Modern and Contemporary Arabic Literature
by Jayasri Jayakody
The French general Napoleon Bonaparte
and his army, in 1798, invaded Egypt heralding a new phase in Arabic
literature. The novel and the short story were the new genres brought by
Western imperialism. More important, the Arabic literary scene was
populated by a multiplicity of viewpoints by the subsequent emergence of
independent countries in the Middle East and North Africa.
In the 19th century the literary scene began to come alive again,
although many writers continued to employ older genres. Lebanon's Nasif
al-Yaziji, for example, composed maqamat in imitation of the medieval
form. A
literary cousin of the adab tradition the maqama (plural maqamat) is an
original medieval Arabic literary form.
Normally translated as 'assemblies,' the maqamat are supposedly the
invention of 10th-century writer Badi' al-Zaman al-Hamadhani.
Arabic poets eventually cut loose from their classical moorings and
looked to more modern forms, such as free verse-poetry with no fixed
rhyme or meter. Iraqi female poet Nazik al-Mala'ika is most closely
associated with the inception of the free-verse movement.
Modern Arabic poetry is a complex genre, including prose poems and
forms that are experimental in varying degrees. Poets such as Salah Abd
al-Sabbur of Egypt, Adonis of Syria, and Mahmud Darwish of Palestine
have helped ensure that poetry remains an integral and living part of
modern Arabic literature.
In the modern period the prose tradition as well underwent
fundamental transformations. Drama developed as a literary form in its
own right, rather than a form derived from the maqama. The writer most
often associated with contemporary Arabic theater is Tawfiq al-Hakim of
Egypt. In his play Shahrazad (1934) he recast the famous frame story of
The Thousand and One Nights.
In the 20th century autobiography also flourished anew. The genre
received a major stimulus from the three-volume al-Ayyam (The Days) by
Egyptian social reformer and intellectual, Taha Husayn. Published across
four decades, from the 1920s to the 1960s, this passionate autobiography
is a monument of modern Arabic prose and to the conquest of a
handicap-the author's blindness.
Taha Husayn's account details a dramatic life in both Europe and the
Middle East. The autobiography is read by school children in countries
from Sudan to Syria and has been the subject of television and
motion-picture productions.
The
first Arabic novel is generally considered to be Zaynab (1913), by
Egyptian writer Muhammad Husayn Haykal.
The novel, along with the short story, continued to grow in
importance throughout the 20th century. Egypt's Naguib Mahfouz, one of
the best-known Arabic novelists of the 20th century, was awarded the
Nobel Prize for literature in 1988.
His al-Thulathiyya (The Cairo Trilogy), which chronicles the travails
of an Egyptian family, won him critical acclaim and, according to some,
was the major contribution to his winning the Nobel Prize.
The trilogy is composed of Bayna al-Qasrayn (1956; Palace Walk,
1990), Qasr al-Shawq (1956; Palace of Desire, 1991), and al-Sukkariyah
(1957, Sugar Street, 1992). Y?suf Idr?s of Egypt, with his powerful
narratives on sexuality and male-female roles, has been the acknowledged
master of the Arabic short story,.
Palestinian writer Emile Habiby is best known for his novel al-Waqa'i'
al-Ghariba fi-Ikhtifa' Sa'id Abi al-Nahs al-Mutasha'il (1974; The Secret
Life of Saeed, the Ill-Fated Pessoptimist, 1982). He uses humor and
irony to describe the plight of Palestinians living in Israel.
Habiby is one of a group of Arabic writers who have moved away from
realism as a literary mode. Many of them have drawn upon centuries-old
literary traditions for material. A prominent example is the novel al-Zayni
Barakat (1974), by Jamal al-Ghitani, which employs 15th- and
16th-century texts to create a postmodern narrative.
The writer Yusuf al-Qa'id is another important figure. His
three-volume Shakawa al-Misri al-Fasih (The Complaints of the Eloquent
Egyptian, 1981-1985) demonstrates that the textual tradition a writer
mines can hark back a few thousand years, to Egypt's past under the
pharaohs.
Women living in many countries have become a strong presence in
modern Arabic literature. Lebanese writer Hanan al-Shaykh's powerful
narratives about the Lebanese Civil War (1975-1990) include Hikayat
Zahra (1980; The Story of Zahra, 1986).
Palestinian Fadwa Tuqan is known for her poetry and autobiography,
notably Rihla Sa'ba, Rihla Jabaliyya (1985; A Mountainous Journey: An
Autobiography, 1990).
Perhaps the most vocal and most prominent woman writer from the Arab
world today is feminist physician Nawal El Saadawi, who's uncompromising
and powerful prose has made her as many enemies as admirers. Her prison
memoirs, Mudhakkirati fi Sijn al-Nisa' (1984; Memoirs from the Women's
Prison, 1986), are in many ways a testimony to the interplay of politics
and literature in modern Arabic letters.
Older literary figures such as Jamal al-Ghitani and Yusuf al-Qa'id
remain major players on the fast-changing contemporary scene. Such
events as the migration of teachers and workers to oil-rich states on
the Persian Gulf have given rise to more adventurous texts dealing with
the plight of the intellectual in a type of exile.
An eloquent example is the novel Barari al-Humma (1985; Prairies of
Fever, 1993) by Palestinian writer Ibrahim Nasr Allah. Today, Arab
writers who live in exile-because of political instability, repression,
or other difficulties in their homeland-continue to write works in
Arabic that circulate both in the Arab world and in Arabic-speaking
communities outside the Middle East and North Africa.
As renewed Islamic religious fervour spreads across the Arab world,
Arabic literature has begun yet another process of adaptation.
Religious-minded writers now compete with the more secular intellectuals
in such genres as poetry, the novel, and the short story.
At the same time, both religious and secular writers draw on much of
the same pre-modern Arabic literary tradition. Novels by physician and
born-again Muslim Mustafa Mahmud are best-sellers. The prison memoirs of
female Muslim activist Zaynab al-Ghazali, Ayyam min hayati (Days from My
Life, 1977), have had many printings.
The vitality of the Arabic literary tradition becomes visible as one
walks the streets of Middle Eastern and North African capitals and gazes
in bookshop windows.
At the same time, bookstores of London, Paris, and other world
capitals with large Arab populations offer a similar experience. This
diversity underscores the long and powerful history of Arabic literature
and demonstrates its continued role in world culture. |