Death is Hard Work, Khaled Khalifa
(Trans; Leri Price. Pub/UK; Faber)
By Guy Mannes-Abbott
“Death had become hard work. Just as hard as living, in Bolbol’s view.” Abdel Latif al-Salim’s youngest son has promised, “in a rare moment of courage”, to honour his father’s dying wish to be buried with his sister Layla. The retired teacher and belated rebel died of natural causes in a hospital in Damascus when nothing else is natural in the middle of Syria’s uprising. Bolbol triggers the 400 kilometre drive north into Aleppo’s hinterlands, which takes 3 torturous days and ends with maggots climbing the windows of the family minibus.
Death is Hard Work is a huge novel of just 180 pages and the third of Khaled Khalifa’s to appear in English, courtesy of their translator Leri Price. In Praise of Hatred (2008) and No Knives in the Kitchens of this City (2013) were each short-listed for the International Prize for Arabic Fiction, with the latter winning a prestigious Mahfouz Medal, and arrived in English in 2014 and 2016 respectively. They were preceded by two further novels, while their author has also written for television in Damascus, where he lives to this day.
Khalifa captured a freighted immobility in all this which his new novel disperses with ferocious intent.
Continue reading “note_17 On Khaled Khalifa’s Death is Hard Work; ‘Undead, what and who will you defend and nurture as your world drowns?’”
From the Portuguese original of Llansol’s Geography of Rebels
In lieu of writing critically about Maria Gabriela Llansol’s first ever publication in English; The Geography of Rebels, from Houston’s Deep Vellum, I’m posting this sly reference (below, plus). However, as I said re Mallo, these and some of 2019’s forthcoming books (mostly in translation), call out for serious, passionate, engaged, authoritative responses from writers. I hear the call and am going to be responding again after a long interlude.
Spend a life attempting to capture the resistant poetics of your existence (what/why else?) and you do gain special access to other writing. You can see right through most of it -line by smooth paragraph by over-recognisable page- but also locate magic; know, observe or instinctively recognise how it is done. It’s all in the writing. If you make original sentences or pages, then you know about each word, each in between, and all their potentialities. The call is urgent. Books pages tend to agree on what is important, especially viz work in translation, exceptions are treasured like monsoon rain. I almost always felt differently (2019: Khaled Khalifa, Enrique Vila-Matas, Anne Boyer, Saidiya Hartman, Ariella Aisha Azoulay, Yasser Elsheshtawy, but also E J Burnett, Laura Beatty, etc.); a significant motivator in paying attention to awkwardness, the resistant or ‘difficult’, complex or subtle, and the ‘foreign’. No apologies. Continue reading “note_15 On M G Llansol’s The Geography of Rebels in Graz; any place for a nonviolent image?”