Arabic · Fiction · Translation

The Bride of Amman by Fadi Zaghmout

The Bride of Amman, a huge and controversial bestseller when first published in Arabic, takes a sharp-eyed look at the intersecting lives of four women and one gay man in Jordan’s historic capital, Amman-a city deeply imbued with its nation’s traditions and taboos.

When Rana finds herself not only falling for a man of the wrong faith, but also getting into trouble with him, where can they go to escape? Can Hayat’s secret liaisons really suppress the memories of her abusive father? When Ali is pressured by society’s homophobia into a fake heterosexual marriage, how long can he maintain the illusion? And when spinsterhood and divorce spell social catastrophe, is living a lie truly the best option for Leila? What must she do to avoid reaching her ‘expiry date’ at the age thirty like her sister Salma, Jordan’s secret blogger and a self-confessed spinster with a plot up her sleeve to defy her city’s prejudices?

These five young lives come together and come apart in ways that are distinctly modern yet as unique and timeless as Amman itself.

Title: The Bride of Amman

Author: Fadi Zaghmout

Translated by: Ruth Ahmedzai Kemp from Arabic (original title: عروس عمان)

Published by: Signal 8 Press (21 July 2015)

November 2015 launch tour

Fadi Zaghmout and I had a busy, exhausting but exhilerating week in November, touring the south of England to launch The Bride of Amman. We had such a great time and I’m very proud especially of our conversation with students at the Middle East Centre at St Anthony’s College, Oxford, our radio interview with Ivan Jackson on Bristol Community FM’s ShoutOut show, and our packed launch event with Brian Whitaker at Gay’s the Word – probably the world’s first Arabic book launch in an LGBTQ bookshop? Huge thanks to Brian for his support and to everyone who came along, tweeted and shared their #bookface selfies on Pinterest! Fadi shared a very thorough write-up of the week on his blog, The Arab Observer.
More about The Bride of Amman:
Arabic · Teaching

Arabic: more accessible than you think (British Council blog)

“It is the rather stiff-sounding fus-ha, aka Modern Standard Arabic (MSA), that is the starting point for most students of Arabic as a foreign language. You need it to develop academically, to read, to write and to use a dictionary. But if you want to speak Arabic on holiday or do business beyond simple pleasantries, you also need to learn a local dialect. If you try speaking fusha in the souq, unless you can throw in the odd bit of colloquial Arabic to pitch yourself at the right register, you risk coming across as the old Etonian spy in Captain Corelli’s Mandolin in Greece, who tries chatting to the locals in Ancient Greek. Your haggling will get you a much better bargain, and probably make you a friend for life, if you can show that you’ve tried to learn at least a smattering of the local lingo.”

I had a lot of fun writing this article for the British Council blog about why it’s really worth having a go at learning Arabic. It might turn out to be easier than you imagined. More likely, it’s much harder than you imagined, but once you get started you might just get hooked.

Arabic: more accessible than you think, by Ruth Ahmedzai Kemp

The other articles in the series are also worth a read:

Arabic · Teaching

Al-Birka: a new beginners’ Arabic textbook

This was a very enjoyable editing job which combined my proofreading pedantry with my experience as an Arabic teacher. I was the editor of the English edition of a new textbook for beginner learners of Arabic, Al-Birka A1-, Introduction to Arabic letters. It has been published alongside the original Spanish-language edition by Arabic textbook specialists Albujayra. Focused exclusively on the basics of Arabic script, it’s a welcome addition to the market and is a very user-friendly and attractive text.

Title: Al-birka A1-, Introduction to Arabic letters

Authors: J. David Aguilar Cobos, Alejandro García Castillo, Sergio Palas Sánchez

English language editor: Ruth Ahmedzai Kemp

Published by: Editorial Albujayra, 25 Sep 2014

Drama · Russian

Russian drama in translation

A short play I co-translated was performed as part of a showcase event of international theatre in translation, in celebration of [Foreign Affairs] theatre company’s 4th anniversary.

The ‘By Invitation Only’ pop-up theatre event was an exciting mash-up of scenes from a selection of classic and contemporary plays. Five of the pieces were brand new translations commissioned by [Foreign Affairs] for the night. See the event programme here.

One of the pieces performed was In the Park, a one-act play by contemporary Russian playwright Ilya Chlaki which I recently translated together with Francisca Everduim.

Who’s Ilya Chlaki?

Chlaki is a Russian playwright who has lived in Germany since 1991. He has more than 40 plays to his name, mostly two-act plays, one-act plays and monologues. At least 12 plays have been translated into German language and his plays have been performed in USA, Germany, Russia, Byelorussia, Bulgaria and Kazakhstan. This performance by [Foreign Affairs] was his UK debut.

More about [Foreign Affairs]

“Moving through translation, pushing boundaries + exploring unconventional venues”

East London’s international theatre company, [Foreign Affairs] is dedicated to presenting works of non-English language origin. [Foreign Affairs] Translates! is a programme for students of translation as well as emerging and established translators, consisting of regular workshops, play readings and ongoing practical support culminating in public events to showcase selected works.

Follow them on Twitter @4nAffairs and using the hashtag #FATranslates

German · non-fiction

The new divide: why the world didn’t get better

The fall of the Berlin Wall created a bigger gap between rich and poor than there was previously in eastern Europe, and discrimination against minorities continues today, argues award-winning German author Thomas Rothschild

The latest edition of Index on Censorship includes an article I translated by Thomas Rothschild on the resurgence of nationalism across Europe and the worsening economic divide since the fall of the Berlin Wall.

First published in Brick by brick: Freedoms 25 years after the Wall, Index on Censorship Vol 43, Issue 2, 11 June 2014

Sample available online here at Sage Journals

Arabic · Drama · non-fiction · Translation

Political satire from Lucien Bourjeily and a short story by Samar Yazbek

I had two translations in this edition of Index on Censorship magazine.

Lebanese political satire

When writer Lucien Bourjeily made censorship the theme of his latest play, he knew he was in for a battle. And he was right. His play about censorship ended up being banned. Not surprisingly, he thinks this decision tells its own story about Lebanon today.

In this extract from Will It Pass or Not?–published for the first time in English–Lucien Bourjeily exposes the ridiculousness – and arbitrary nature – of the Lebanese Censorship Bureau, which commonly bans material that is deemed to be obscene, offensive to religions or politically sensitive.

Title: Will it pass or not? (click here for online extract)

Author: Lucien Bourjeily

Translator: Ruth Ahmedzai Kemp

First published in: Mission creep — defending religious tolerance and free speech, Index on Censorship, vol. 42, issue 4, pp. 134-148, December 2013

Sample: this extract is available online here

Syrian short story

In a story written for this publication, Syrian dissident author Samar Yazbek reflects on what it’s like to be a writer of fiction faced with the violence and atrocities of civil war and asks: how can we produce literature right now, in this era of bloodshed?

Title: I write with blind eyes and forty fingers

Author: Samar Yazbek

Translator: Ruth Ahmedzai Kemp

First published in: Mission creep — defending religious tolerance and free speech, Index on Censorship, vol. 42, issue 4, pp. 130-133, December 2013

Sample: this extract is available online here

Arabic · Fiction

The Shell: Memoirs of a Hidden Observer

the shell Review of Al-Qawqa’a (The Shell), by Mustafa Khalifa

Spoiler alert: this report contains a detailed outline of the plot. The is one of three Syrian books being considered for translation by the And Other Stories Arabic reading group and this is my case for why it should indeed be translated!

Update, summer 2015: my extracts of this book were published in The Massachusetts Review vol 55, issue 4, and my tireless efforts to pitch this book to an English-language publisher were not in vain! The translation rights have been bought by a US publisher, but sadly due to financial and time constraints I was unable to take on the commission to translate it. Here’s looking forward to what I hope will be a strong translation of an important historical book which sets the context for the dreadful war in Syria.

This compelling memoir takes the form of the diary of a Syrian prisoner of conscience, locked up for 14 years without trial in one of the Middle East’s most notorious jails. There are conflicting reports about whether it is indeed fiction or autobiography, but as far as I understand it is a semi-fictionalised account based on the Khalifa’s real life experience of being imprisoned for unsubstantiated political offences from 1982 to 1994 under the previous president, Hafez al-Assad. The narrator, Musa, composes the diary in his head while in prison and only writes it down upon his release, embellishing it with only the occasional retrospective comment.

Musa returns to Damascus for the first time after several years studying film in Paris and is arrested at the airport. He is accused of being a member of the Muslim Brotherhood (MB), a charge he denies – after all, he’s Christian and an atheist, an admission for which he is severely beaten, ironically, by his interrogators. Making the same mistake in the first prison where he is held, where up to 80 men are crammed into an unimaginably small cell, he is shunned by fellow inmates, mainly MB hardliners, as an apostate and presumed government spy, a curse which will remain with him throughout his many years in jail. (See first extract, translated by Ruth Ahmedzai Kemp.)

He’s transferred to the infamous Tadmur high security prison in the desert, where he languishes for over a decade without charge. Trials, or military tribunals, are held in an office on site but the verdict seems always to be guilty and the sentence is death by hanging. Not that an inmate needs to be tried to face arbitrary death at the hands of the bloodthirsty wardens. No one is ever acquitted or seems to leave the prison alive. Arriving at the prison, he and the other new inmates are severely beaten and humiliated, including being made to drink from the cesspit. Musa nearly dies from injuries inflicted in this initiation ‘reception’ ceremony and indeed the body count is high. (See the 2nd extract, translated by Elisabeth Jaquette.)

Musa spends years on end in a huge dormitory, where 300 men are crammed into beds just 25 cm apart. The only movement is to the latrines at the end of the room and into the yard outside every few days for a ‘breather’ – a humiliating parade which regularly involves torture and beatings. On New Year’s Eve, for example, they are made to stand naked in the freezing cold until many perish.

Treated as a pariah, Musa endures literally years without speaking or being spoken to, without making eye contact with any of the men around him. Instead, he becomes a detached observer and listener, documenting the other men’s lives and relationships, hearing news from other prison cells communicated by Morse code tapped out on the walls, and learning to memorise the Quran and Hadith from hearing the words recited so often by his fellow inmates. Without pen or paper, he hones the skill of committing his diary to memory and records minute details of their surreal life, inspired by the other inmates who actively keep a mental record of the unspeakable goings on within the prison, to honour the memory of those who are killed there.

His ‘voyeurism’ reaches another level when he discovers a hole one day in the wall looking on to the courtyard outside. Taking cue from a mentally disturbed prisoner who sits for hours on end huddled beneath his blanket, Musa starts to do the same, secretly watching the suffering inflicted on prisoners in the yard and the regular executions.

The text does, of course, contain horrendous and shocking violence, but mercifully such episodes do not overload the narrative and are all the more powerful for their infrequency. (Or perhaps it just seemed that way to me, as I fully expected the book to be page after page of hideous torture.) The narrator establishes a background of fear and pain, but stoically focuses on other details of life between those walls: the bitter cold, the unbearable heat and dust in the summer sandstorms, starvation, outbreaks of highly infectious diseases, visits paid for with bribes at astonishingly high prices (kilos of gold), disputes and vendetta killings…

The style of narration is simple and concise, but not without emotional reflection, and perhaps the most compelling aspect of the narrative is the psychological depth to the characters – something that is achieved in a film-like way through minimal description. We are drawn ever deeper into Musa’s complex psychology as well as that of the inmates and the jailors, as Musa reflects on the relationships around him and the shifting tensions. He himself, very gradually, develops relationships and starts to emerge from his shell. Inevitably, he comes to identify with the institutionalised prisoner community, a mental state of being from which he will probably never be able to extricate himself, a trauma from which a survivor of such an ordeal can perhaps never fully recover.

Things do gradually improve for Musa after several years when he offers his watch to be fashioned into a scalpel for an operation, performed in secret, on an inmate left to die of appendicitis by the prison authorities. (See the 3rd extract, translated by Ruth Ahmedzai Kemp.) Still, no one speaks to him, but he is at least treated with a little more warmth. The real turning point comes when a new intake of prisoners includes a group of Islamic extremists and Musa’s life is again at risk: moderates among the prisoners intervene to protect him. Vicious fights break out, but in a dramatic showdown, Musa finally breaks his decade-long silence and speaks out publicly in defence of his personal choice to have or not to have a faith. His bravery and honesty open up new friendships as a small group of liberal doctors begin to speak to him and when he shares the secret of the spyhole he gains more trust, especially that of the representative among the inmates, the ‘barracks chief’, Abu Hussein.

If you would like to read more of my synopsis of the book and read how it ends, please download my full report here.

For all its stark, documentary-style narration, this is a deeply moving psychological story of a noble attempt at personal resistance, and yet an eventual crushing defeat at the hands of a brutal impersonal power. It is a forceful indictment of the Assad regime in Syria, but stands equally strongly as a universal rallying cry for justice and freedom from political persecution and arbitrary military rule. Incidentally, Tadmur Prison was closed in 2001 but reopened in 2011.

The book is something of a symbol of the Syrian opposition in the current bloody civil war and is the focus of many Facebook groups and online discussions aimed at exposing acts of violence and brutality committed by the state. With its political impact and its universal literary beauty, it is not an exaggeration to call it the work of a modern-day Solzhenitsyn. With the recent publication of extensive photographic evidence of horrendous killings in Syrian prisons, this book provides an essential perspective on the tragedy the Syrian people are living through.

The author, Mustafa Khalifa, lives in exile from Syria. Besides writing The Shell, he is an eloquent and insightful political commentator on the situation in his native country. (See his 2012 editorial ‘What if Bashar Assad Wins?’) The book has been translated into French as La Coquille and I believe it would find an avid readership if translated into English. The publisher of the original Arabic is Dar al-Adab, Beirut.