By Fabio Caiani
This e-book introduces Western readers to a few of the main major novels written in Arabic on account that 1979. regardless of their contribution to the advance of up to date Arabic fiction, those authors stay principally unknown to non-Arab readers.
Fabio Caiani examines the paintings of the Moroccan Muhammad Barrada; the Egyptian Idwar al-Kharrat; the Lebanese Ilyas Khuri and the Iraqi Fu’ad al-Takarli. Their most important novels have been released among 1979 and 2002, a interval within which their paintings reached literary adulthood. all of them signify pioneering literary traits in comparison to the novelistic shape canonized within the influential early works of Naguib Mahfouz. earlier, a few of their such a lot leading edge works haven't been analyzed intimately – this booklet fills that hole.
Relying on literary thought and bearing on comparative examples from different literatures, this examine areas its findings inside a much broader framework, defining what's intended by means of innovation within the Arabic novel, and the actual socio-political context within which apparently. This e-book will considerably increase the prevailing severe literature in English at the modern Arabic novel.
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Additional info for Contemporary Arab Fiction: Innovation from Rama to Yalu (Routledge Studies in Middle Eastern Literatures)
It is possible that al-Kharrat is self-consciously indulging in displays of his technical mastery. However, other reasons are more likely. The first, which we have already explained earlier, is that al-Kharrat intends to subvert a conventionally linear narrative in order to introduce more elements of human experience – in his words, ‘to widen the concept of reality so that dream, myth and poetry are returned to it’ (Kharrat 1993: 12). After all, this has been the author’s plan since his first collection of short stories Hitan Palya (‘High Walls’) appeared.
Was he so happy? Had he experienced that joy? He did not know if he was recalling that image or if it was only the drama of a day-dream, an illusion that was more able to resist annihilation than the harshness of reality. (Kharrat 1979: 254)5 18 FRAGMENTATION From a technical point of view, this passage is narrated in indirect free style to convey MikhaUil’s thoughts,6 but this is only one of the narrative techniques used by the author. The singular mixture of narrative techniques in al-Kharrat’s fiction is evident from the very beginning of Rama.
Hence, we sometimes find the protagonist wondering: Did that [really] happen? Was he so happy? Had he experienced that joy? He did not know if he was recalling that image or if it was only the drama of a day-dream, an illusion that was more able to resist annihilation than the harshness of reality. (Kharrat 1979: 254)5 18 FRAGMENTATION From a technical point of view, this passage is narrated in indirect free style to convey MikhaUil’s thoughts,6 but this is only one of the narrative techniques used by the author.
Contemporary Arab Fiction: Innovation from Rama to Yalu (Routledge Studies in Middle Eastern Literatures) by Fabio Caiani