‘Ere, or, Applied Culanthics

DSCN5744.jpg‘Ere, 2018. Graffiti found in Central Petersburg. Photo by the Russian Reader

This is a soundbite of champagne leftist culanthical research at its worst.

Monstrations are a symptom of a deep crisis of the pro-state nationalist and anti-state liberal discourses that reduce Russia’s complex political reality to two formulaic camps, obliterating space for democratic debate. Could there be an American monstration? One that resists Trump, but also refuses to explain away the phenomenon of Trump by referring to bigots and Russian agents? One that neither demonizes Russia nor justifies the actions of Putin’s regime?

Is Russia’s political reality really all that complex?

Why, if the US is filled with teenagers who can take the stage at a massive rally on the Mall in DC and make inspiring, cogent, coherent speeches, do we need the incoherent, politically feckless, thrift-store surrealism of the Novosibirsk Monstrations?

If we can either impeach Trump, pin him down with a crippling special investigation or, finally, simply fail to renominate or reelect him, why do we need to explain him away or even explain him at all?

What is the difference between Trump and “the phenomenon of Trump”?

If, nevertheless, well-paid, tenured academics force us to explain this “phenomenon,” why can’t we refer to bigots and Russian agents? Are they mere figments of our imagination?

Who does a better job of “demonizing” Russia?

People trying to explain away the phenomenon of Trump?

(By the way, why isn’t it “the Trump phenomenon”? Is “the phenomenon of Trump” more culanthically correct?)

Or are the true demonizers the Putin regime itself, a regime that has been quite demonstrably engaged in setting a new land speed record in sheer gangster nastiness at home and abroad at least since 2014, although we know they started much, much earlier (i.e., when Putin was deputy mayor of Petersburg in the early and mid nineties, and served as Mayor Anatoly Sobchak’s bag man and liaison with dicey “foreign investors” and local gangsters)? // TRR

P.S. The culanthics only go downhill from there.

The banners you see at monstrations state their theme obliquely. In the spring of 2014, when Russia annexed the Crimea, the slogan “Crimea is ours!” dominated pro-government media channels and billboards. The liberal opposition, conversely, stressed that the Crimea was illegally stolen. Meanwhile, monstrations sided with neither of these accounts. On May 1, 2014, the Novosibirsk monstration walked behind the banner “Hell is ours!”, a statement that iconically and ironically challenged the official slogan, but also refused the simplified version of the political events advanced by the liberal opposition. The march united young people with different political opinions, from those who saw the annexation as an isolated unlawful act to those who refused the liberal oppositional story and instead saw the Crimea in connection with other events, including the attempts of the extreme right and ultranationalist movements in Ukraine to hijack the popular Maidan revolution.

Such is the secret of the trendy “third position” in Russian and Russophile “anti-authoritarian leftism”: to side with nobody but other third positionists, to hover high above Moscow, Peterburg, Crimea, Donetsk, Aleppo, Eastern Ghouta or, in this case, the Berkley Hills like angels of history. God forbid the third positionists should ever do something so rash as actually organize a real anti-war movement explicitly and loudly opposed to the Kremlin’s predations in Ukraine, Syria, and elsewhere.

One, it would involve a lot of needless work.

Two, it could get the third positionists, otherwise accustomed to a heavy schedule of jetsetting from academic conference to art residency to speaking engagement, into a lot of hot water. They definitely do not want to go to prison for any reason, unlike those careless antifascists from Penza and Petersburg, about whom the third positionists mostly have nothing to say, unsurprisingly.

(Russian and Russophilic third positionism requires its adepts to refrain from criticizing Russia’s foreign and domestic policy catastrophes and crimes as much as humanly possible. People who, on the contrary, criticize the current Russian regime’s actions loudly and often are labeled “liberals” and “Russophobes,” the worst words imaginable in the third positionist vocabulary.)

Three, it would mean the third positioniks would have to give up their firmly held conviction, which they share with Vladimir Putin, Alexander Dugin, and Vyacheslav Surkov et al., that all the evil in the world originates solely in the United States and that, however hamfisted and controversial its actions, Russia has only been reacting to the miseries deliberately visited on it by American unilateral imperialism and neoliberalism.

Russophile leftists lap this spiked rhetorical gravy up like hound dogs who have not been fed for a week, so the invitations to appear at conferences and contempory art hootenanies, and contribute essays to “politicized” art mags and cutting-edge scholarly journals keep pouring in. After all, it is what really matters in life, not Syrian children, blasted to smithereens by Russian bombs, or hapless Crimean Tatars, rotting in Russian prisons because they are too stupid to know what is good for them.

Farouk Mardam-Bey: To “Leftist” Admirers of Assad’s Syria

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Farouk Mardam-Bey

To “Leftist” Admirers of Assad’s Syria
Farouk Mardam-Bey
Pulse
December 24, 2016

As a Syrian who has always identified politically with the left, I am particularly appalled by those men and women who call themselves left-wingers—and are therefore supposed to stand in solidarity with struggles for justice worldwide—and yet openly support the regime of the Assads, father and son, who are chiefly responsible for the Syrian disaster.

Following four months of intense bombardment by the Russian air force, Bashar Al-Assad’s army, along with Shiite militias hailing from everywhere and mobilized by the Iranian mullahs, have now finished “liberating” Eastern Aleppo. Liberated from whom? From its inhabitants. More than 250,000 inhabitants were forced to flee their own city to escape massacres, as had the people of Zabadani and Daraya before them, and as will many more Syrians if systematic social and sectarian “cleansing” continues in their country under the cover of a massive media disinformation campaign.

That in Syria itself wealthy residents of Aleppo, belonging to all religious sects, rejoice over having been rid of the “scum”—meaning the poor classes who populated Eastern Aleppo—is not surprising at all. We are accustomed to it: the arrogance of dominant classes is universal.

That Shiite mullahs stuck in another era celebrate the event as a great victory of the true believers over Umayyad disbelievers, or proclaim that Aleppo has been Shiite in the past and will turn Shiite again, can also be understood if one is familiar with their doctrine, as delirious as that of their Sunni counterparts.

Finally, that in the West politicians and opinion makers of the far right or the hard right reaffirm, loudly, their support for Assad is also quite natural. Such people have nothing but contempt for Arabs and Muslims, and they believe, today as ever, that these “tribes” must be led with a big stick.

But how could one fail to explode in anger when one reads statements in support of the regime of the Assads, father and son, issued by men and women who claim to stand on the left, and who should therefore sympathize with struggles for justice everywhere? How could one fail to become exasperated when one hears them praise the independence, secularism, progressive character, and even “socialism” of a lawless clan that took power in an army coup more than forty-five years ago and whose only concern is to keep exerting power forever? “Assad forever,” “Assad or nobody,” “Assad or we burn the country,” chant Assad’s partisans. And his “leftist” supporters nod approvingly under the pretext that there is no other choice: it’s either him or ISIS.

And yet the Syrians who rose in 2011 were the first to vigorously condemn the jihadi groups of all sorts and kinds, and in particular ISIS, that have infested their popular uprising after it was forced into militarization. Completely alien to the demands of liberty and dignity of the popular uprising, these jihadi groups focused their attacks principally on the vital forces of the opposition, whether civilian or military, and cracked down on the population in the areas that they managed to control. In so doing, they buttressed Assad’s propaganda inside Syria as well as internationally, allowing him to portray himself as a defender of religious minorities.

The same Syrians who rose in 2011 have moreover often expressed their distrust of those who have pretended, and continue to pretend, to represent them, and who proved to be incredibly incompetent. Hoping for a Western military intervention that was obviously never envisaged by the Obama administration, subservient to this or that neighboring country (Saudi Arabia, Qatar or Turkey), divided among themselves and non-existent on the ground, these self-proclaimed representatives were incapable of addressing the world with a coherent political discourse.

But neither jihadi intrusion nor the shortcomings of the self-proclaimed representatives of the Syrian revolution, nor any argument used to justify the unjustifiable, can invalidate two fundamental facts: that the Syrians had a thousand reasons to revolt, and that they did so with exceptional courage, under conditions of near-universal indifference, countering the ruling clan’s limitless terror, Iran’s imperial ambitions and, since September 2015, a US-approved Russian military intervention that has already killed several thousand civilians.

Is this “Syria of Assad”—where Iran and Russia act as they please, together as well as separately, and whose future now relies exclusively on their agreements and disagreements—independent and anti-imperialist? Let left-wing admirers of the Assad regime read the unconscionable treaty that it signed on August 26, 2015, granting Russia exorbitant privileges as well as complete and permanent immunity regarding all damages caused by its air force.

How can anyone seriously describe as “secular” a regime that, since its beginning and in order to perpetuate itself indefinitely, has striven to poison relations between religious communities, held Alawis and Christians hostage to its policies, presided over the contamination of Syrian society by the most obscurantist form of Salafism, and has manipulated all sorts of jihadists, and not only in Syria?

How “progressive” is it to promote the wildest type of capitalism, impoverishing and marginalizing millions of citizens who barely survive in the suburbs of the main cities? These impoverished Syrians were the main social component of the revolution, and they became the main target of the regime’s heavy artillery, barrel bombs and chemical weapons. “Kill them to the last” demanded the Shabbiha (Assad’s thugs) from the beginning of the uprising, so that the new “progressive” bourgeoisie could securely plunder the nation’s wealth and pile up billions of dollars in fiscal paradises!

If the above is not enough, one can also remind Assad’s “leftwing” supporters of the crimes against humanity perpetrated with complete impunity by Bashar’s father, Hafez, during his thirty years of autocratic rule. Two locations summarize them: the city of Hama, where over 20,000 people, possibly 30,000, were massacred in 1982, and the prison of Palmyra, the equivalent of an extermination camp where the jailers used to boast about turning the men they tortured into insects. It is this same impunity that some on the left alas want to extend to Bashar Al-Assad, the principal culprit responsible for the ongoing disaster with over ten million displaced, hundreds of thousands of dead, tens of thousands imprisoned facing torture and summary executions in jail.

Until the executioners are defeated and punished, Syria’s endless martyrdom risks foreshadowing many others in the world — a world from which Syria will have vanished.

Translated from the French by Joey Ayoub. Photo courtesy of Publishing Perspectives. Thanks to Danny Postel and the rest of the Pulse team for posting this article and their invaluable work in general. 

About Farouk Mardam-Bey

Farouk Mardam-Bey is a Syrian historian, author, and editor who has been living in exile in France since 1965. He was Head of Arabic at the library for the National Institute for Oriental Languages and Civilizations in Paris (1972-1986), an editor and then director of a French journal of Palestinian studies (1981-2008), and a consultant for the Arab World Institute (1989-2008). Since 1995, he has been director of the Sindbad series, part of the publishing house Actes Sud, which aims at translating Arabic works into French. His co-authored/edited books include the two-volume Itineraries from Paris to Jerusalem: France and the Arab-Israeli Conflict (1992-1993), Being Arab (2007), and Our France (2011). He has also edited and published a number of historical, political, literary and bibliographical texts and translated the works of the Palestinian poet Mahmoud Darwish into French.

Facebook Is Fun! (Islamophobia in Russia)

Théodore Géricault, The Raft of the Medusa, 1818-1819. Oil on canvas, 491 cm x 716 cm. Louvre Museum, Paris. Image courtesy of Wikipedia
Théodore Géricault, The Raft of the Medusa, 1818-1819. Oil on canvas, 491 cm x 716 cm. Louvre Museum, Paris. Image courtesy of Wikipedia

My memories of kindergarten are fairly fuzzy by now, but I do seem to recall we did a lot of sharing. This, I think, explains why the dark satanic mill known as Facebook has become so indispensable and popular in our modern world. Like kindergarten, it’s all about sharing.

For instance, this morning I was feeling fairly glum about the ongoing slaughter in Aleppo, the apparently total indifference my Russian friends (and “friends”) feel about the role their armed forces have been playing in this massacre, and my inability to do anything about any of this, much less changing anyone’s mind.

Apparently, Facebook even has algorithms for detecting when you’re feeling blue, and like a cheery kindergarten minder in such circumstances, it gets you involved in some fun sharing to buck you up.

This was what Facebook decided to share with woebegone me this morning.

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“At Venice Film Festival, Sokurov Says European and Muslim Aesthetics Incompatible,” reads the headline on Newsru.com, an alarmist Russophone news website based in Israel.

When I clicked on it, the item turned out to be old news, an article, dated September 8, 2015, quoting controversial statements made at last year’s Venice Film Festival by the Petersburg auteur Alexander Sokurov, who was in Venice to debut his latest indisputable masterpiece, Francofonia.

Presenting his film Francofonia at the Venice Film Festival, Russian filmmaker Alexander Sokurov said the European and Muslim aesthetics were incompatible. Calling for an end to “the endless and pointless incursions,” to immigration by an alien culture, Sokurov thus polemicized with the chair of the festival jury, Mexican filmmaker Alfonso Cuarón, who earlier had suggested solving Europe’s rampant immigration crisis by organizing entry for the immigrants. The Italian newspaper Corriere della Serra reported on Francofonia and Sokurov’s statements.

Presenting what the newspaper called “a brilliant allegorical tale about the Old Continent through its museum symbol, the Louvre,” Sokurov said, “History teaches us nothing. Prudence and compassion are alien to history.”

“Europe, which has attained supreme achievements in art and philosophy, keeps making one mistake after another,” said the Russian maître, as quoted by InoPressa.

“What is happening, these endless and pointless incursions [or, invasions], seem like an indescribable nightmare, a humanitarian catastrophe in the face of which ordinary people are powerless, and politicians do nothing. And no one thinks to protect our culture, which will cease to exist quite soon,” the filmmaker continued.

[…]

The Italian periodical described the action of the film as follows: a ship that must bring European culture to a safe haven sails into a storm. If it sinks, its precious cargo will be irrevocably lost to all Europeans.

“Europe finds itself on The Raft of the Medusa, as in the famous painting by Théodore Géricault, exhibited in the Louvre. Just like the frightening boats, crowded with desperate people making their way to our shores.”

The article here refers to the numerous cases of the illegal delivery [sic] by sea (sometimes ending in tremendous loss of life) of thousands of immigrants from the Middle East and North Africa.

During the presentation of his film, Sokurov called for “a stop to these migrations.”

“To really help these people, it is necessary to intervene in the countries from which they are escaping and try to solve the problems there. Instead, we pile them up together here, where they have no prospects, and try and impose our TV lifestyle on them,” he argued.

“The outcome will be catastrophic for both parties,” the filmmaker warned.

Sokurov was certain that “our aesthetic and the Muslim aesthetic are incompatible.”

“With all due respect, we must maintain a distance and protect our culture from the iconoclastic fury that is destroying it,” said the filmmaker.

He reminded the audience of the total destruction of unique landmarks in the ancient city of Palmyra, Syria, by militants from the terrorist group Islamic State, which is banned in the Russian Federation.

Recently, the extremists blew up three tombs of local patricians in the captured city. Earlier, they demolished the Temple of Baalshamin (2nd century BC) and the Temple of Bel, consecrated to the supreme Semitic deity [sic].

“Even the Nazis would have not dared to do what has happened in Palmyra,” said Sokurov.

I have quoted at length the day brightener Facebook chose for me, because it amply demonstrates a sad but irrefutable fact. Islamophobia is a perfectly common attitude and a perfectly respectable political “stance” in Russia, adopted and bruited loudly and publicly by well-read, highly educated members of the “liberal” Russian intelligentsia, as evinced here by one of their darlings, Alexander Sokurov.

This, in turn, explains the near-total silence of “liberal” and even “leftist” Russians on the destruction of Aleppo.

Let me put it as crudely as possible. Despite the court judgement handed down on popular blogger Anton Nosik the other day, a really large number of educated “white” Russians think Muslims are subhumans whom, if push comes to shove or your “civilizational project” has got bogged down and you cannot think of anything better to do, can be slaughtered with impunity and without blinking. In fact, it is better for one’s digestion, state of mind, and personal pursuit of high culture (per Sokurov) to put a mental wall between yourself and whatever is happening to the Muslims in your midst, or to the Muslim Crimean Tatars in Crimea, or to the Muslims in Grozny (back in the first years of Putin’s perpetual reign), or to the Muslims in Aleppo.

If you think I am exaggerating, I invite you to come to the Motherland and have heart-to-heart chats with a sampling of members of the so-called intelligentsia. In some cases (but not, happily, all cases) you will come away thinking you’ve just spent time with Trump supporters, UKIP cacklers, BNP bruisers or clowns from the KKK.

But the funny thing about Facebook is that it is not the only satanic mill on the oppressively vast World Wide Web. Nowadays, you can also ask something called Google whatever question your wicked heart can conceive—for example, how many Muslims are there in Russia?

“In Europe overall, however, Russia’s population of 14 million Muslims (10%) is the largest on the continent.”

Yikes!

Where did all those Russian Muslims come from? Did they immigrate to the Motherland from Syria and other majority Muslim countries?

No, despite the recent heavy influx of migrant workers from the Muslim Central Asian republics (once also part of Russia, in its guise as the Soviet Union), which has even more recently been waning due to the bad economy, among other factors, most of Russia’s Muslims were born and bred in the Russian Federation. Thus, to the outside world, they are “Russians,” if not to many of their fellow Russian citizens, who probably cannot get their heavily bookish heads around such funny facts as Moscow’s being the largest Muslim city in Europe.

You would think that, with so many Russian Muslims and post-Soviet Muslims sharing (there is our keyword again!) your cities, towns, and villages with you, you would not want to go out of your way to antagonize Muslims for no reason at all.

(Not because they are touchier than your average bear, but just because no one in this world enjoys being kicked around for years on end just because they’re different.)

But that is what the Russian government has been doing in Syria, and that is what significant numbers of Russia’s best and brightest have been doing for a long time now, if only rhetorically, if only at the Venice Film Festival, on Facebook or in their kitchens.

The consequences, both now and in the future, could not be more miserable, especially for the alleged “European” culture that only Russian intelligenty and European neo-Nazis seem to get so exercised about.

Thanks, Facebook, for cheering me up! I knew I could count on you. TRR

Lina Mouzner: Giving Voice to the Women of Syria

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Lina Mouzner. Photo courtesy of tiszatajonline.hu

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.

Thanks to Sam Charles Hamad for the heads-up and everything else. TRR

“It’s Doomsday Right Now in Aleppo”

Late-breaking news from the Bizarro World:

Despite the fact the breakdown of the ceasefire achieved through the mediation of Russia and the United States was preceded by systematic ceasefire violations on the part of the opposition, to which Russian Foreign Minister Sergei Lavrov drew the attention of his western counterparts, the initiators of the emergency meeting of the Security Council tried to emphasize violations on the part of Damascus.

[…]

Given the abruptly increasing pressure from the West, the opposition, which the West calls “moderate,” has also delivered a new blow to Moscow’s peacekeeping efforts. A communiqué by the National Coalition for Syrian Revolutionary and Opposition Forces, which unites thirty groups, states that, “as a sponsor and partner of a regime committing crimes against our people,” Moscow’s further mediation is unacceptable.

In this situation, Vitaly Churkin, Russia’s permanent representative to the UN, was forced to admit for the first time, during the Security Council meeting, that a return to peace in Syria had become an almost impossible task.

Source: Kommersant, September 25, 2016; translated by the Russian Reader

Meanwhile, back on our planet:

As the situation in Syria worsens, the White Helmets are risking their lives to save Syrians trapped and injured by airstrikes and fighting.

They’re a group of volunteers who act as first responders to bombardments.

Ammar Salmo is a spokesman for the White Helmets who says the situation on the ground is worsening by the day.

‘It’s doomsday right now in Aleppo,’ he says.

‘I want the people of the world to move, to make something for humanity.’

Source: “Breakfast,” ABC Radio National, September 26, 2016

Between the Ages of 17 and 25

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Since Putin couldn’t smash Aleppo with his pal Bashar Assad, he is now going to provoke all-out war with Ukraine. Or he is going to play at provoking all-out war. Either way, he is going to have some fun.

In 1939, the Finns likewise “provoked” Stalin into invading Finland. Meaning that Stalin pretended to be provoked, and then went in guns blazing, getting three hundred thousand Soviet soldiers killed or wounded in the process.

There are oodles of serious problems with the Russian economy, which Putin shows no interest in solving, because really solving them would involve the self-liquidation of the  current elites. Although pumping up defense spending and, hence, the military-industrial complex, which is what he has been doing in the past few years, has been a temporary patch on some of those problems, of course.

It is funny and sad that Russians themselves don’t get tired of this merry-go-round, but they seem to be sinking ever deeper into various species of emigration, internal or actual, or what they themselves call a “second childhood.”

It is even funnier that Jill Stein, presidential candidate of the US Green Party, could believe she was doing the work of peace or “anti-imperialism” or whatever she thought she was doing when she dined with Putin in Moscow or that she could imagine the “crisis” in Crimea and Eastern Ukraine was caused by anything other than domestic Russian politics or, rather, the snowballing contradictions spinning off the tiny, eccentric orbit inhabited by the country’s president-for-life in all but name and his retinue of oligarchs and FSB veterans.

Anyone who thinks the Kremlin’s policies are a rational or predictable response to the “international situation” or the bad deal Russia allegedly got when the Soviet Union broke up is a complete fool or a bought-and-paid useful idiot. You can be traumatized by the “bad things” your parents did to you (unless they really were bad things) for only so long.

When, however, you have reached the ripe enough age of twenty-five, as the new Russia has this year, it is time to stop telling stories about your bad upbringing or how you grew up on the wrong side of the tracks.

In other words, this is all about the dead end Putin and his pals from the FSB and the Ozero Dacha Co-op drove the country into when they decided they would run Russia like Tony Soprano and his crew ran whatever they were pretending to be running in the fictional TV New Jersey.

Putin has flagrantly and criminally misruled Russia for seventeen years as of August 9. That is one year less than Brezhnev reigned as General Secretary of the Soviet Communist Party. But Putin, to all appearances, is fit as a cello, unlike Brezhnev was in 1981, the year before he died.

Ugh. Happy new year.

Thanks to Comrade MT for the felicitous line about the cello. Photo by the Russian Reader