Elliott Colla Quotes
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Just as certain Cold War binaries were collapsing, new binaries of Sunni versus Shia or Arab versus Kurd were being created by the new occupation force. It's the corruption of that moment that I am really interested in.
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The corruption in Iraq has nothing to do with ideas - it has to do with the regime and institutional structures and power.
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There are certainly times in history where power associates itself closely with fields that we would call the humanities, like rulers surrounding themselves with philosophers and poets, or playwrights. We do not live in that moment, and the best way to gauge the proximity of an academic field to power is by salary.
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Academic writing you have to get right. Fiction you have to get plausible. And there's a world of difference.
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When you're writing your own fiction, you don't have to ride two horses.
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It does not take much to imagine the humanity of people you don't know.
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Translation is harder, believe it or not. You do have to come up with a story, and actually I'm mystified by that process. I don't exactly know how the story just comes, but it does. But in writing a story that you're inventing, versus writing a story that somebody else has made up - there's a world of difference. In translation you have to get it right, you have to be precise in what you're doing.
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Palestinian society is filled with poetry, but not experimental poetry. The Palestinian poetry that people know is not the modernist experimentations, it's certain kinds of poetry that lends itself to recitation and song and things like that.
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Arabs don't do crime fiction. I read crime fiction and I read Arabic literature, and I wish this was a novel I could have read in Arabic.
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With Ibrahim al-Koni, what I figured out was - and you'll see this in his novels - if your time is limited, make the unit of the chapters small so that you can finish one a day, at least in the first draft. Once you have the first draft it's living, and you can coax it to grow and trim it and reshape it and so on. But get that first draft. I think if I'd gone to an MFA program and learned that, it would have been money well spent. But translation has been that for me.
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I wrote Baghdad Central right after translating a great work by Ibrahim al-Koni, who is sort of a master of Arab fiction. In conversations with him I realized that translations have been my MFA program. If I have learned how to write fiction it's by working with great writers and getting them to explain their craft to me so that I can do it in English. That's how I've figured it out.
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In trying to imagine this world, I kept coming back to Michel Aflaq. He's a Christian Arab, a Syrian, who ends up finding his home in Iraq and is buried there - I was stunned to see his tomb is right smack down in the Green Zone.
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In a couple of Ahdaf Soueif's novels, she gets at the certain kind of English that's being spoken by Egyptians. It's a beautiful, expressive English but it is non-standard, "broken" English that happens to be efficient, eloquent, and communicates perfectly well even if it is breaking rules.
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English is a forgiving language. It's not like Classical Arabic and it's not like French. You can speak broken English and be expressive and no one will hold it against you.
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Translated books rarely get reviewed in the press. Books or poems or works of art that don't seem to have a corresponding style or figure or theme, obviously they're hard to digest.
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We like to look out on the world and see ourselves, so we have many, many novels, memoirs, and short stories in Iraq that are largely about Americans in Iraq, doing what Americans do.
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You always have regime-friendly poets like Muhammad Mahdi al-Jawahiri, whose career basically spans the twentieth century. He's an anti-imperialist, friendly with the Communists, and somehow survives all that and is shuttling between Baghdad and Damascus depending on which way the winds are blowing with the Baathists and their competition. But he's not a regime stooge, he's independent.
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Noir is where the clarity of moral divisions break down, the black and whites turn into grays.
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In translation you have to get it right, you have to be precise in what you're doing. You have to attempt what they did in that language - say, in Arabic - and try to accomplish a version of that in English, and you're constantly serving two masters.
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Why is thinking about crime or imagining crime so goddamn central to pop culture? It doesn't matter whether it's American TV or British TV. And there's entire sections of bookstores devoted to crime.
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There's actually a lot of information on a lot of people and that is a major achievement of a police state.
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Academic writing you have to get right. Fiction you have to get plausible. And there's a world of difference. In a way, if someone says this didn't feel exactly right, I don't care. But that is not okay to do in academia - it's not about feeling. You want to establish a pretty solid case. So did this allow me to express things differently? Absolutely. Another thing I've been thinking about as an academic: our writing style is expository, and in fiction, withholding information matters quite a bit. Withholding things in academia - there's no place for that!