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More Books by Gilbert Parker

How It Works? IMEI Number. Exchange Discount Summary Exchange Discount -Rs. A few examples may suffice: Augustine is certainly considered a major church father, but his North African roots, if not totally obscured, are given little credit. Apuleius, the author of one of the first prose narratives that prefigure our novel, is known as a Latin or late Roman writer, not a Maghrebian. It is also interesting to note in this con- text that the last poet whose mother tongue was Latin was a Carthaginian, and that by an odd circumstance the first nonoral poet in our chronology, Callimachus—whose forebears immigrated to Cyrenaica Libya , possibly from the Greek island of Thera, where the first ruler of the Battiad Dynasty came from—wrote in Greek.

We know that during the heyday of Arab-Islamic culture, and more specifically between and c. Many lived and worked in al-Andalus, that thriving center of culture on European shores—a place where a millennium ago Arabs, Jews, and Christians learned to live together in productive peace. Lip service may be paid to, say, Ibn Khaldun, as the father of sociology, or a French author of Lebanese origin may write a successful novel based on the figure of Leo Africanus, but the actual texts of these writers, thinkers, and mapmakers are rarely available to the Anglophone world—or are available only to specialists or, again, without much context with which to read and appreciate them.

Even if Arab culture went into a long sleep and the high-cultural productions of the Maghreb often became mere imitations of the classical Mashreqi Near Eastern models—and thus less creatively innovative—during the centuries between the fall of al-Andalus to the Spanish Christians and the conquest of North Africa by the colonial powers, there was much cultural activity then.

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This is especially true for the autochthonous Berber cultures which, despite having been Arabized at least to the degree of accepting Islam, in many instances in a modified, maraboutic form , kept alive vital modes of popular oral literature, for example Berber tales and sto- ries, plus elaborations and updated versions of the Arab-Berber epic of the Banu Hillal confederation.

Besides which, the current Maghrebian societies are too busy trying to invent their own contemporaneity and to modernize themselves to have much time or desire to invest their limited resources in reassessing their remote pasts. If this anthology helps to dispel some of this unease or even incites other researchers and writers to look deeper into these hidden and buried histories, it will have accomplished one of its main goals. The longtime neglect of such a major cultural area is part of a wider, now well- documented, Eurocentrism; permit us to cite an example germane to the project at hand.

In fact, the field of romance philology has done everything in its power to negate any traces of a non-European origin of—or even strong foreign influence on—European lyric poetry. This anthology is organized into five approximately chronological diwans, inside which the authors appear in chronological order.

Reading through them, one can get a sense of temporal progression and thus of the changes brought by history. For the Maghreb, however, even these centuries held creative excitement: it was then that one of the great poetic forms of North Africa, the melhun, came into its own by revitalizing its classical roots through both formal and linguistic innovations, including the use of the Maghrebian vernacular. The innovations and final grandeur of these poems, song lyrics really, are difficult to bring across in translation; suffice it to say that the poems have stood the test of time and still represent the core repertoire of the great melhun singers.

The shock of colonization may at first have numbed these populations, but in the twentieth century they produced a literature of resistance while on what we have called the long road to independence. A specifically national or nationalist thought also emerged then, as a range of differences—between, before all, Tunisia, Algeria, and Morocco—rose to the surface and began to be theorized. An amazing span—with other amazing figures, such as Abu al-Qasim al-Shabi, Frantz Fanon, and Kateb Yacine, whose work includes some of the first great classics of modern Maghrebian literature.

A double diwan concludes the book: although it covers only the past sixty or so years, its size demanded the split into two sections. We have divided it according to geography, grouping the two northeastern Maghreb countries Libya and Tunisia with the two relatively small countries in the south- west of our area, namely, Mauritania and Western Sahara, while keeping Algeria and Morocco for part 2. The writers in this diwan are those who came of age at the moment of independence and the two to three generations since then. This richness brings to mind the days of multicultural al-Andalus, even if today we would call it multinational or hybrid or cross- border.

The Phoenician, Greek, and Roman writings from this period include some of the world-class achievements of Maghrebian culture. Creation myths and tales of origin logically open this section. This puts the autochthonous Berber peoples rightfully at the start of the Maghrebian adventure while also foregrounding a tradition—the oral tradition—that has consistently produced major literary achievements over several millennia. Ironically, this smallest of subsections could be the largest: the diasporic or exilic dimension is one of the main characteristics of Maghrebian literature, given that the majority of its authors live and write on two or more shores.

Their work also helps to contextualize the problems of the surround- ing obviously Maghrebian contemporary writers, who faced both the neces- sity of actual exile and the difficult decision of which language to write in. Writing in Arabic means dealing with small local publishers and getting caught up in all the political and censorship problems this has meant for most of the time since independence, or trying to publish in Lebanon or Egypt, the major Mashreqi publishing centers.

Poems from the Maghreb: Introduction and Selections

The latter is also fraught with problems, as Maghrebian and Mashreqian cultures do not necessarily coexist easily. But no matter if they publish in Paris or Beirut, these writers have little chance of being translated into and published in English. The little interest and financial support our cultural institutions and publishers have been able to garner for translations from French and Arabic have been squarely devoted to Parisian, Beiruti, and Cairene authors.

Even greater are the difficulties of those Maghrebian authors who chose to write in Berber—though Morocco and Algeria have each recently declared it an official national language—or use the ancient tifinagh alphabet, as does the Tuareg poet Hawad, who now lives in southern France.


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It is therefore also an aim of this gathering to pro- vide a space for the mixing and mingling at least in English of writers who in their own countries and in other usually country- or language-specific anthologies have to exist in a kind of de facto cultural apartheid. Many if not most of the texts are appearing for the first time in English translation, while others are retranslations into contemporary American English of older Englished versions.

Obviously a work of this order cannot be the work of one or even two persons. Our role has been threefold: 1 as the principal gatherers and arrangers of materials worked on by many other scholars, writers, and translators, 2 as the creators of the specific shape this book has taken although here we owe a debt to Jerome Rothenberg, the collaborator with one of us on the first two volumes in the Poems for the Millennium series , and 3 as the purveyors of a range of translations done singly or in collaboration whenever no translations could be found, as well as of most of the contextual materials, such as prologues and commentaries, given to make more tangible and understand- able the textual productions—poems, narratives, mystical visions, travel writings—of an area of the world not necessarily familiar to the general reader.

To keep the volume from being overlong and to maintain focus on the texts themselves, we have not provided an individual commentary for every author although in many cases further information is included in the prologues. We do know the Maghreb well: Habib Tengour is Algerian, was born and raised in Algeria, taught at the University of Constantine for many years, and, though now based in Paris, returns to his home country and other Maghrebian countries a number of times a year.

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Such works do not permit the reader to understand what deeply animates these populations, in truth so near to us yet always pushed back and occulted. A book concerned with Maghrebian cultural achievements, in fields such as literature and philosophy, allows us to share in this universe, which is part of ours, no matter how deeply repressed.

Knowledge of the Maghreb is, we believe, essential in a world where a nomadic mind-set is crucial for understanding or inventing the new century—especially if we do not want to repeat some of the deadliest errors of the last. It is a marvelous coincidence that although we first thought of this book a quarter century ago, we actually gathered and wrote it exactly when Tunisia and Libya saw the start of a revolution, called the Arab Spring, that is still going and may be the shape-shifter that will determine the outcome of this century.

Ahmad Al-Majjaty Casablanca, — Born in Casablanca, Ahmad al-Majjaty was one of the most powerful voices in modern Moroccan poetry. This is perhaps the reason why, despite his great poetic skill and mastery of Arabic, he managed to publish only one book of poetry. In fact, the reader of his poems cannot but recognize a deep feeling of awe before language.