors, asking when they last saw her brother. I am aware that this first-person voice is hers, and of how it conjures her up as vividly as the images she shows me through her eyes. And then I sit down to work, taking in her words, her voice, anew. And two contradictory things become true at once: that despite the fact I am attempting to reproduce her words as faithfully as I can, they must now re-emerge in words unavoidably my own. And that because of the fact that I am attempting to reproduce her voice as faithfully as I can, it must now re-emerge in a voice unavoidably my own.
“I get on the mini-bus,” I write. “I emerge from the taxi,” and then it is I calling the neighbors, and I am nearly hysterical with worry as I wait for their response. In the considered, deliberate act of translation, these I’s bump up into one another again and again until they are accidentally shattered, the various pieces of these commingled selves becoming, for long moments, indistinguishable from one another. Afterward, trying to pick them up and separate them out, I am left with a thousand cuts I can feel every time I move or breathe. Afterward I realize that there is a shard I have failed to remove, that it has entered my eyes and become lodged there, cutting into my vision always, digging into the form and content of my memories.
Translation is not just about transposing words from one language to another. But transplanting a feeling, a way of seeing the world, from one vocabulary of experience to another. I think of the verb, to transplant. A seedling from soil to soil. But also an organ from body to body. The procedure must be as delicate, as cognizant of the original conditions of creation in order to nurture and ensure a continuation of life.
In Arabic, the word for the action of transplantation is zare’. Simply to plant. There is no prefix implying movement from one place to another, an in-built warning of possible rejection. There is only the thing itself, planted, as if the process of its life begins all at once in this new soil, this new body. I prefer this way of thinking about translated words, and the possibility of their finding life. But the conditions of growth, for growth, remain the same. There are still no guarantees that anything will take root, or that the new body will not reject the new organ for being foreign.
* * * *
When my family and I washed up in Canada, carried out on the great wave of migration away from the civil war in Beirut, I found that I could no longer unlock the trunk in which I carried the words to explain where I had come from, what I had lived. When I did manage to force it open, what I found inside was soggy, useless. The words were all in another language, non-native to this new soil. I translated them as best as I could. Qazeefeh became shell. Msalaheen became militiamen, gunmen. Hajez became checkpoint. Malja’ became shelter. But the new words were strangely light. They carried none of the weight of what they truly meant. Qazeefeh was piercing and hot, abject terror, near-misses and direct hits. It was luck and unluck, it was what left the neighbor boy with melted clumps for hands and took away my grandmother’s hearing in one ear and what missed my father again and again as he crossed the border to Syria and back over four long years, on his way to the Canadian consulate, checking on the status of our visas. Msalaheen were those who held your life in their hands every time you passed through ahajez made of sandbags, militia flags and insignia fluttering above, the colors and shapes meaning the difference between friendly and unfriendly, sometimes life and death. Msalaheen scrutinized your papers and peered into the car with slitted, predatory eyes as you made yourself as small as possible, trying to pretend you couldn’t smell the stink of your parents’ fear. They were those who kept your neighborhood safe; those who made your neighborhood a target. Malja’ was long sleepless nights, the whole building crowded into one airless underground room, the dizzying smells of mold and other people’s bodies, listening to qazeefeh after qazeefeh fall all around you, the echoes booming in your chest as intimate and sure as heartbeat. But malja’ was also endless games of cards and forced sleepovers with friends caught at your place overnight, watching the way the old neighbor twitched as he snored and plotting to steal his dentures while he slept, your giggles luckily muffled by the sound of gunfire. Gunfire now the catch-all name for M16, Kalashnikov, 120, B7, Grad, Doshka, Katyusha, 155, Hawen; my skill in telling them apart by sound now rendered useless.
But once I had the words translated, I found that no one really wanted to hear them, be near them. They were light in English, yes, but also cumbersome and huge. Giant styrofoam shapes. When I carried them with me into the classroom or into the home of new friends, I had to struggle to fit them through the door. Their size dwarfed me, crowded me out; everyone stared. When I tried to put them down, they formed a barrier, setting me apart as so inconceivably other it became impossible to clamber over them, to find my way back to the world of school dances and mall outings, pop quizzes and notes passed back and forth about your crush this week.
In order to enter, then, to become one amongst the many individuals that made up my new world, I had to let go of that whole lexicon, repudiate it, as if it were a sort of shame.
For years I wrote stories about Jennies and Alexes and Melissas, about their suburban childhoods and private disappointments, about dreams and desires moved only by the eddies of a personal history, floating far above the undertow and tidal shifts of collective history. Trying to rewrite my past in an effort to not have to translate it.
I had become used to feeling light. I did not want my country hanging around my neck like a weight I must always carry; unable to take it off or put it down. I did not want to be buffeted about in the whirlpool resultant from the violent meeting of two currents, the personal and the historical, perpetually sucked down into the eye of the vortex along with the thousands upon thousands of other bodies carried there by the same riptide. And everyone around me drowning: how could I live with attempting to save myself alone?
It goes the other way, too. I remember how a student in one of my creative writing classes once handed in a story set in Beirut, about a college student like him pining over a girl who then rejected him in favor of another, richer and more muscular. A story he told us was based on personal experience. His characters were called Damien, Samantha and Brad. Not entirely unheard of here, but odd enough as a group to raise an eyebrow. While workshopping his story with the class, I asked him why he had not named them Salim or Dala or Bilal. His name, after all, was as Arab as they come.
“But Miss,” he replied, incredulous. “I’m not writing about war and bombs and tragedy. Why would I give them such names?”
* * * *
A bomb is a shocking experience. Even to one who feels they have become inured to it. Each heart-hollowing concussion is a redefinition of everything you ever thought you understood. It has nothing to do with fear. Fear is something you get used to, it becomes the new baseline from which your body operates. Quivering, animal, alert. You even come, in the dark malja’ of your consciousness, to accept the idea of your own death. But the breathless outrage of being reduced to utter insignificance—each bomb a punctuation of this idea—is not something you ever get used to. For it is not merely your interiority that is threatened with annihilation, but the entire surrounding world that grounds it in meaning. Parks, schools, streets, friends. Squares, alleys, journals, children. Rivers, parents, trees. Husbands, wives, orchards. Snatches of celebration and joy. Moments of silence and repose. The cat curled up on the garden wall. Stacks of old photographs, your grandmother standing ramrod-stiff for the cameraman in the first flush of her youth. The paintings carefully chosen and framed on the wall. The plants in powdered milk cans all in a row, their leaves tangled into one canopy. A brown egg on a blue plate one early morning. All the people, places and things of your life that you have stacked and shored up against nothingness, all flattened into a grainy, featureless landscape to the inhuman scope from above. All of them collateral damage.
English is the lingua franca of the media, and regardless of what I know of poetry or fiction, which has room enough to embrace foreignness, to break the audience-pleasing structure of introduction-crisis-resolution, I am aware always of the prevailing narrative of the media, because it is there that we, who are not of the predominant culture but who write in its language, who feel ourselves always implicated in two worlds, read about ourselves most. We know how language can be used to beat the rhythm of the war drum, mustering ranks upon ranks of public support. We know how language itself can wage war against us, by mimicking the same casual dehumanization of a bomb. Everyone you know and love: terrorists. Militants. Strategic targets. Collateral damage. The leveling of your neighborhood: an unfortunate mistake. The razing of your city: the birth pangs of a new Middle East. Seven dead, twenty wounded. Forty-one dead, ninety-three wounded. 1.2 million refugees. 2,000 migrants.
All the life squeezed out of them so that they fit into one headline. Sentences become coffins too small to contain all the multitudes of grief.
The trauma, recreated in words: countless particularities flattened and rubbled into one. In the mediatized narrative, your individuality, your personhood, is not a right you are granted by virtue of being human. To become a story worthy of unfolding in the small confines of the mass media, you must earn your individuality by lifting yourself up and out of collective circumstance, either by the exceptionalism of your life or the spectacle of your death. For the story to come to an end, you must serve the purpose of the story, not the other way around. As such, lessons are learned; resolutions are reached; audiences are comforted.
But there is no real resolution to the trauma of the collective. It lives on in all the stories you will ever tell from now on, in all the stories that will be passed down along the line of culture, even when they are about something else. It reshapes your vocabulary. It becomes part of your language. A barrel will no longer ever be a barrel again; shrapnel will always explode from it. The word mustard will forevermore carry a whiff of gas, rashing your skin, smarting your eyes. When you say Sabra, or Shatila, you are not referring to a place, but to a heap of dead bodies shot indiscriminately and tossed aside like worn rags. When you say the word catastrophe, no one need ever ask which one it is you mean. It is towns, cities in their entirety become past tense. These are things that can only ever be reproduced, retold, re-imagined, but never, never laid to rest or resolved. There is no end to the story, only the story.
When writing about war, I am often at a loss as to how to proceed. I want to make the writing as dissonant as I can, to recreate a sense of disruption, of an essential brokenness. I want to make the writing as unobtrusive as I can, to have it slip easily into the mind, mild-mannered and unassuming, before revealing that it has been wearing a vest of explosives all along. But these are theoretical questions, questions of technique, and ultimately ways of distancing myself somehow from a raw wound at the core that simply and only begs to be told, no matter how.
But told to whom? Who is the reader I’m addressing when I am writing in English? It is not my mother tongue, though I feel almost at home in it, though I love it as if it were my own. Like any language, I know it is a tool, as available to raw beauty as it is to hegemonic violence. And I know the only way to redeem it for all of us who it marginalizes is to fight our way out of those margins and insist on being part of the text. But my English is a war wound. It is a result of the roughshod amputation of my mother tongue. Because we were forced, or rather, allowed the privilege to flee at an age when I was first learning to use my voice on the page. But it is a wound from a war much older than that. Because even before we left, I read mostly in English, I was encouraged to read mostly in English, I was complimented on my English, I was told, in a thousand different ways, that it was superior to Arabic, more accomplished, more intelligent, more likely to be taken seriously. It has taken me a long time to allow myself permission to use it as I wish, to break it and retake it without the secret childhood hope that the highest compliment that should be paid to my writing is that I sound like a native speaker.
And I wonder, what is it that brings me to the page? What brings me back, again and again, to the war? To the site of that wound and the need to try and make sense of it through language? Is it the desire to know or the desire to be known?
* * * *
Now I am back inside my childhood, in the world of malja’ and qazeefeh and msalaheen. Stopping at hajez after hajez. Learning the names of the many hawajez that strike fear into the heart of the Syrians. The same way Hajez el Berbara was notorious among some Lebanese—spoken of like a dread portal with its own metaphysical logic, either allowing you through and past or swallowing you up and disappearing you—the Syrians have Hajez el Muqass, Hajez el-Conserwa, Hajez al-Khanaser and countless, countless others. These were once names of common places, squares or streets or bridges crossed without a second thought, now made otherworldly borders with that prelude. The word itself a portal into the uncanny.
I stop at these checkpoints every time with my heart carried in my mouth like contraband that might be dropped or crushed or lost at any moment, knowing I will pass through, because there is a story on the other side of that hajez, but not knowing in what shape; not knowing what distortions that portal might work upon my body.
I often wonder, while working, if I should add an asterisk, an explanation, context, use those translator’s tools at my disposal to broaden the world beyond the page. To drive home a certain urgency; to explain how everyday objects become sinister or meaningless or numinous during wartime.
Windows. Clocks. Mirrors.
A Note on the Translation: war changes the laws of physics, bending time and space to its will.
Sometimes I do add notes, small parenthetical asides that are no real elucidations at all, for words I am familiar with but whose permutations accumulate, and other, new words, their meaning created and destroyed in the same moment by the explosion of violence.
Hisbah, for example. Qualified as (ISIS religious police), other times as (ISIS morality police). Does the word strike the same fear in your heart as it does mine, reader; does it elicit the same disgust that such flesh-hungry men might dare invoke the name of God and his morals, the God I have spent my whole life serving in my heart and dressing modestly for? Does it ignite the same incandescent rage as I watch these blasphemers from Libya, Tunisia, Saudi Arabia, Lebanon, Egypt, Pakistan and sometimes Europe and America, snatch my revolution, my revolution from my hands and use it to whip my back? I, who was willing to alienate myself from my family to print pamphlets and distribute them, organize rallies and advise people on the best way to run from tear gas and live bullets, defying even the men in my cell who said that revolution is no place for women?
Shabbiha, for example. Sometimes left as is, but italicized, since they are so common to the landscape of the Syrian war, predating as they do the Syrian war. Sometimes qualified as (secret police), others as (regime thugs or collaborators). Have I described them well enough that you understand, reader, how they are a monstrous thing that haunts and shadows, even though I cannot explain the aural recall of the word shabah, ghost? How they are the hell-hounds of Bashar al-Assad, willing to rip your life apart for whatever scraps their master throws their way? How they are one of the reasons we revolted, and that shucking our fear of them to march in the streets with heads held high and sure was the first revolution we enacted upon ourselves?
When I tell you of how I smuggled in fancy chocolates and trendy shoes through the checkpoints at a risk to my life, are you disappointed in us for not being pristine in our victimhood, or must I add a note to explain how even in siege people might prioritize luxury over necessity to live as opposed to merely survive?
When you hear me exclaim, over and over, “Alhamdulillah!”—“Praise God!”—when I hear that my son or husband has been killed by a sniper or carbomb or left gutted on the side of the road by the shabbiha (though we now use the word martyred for all the war dead, including two-week old daughters who die because of a siege on medical supplies), do you think me so twisted into barbarism by my baffling religion that I might truly find joy in this news, or must I add a note to explain that submitting to God’s will is the only way I have not to go utterly mad with grief fighting it?
When I tell you how my nine-year-old cousin was martyred his first day fighting on the frontlines, do you think us monstrous to have let him go, or must I add a note to explain how we have come to accept that in war the desire to fight and its attendant risk of death is something that doesn’t respect childhood?
You understand at least that merely lifting my voice to tell you these things is an act of trust, of faith in your ability to understand. And that I, as a translator, must if nothing else respect and reproduce the faith inherent in those words. To excise my paranoia about the English-language reader’s judgment from all my work. In that way, I am learning too that even as I speak of death and destruction, my every word becomes a force shored up against them as soon as it is written
* * * *
Often I imagine these women one day waking up and realizing that this is it. The end of this chapter. One day they open their eyes after blinking away a sleepless night spent worrying over the future minutes, the future years, and decide that whatever gamble they will be taking to leave is better than the gamble of staying. And so, in the quiet dawn of a room, in the midnight roar of barrels falling from the sky, they pack up what they cannot imagine leaving behind. They gather their children close and call their husbands, they pick up elderly parents and arrange whatever bundles they have made, that they are able to make, tight. They leave in droves or as single families, they leave in worn-out slippers, in trendy, sparkling heels, on bare feet, leaning on canes, clutching infants to their breasts. They leave behind their houses, their streets, their cities, their countries, their dead. And they set off out into the unknown, carrying the memory of all that they leave behind in their hearts and on their tongues, even if they carry nothing else. These they will resurrect in stories, and these stories will be passed on, and so they will endure. This is what they carry, this is what they bear. They are bearing their witness.
And we who listen to their stories are also bearing witness. Carrying something whose significance cannot be described in language, but must nevertheless be contained within it.
A journalist friend tells me about being in Greece, reporting on the arrival of refugees in Lesvos, rising from the sea both resurrected and, like Lazarus, irrevocably transformed by death. On the backs of the trucks circling the town is the word “metaphoros.” A Greek acquaintance explains that this means transport, and she is struck by this, as I am too when she tells me about it. How going back to the roots of language can reveal something essential about a word’s purpose. How stories might be transformed and disguised to pass through the world more easily, but still smuggle with them the same truth. And how the perfect metaphor for the acts of reading and writing, and the witness you must bear to perform each, is translation, specifically its Latin root: to cross, to carry over. For they all require an active form of engagement that is at once, paradoxically, an active form of surrender. You must bear the words, no matter how heavy or foreign or grotesque or strange, you must bear them with their full weight and allow them to carry you where they will, carry you so far into yourself you finally emerge into an understanding beyond. Beyond the self, beyond language. A place where you might, for endless moments, imagine that you have become someone else entirely, and thus emerge transformed, bearing back with you into the world the knowledge that such a place exists, that such metamorphosis is possible. I am not entirely sure how one does this. There are no maps to these territories that lie beyond the borders of that which is explicitly voiced. But I do know that the only way to evaluate what must be carried over and how, what can be sacrificed or modified and what at all costs must not be lost, is to journey across that border
Translation is a symbiotic act. Between writer and translator, of course, but also between languages. In becoming its vessel, you carry over something of yourself but also something of the original language, because that is the way that language works. It is a communal heritage, but is also something entirely individual, entirely your own. And that is what gives it its transformative possibility: this inevitable commingling of self and other, of self and culture, of personal history and collective history. Language gives the individual the power and strength of the collective. And writing, speaking, telling stories—wielding language in narrative form—has the ability to transform the collective through the individual experience. To cross over from that which is felt, experienced, to that which is voiced—for the purpose of witness and being witnessed—is each and every time the declaration of a singular understanding of what it means to be alive in the world. This opens up new spaces, new imagined possibilities, and those, through language, become part of the collective heritage.
It is the best form of resistance I can imagine for a world scarred with forbidding, categorical borders. Between the self and other, between where you come from and where you end up, between the personal narrative and collective history, between genders and cultures and languages and countries and the similar calls for dignity and recognition contained in stories. The only way to make borders meaningless is to keep insisting on crossing them: like a refugee, without papers, without waiting to be given permission, without regard for what might be waiting on the other side. For when you cross a border, you are not only affirming its permeability, but also changing the landscape on both sides. You cross carrying what you can carry, you cross bearing your witness, you cross knowing that you are damageable, that you are mortal and finite, but that language is memory, and memory lives on.
Istishhad: to be martyred; to die for a cause.
It is an especially difficult word to translate, because it has been so marred by blood and violence, so disfigured by zealotry and malice. It is a word that has been ripped from its roots, those that connect it to something so emblematic of what it means to be human, to be driven always by the twin desires of wishing to know and wishing to be known.
Its root: sh-h-d, witness. In its most literal form, istishhad in fact means: to have been witnessed. Witnessed by God, who is nothing, symbolically, if not the omniscient reader—and writer—of the human condition. To be witnessed is what gives one’s life meaning; that is what gives death its cause.
* * * *
And yet, despite all this, there are times when I am wrung out. When I wonder if there can be any consolation in the exulting of our collective ability to use language to heal and bridge and repair in the face of such violent ruptures of meaning. What is the use of such abstract consolation in the face of the hard, physical realities of hunger, of fear, of being forced to flee home, of being unable to flee home, of being a teenage girl who goes down to the cellar to get her pyjamas and is then caught on the landing by a hail of sniper bullets as her father and I watch helplessly from above, unable to pull her out of harm’s way?
“In a few minutes,” she writes, “the bullets stopped falling and my father came down and carried me into the house. Two bullets had pierced my foot and I had shrapnel wounds all over my body. When I saw all the faces around me and all their falling tears, I tried to console them.
‘Don’t cry,’ I said. ‘I’m alive, alive, alive.’”
Lina Mounzer is a writer and translator living and working in Beirut. Her work has appeared in Bidoun, Warscapes, The Berlin Quarterly and Chimurenga, and her first short story was published as part of the anthology Hikayat: An Anthology of Lebanese Women’s Writing, published by Telegram Books. She has translated, from Arabic to English, short stories by Chaza Charafeddine and Mazen Maarouf and a novel by Hassan Daoud. Among other things, she is at work on her first novel.
I have it on good authority that today is International Translator’s Day. Since this blog consists mostly of things I’ve read in Russian and felt like sharing with you all in English, every day that I post something here is translator’s day to me.
But there are things that I get more pleasure from translating and thus dispatching back to the world of my native language. One of those things has been the unique graphic reportage work of Russian artist Victoria Lomasko. And over the past four or five years I’ve been translating Ms. Lomasko’s work, the piece that has touched me most has been “Feminine” (2013), which I’d like to reintroduce to you today in a slightly shinier version. TRR
“When I was young, I had a date lined up on every corner.”
In the series Feminine, all the characters are drawn from life, and their remarks are recorded verbatim. However, I have tried to move away from reportage and towards symbolism—to generalize specific situations in images that express my feelings and experiences.
The portraits here are not so much images of specific people as they are archetypes: the faded, lonely woman; the slutty boozer; the rigid old Soviet woman, etc.
“There are no factories in this town and no dudes.”
“He just couldn’t put on slippers and become a domesticated dude.”
Each drawing adds its own tint (of sadness, irony, and anger) to the overall picture—the life of women in the Russian provinces.
“I’ve been feeling slutty since December.”
I was born in Serpukhov, a town in the Moscow Region.
The women and girls I knew talked about men: acquaintances and strangers, exes, current husbands and boyfriends, future husbands and boyfriends. We believed that love would change the monotonous course of our lives.
“I’m not sloshed. I’m a saint.”
I had one other belief—in my calling as an artist. Only my dad, a self-taught artist, supported my plan to study in Moscow and then work as an artist. Believing the nonsense I was spouting was infectious and a hindrance to finding a husband, some of my girlfriends’ moms tried to force their daughters to spend less time with me. They were right: I’m still not married, and I don’t have any children.
“We’re used to the fellas paying for everything.”
I have lived in Moscow for over ten years. When I travel to the provinces, the scenes I see and the conversations I hear are familiar to me. Even divorced girlfriends sympathize with my “bitter plight.”
I became an artist, but I do not feel like a winner. In this country, their life strategies and mine are transformed into losses. I look at the “heroines” in Feminine and find a part of myself in all of them.
“Where can I get hold of a machine gun to kill Putin?”
Translated by the Russian Reader. Originally published by Chtodelat News. Victoria Lomasko’s book Other Russias will be published by n+1 in December.