PDF-Bücher The Children of the Ghetto: My Name Is Adam, by Elias Khoury
The Children of the Ghetto: My Name Is Adam, by Elias Khoury
PDF-Bücher The Children of the Ghetto: My Name Is Adam, by Elias Khoury
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Pressestimmen
"Khoury engages his own oeuvre in playful metafictional ways, along with real and invented scholarly texts, and larger Palestinian and Israeli literary histories to which this book is a timely and essential contribution. He rejects didacticism -- "My story isn't an attempt to prove something" -- pirouetting between saying and unsaying, creating a mass of competing meanings from which Adam's tormented psychology emerges. If Khoury makes any argument, however, it is that the expression of an "unadorned truth" is impossible, since all language is symbolic and metaphoric; words are weighed down by their histories... Khoury gives us a vivid glimpse of the unspeakable." -- New York Times Book Review Praise for Elias Khoury: "There has been powerful fiction about Palestinians and by Palestinians, but few have held to the light the myths, tales and rumors of both Israel and the Arabs with such discerning compassion. In Humphrey Davies' sparely poetic translation, Gate of the Sun is an imposingly rich and realistic novel, a genuine masterwork." -- New York Times Book Review "Khoury is one of the most innovative novelists in the Arab world." -- Washington Post Book World "Elias Khoury is an artist giving voice to rooted exiles and trapped refugees, to dissolving boundaries and changing identities, to radical demands and new languages." -- Edward W. Said "We need the voice of Elias Khoury--detailed, exquisite, humane--more than ever. Read him." -- Naomi Shihab Nye "A writer of panoramic scope and ambition." -- Azadeh Moaveni, Financial Times
Über den Autor und weitere Mitwirkende
Elias Khoury is the author of 13 novels, 4 volumes of literary criticism, and 3 plays. For 12 years he was a Prof. of Middle Eastern and Arabic Studies at New York University and has also taught at Columbia University. He won the Palestine Prize for Gate of the Sun, also named a Best Book of the Year by Le Monde Diplomatique, The Christian Science Monitor, and The San Francisco Chronicle, and a Notable Book by The New York Times. As Though She Were Sleeping won France's inaugural Arabic Novel Prize. In 2016, he was awarded the Mahmoud Darwish Award for Creativity. About the translator: Humphrey Davies is a translator of Arabic fiction, historical, and classical texts. His translations include Elias Khoury's Yalo, Naguid Mahfouz's Thebes at War and Midaqq Alley, Alla Al-Aswany's The Yacoubian Building and Friendly Fire, Hamdy el-Gazzar's Black Magic, Mohamed Mustagab's Tales of Dayrut, and the four-volume 19th century Arabic experimental novel, Leg over Leg, by Faris Al-Shidyaq. A two-time winner of the Banipal Prize, he is also the recipient of the English PEN Writers In Translation Award. Davies lives in Cairo.
Produktinformation
Taschenbuch: 400 Seiten
Verlag: ARCHIPELAGO BOOKS (10. Juni 2019)
Sprache: Englisch
ISBN-10: 1939810132
ISBN-13: 978-1939810137
Größe und/oder Gewicht:
15,2 x 3,1 x 19 cm
Durchschnittliche Kundenbewertung:
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Amazon Bestseller-Rang:
Nr. 451.479 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
This is a maudlin, melancholy novel about an expatriate Israeli Arab poet. In his unlabeled preface, of July 12, 2015, the author says they'd once met.Since Khoury is a novelist, one presumes that protagonist Adam Dannoun is fictional, although one could easily conclude the reverse, that his character is real, or at least based on a real person. The preface portrays Adam Dannoun as such. Khoury writes, a young Asian student gave him Dannoun's notebooks (comprising the novel's body), which miraculously survived an apartment fire that killed him.Khoury dedicates the book to the 75-year-old Lebanese architect Jad Tabet and the 59-year-old writer, poet and translator Anton Shammas, born south of Israel's Lebanon border in 1960. Maybe Khoury wove some of their family myths into this book.In any case, reading it is a slog. The first few chapters deal heavily with love and loss, largely as portrayed by two early Arabic poets.Adam Dannoun's will discusses 6th century poet Imru al-Qays, his own lost love and lost lust for life and his meetings with a bald fictional Israeli film director and the novel's author, whom the protagonist describes as a liar. Dannoun knows he has unpoetically reproduced lines of al-Qays, but cares not, since he asks the notebooks' finder to burn them along with his body. Sounds like suicide.Then Dannoun quotes King Solomon, “a king and a poet, the lover who loved all women....,†citing Solomon's Song of Songs; he echoes Ecclesiastes, one of the last books in the Jewish Holy Scriptures (known in Hebrew as Tenach, an acronym for the words Torah, Neviim and Kethuvim, or Five Books of Moses, Prophets and Writings). “All is vanity,†writes Dannoun.Next Dannoun recounts bits on the love, poetry, strange beauty and madness of the 7th and 8th century Yemeni poet,Waddah al-Yaman (i.e. of Yemen). Then, more of the same, twined with Dannoun's own feelings.He also tells of Umm al-Banin bint Abd al-Aziz ibn Marwan (one of many wives of Ummayid caliph al-Walid ibn Abd al-Malik ibn Marwan) and her love for poet Kuthtayyir-Azza, another late 7th and early 8th century poet. Also, her travels to Mecca, where Umm al-Banin reputedly fell in love with the above-noted poet Waddah al-Yaman.You get the idea. Students of Arab history, legend and poetry might appreciate this, others not so much.Only after nearly 100 pages of such ruminations on Arab chroniclers and poets, do readers reach part two, entitled Adam Dannoun.He opens with recitations from the Quran (strangely, in reverse order), sura 114 (an-Nas), verse 3 and sura 113 (al-Faraq) in its entirety (all five verses).While apparently Muslim, Dannoun drinks wine and vodka and has no use for marriage, having had at least two affairs and evidently contemplated a third.In chronological order, as written, suras 113 and 114 mention taking refuge in the Lord, but focus on “the evil of darkness..., the evil of the women who blow on knots..., [and] the evil of an envier†as well as “the slinking whisperers....†(By contrast, equivalent verses in Psalms 113 and 114 are diametrically opposite, full of love and optimism.)Dannoun is not likable (or sympathetic), either. He morosely focuses entirely on the past, harbors enormous rage and seemingly lives inside ephemeral dreams. He blames Israel for his losses. (While even Khoury may not realize it, Dannoun suffers from a primal wound, having lost his birth parents. Blind Mamoun found him in the arms of a dead woman, placed him with parents, abandoned him and did not tell Dannoun the story until decades later in New York.)From here, Dannoun details his conflict with above-noted fictional Israeli director and his (likewise, presumably fictional) confrontation with Elias Khoury over a film purported to show a slice of Palestinian history, “the beginnings of the second intifada.†He rages that the author and filmmaker have misrepresented people that he knew, whom he takes to be the film's primary characters.He attributes his endless rage to the fact that his mother was from Eilaboun, and claims she and her family were driven out. He feels what he feels.Actually, however, the village five or ten miles northwest of Tiberius, is anchored in the ancient Hebrew Chronicles as the home of one clan of Jewish high priests. In 1945 maybe 530 Christians and 20 Muslims lived there. And the October 1948 Eilaboun “massacre†of which Khoury's Dannoun writes was an execution of about 13 Muslim men by Jewish troops who'd discovered there, the decapitated bodies of two of their kidnapped Jewish compatriots.“War is hell,†said Civil War General William Tecumseh Sherman, probably among many others. And who started the 1948 war of which Dannoun writes? Arab leaders refused to accept the land's longstanding Jewish history, from biblical times onward, much less a new Jewish state. So they attacked and the Jews defended themselves.Dannoun similarly represents Lydda as an Arab village that Israelis ethnically cleansed in 1948. Actually, it was the other way around. In the 19th century, the village had a Jewish community (by 1900 there were still only a few hundred families). But in 1921, Arab riots ethnically cleansed all Lydda's Jews; continued Arab violence thwarted every Jewish effort to return to their homes.When Israeli forces occupied Lydda on July 10, 1948, most of its Arab inhabitants left. By December 1948, over 1,050 Arabs remained in Lydda with roughly 150 Jews.Khoury and his Dannoun character want us to believe those few Jews committed grotesque evil (as hinted in the Quranic verses with which he begins).But even Dannoun knows he is lying. “Memory is what we feel we're remembering,†he writes. When he tells people he's from the Lydda “ghetto,†which he's not, “I was giving them the truth's first cousin, which is always truer than the truth.†(p. 183) Well, no, it isn't.Well, the book is fiction, of course. But it also promotes the fiction that the Jewish people somehow corrupted the land of Israel. As Jonathan Swift wrote, “Falsehood flies, and the Truth comes limping after it.â€Unfortunately, this book is a slog, from start to finish.
During the aftermath of the 1948 Arab-Israel War, the residents of the city of Lydda (now Lod) were forced to leave their homes. Later, those homes would house Jewish refugees, themselves displaced from their homes in Bulgaria. But a few Arabs, Muslim and Christian, stayed behind in Lydda and were gathered together into what the soldiers guarding them called a ghetto. Children of the Ghetto: My Name is Adam by Lebanese author Elias Khoury and translated by Humphrey Davies, tells the story of one boy, the first child born into this new version of Lydda.The novel begins with a long introduction from a university professor in New York named Elias Khoury, who met Adam briefly and disliked him intensely, mostly because they shared a romantic interest in the same woman but also out of consternation. Adam Dannoun is the cook in a falafel restaurant, well-educated and well-spoken, but he speaks both Arabic and Hebrew like a native. When Adam dies, the woman brings a stack of notebooks to Elias. She had been instructed by Adam's will to destroy them, but finds herself unable to do so. Elias, upon reading the notebooks, initially wants to write a novel based on the contents, but decides instead to submit them as they are for publication.What follows begins as what one might find in the private notebooks of a scholar, a series of abortive attempts at writing the story of a Yemeni poet during the time of the Caliphates, followed by a rambling entry about his life in general, but all of this is necessary to the meat of the novel, Khoury taking his time to set up ideas and the life of this first witness before leading into what life was like for the people who stayed behind in Lydda, after most of the people had fled.This was a powerful and understated novel about a part of the world whose history I know too little about. Khoury's slow and meandering style was wonderful and I'll be reading more by this author.
This book, from the promotional blurb, was a memoir, from the Palestinian point of view, of the events of 1948.The fictionalized journal, which the author claims to have found after the death of the memoirist, was hard for me to follow--as far as I got--and reminded me of how I learned in college that memory≠history.I regret that I didn't get far enough to provide a helpful review.
Archipelago books has been my favorite source for works in translation, but although the material was involving, I found this translation to be weighty and cumbersome. It would have been helpful if I'd had a better grasp of the history of this time and place, in which case I would have been able to better convey my thoughts, but I found I had to put the book down and maybe try again sometime later.
The Children of the Ghetto: My Name is Ada is beautifully written. I didn't read the entire story because I wasn't pulled into the story. I tried. I guess it's just not my cuppa.
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