Forthcoming

"Freeing yourself was one thing; claiming ownership of that freed self was another." author Toni Morrison (1931- 05.08.2019)

“If I tell the story, I control the version. Because if I tell the story, I can make you laugh, and I would rather have you laugh at me than feel sorry for me”; Nora Ephron, author/comedian

"Make your story count". Michelle Obama

"Social pain is understood through the lens of racial animus". Researcher/author Sean McElwee writing in Salon, 2016

"We are citizens, not subjects. We have the right to criticize government without fear."  Chelsea Manning; activist/whisleblower

“My father was a slave and my people died to build this country, and I’m going to stay right here and have a part of it, just like you, And no fascist minded people, like you, will drive me from it. Is that clear?” Paul Robeson; activist/singer

“We have a system of justice in this country that treats you much better if you're rich and guilty than if you're poor and innocent”. from civil rights attorney Bryan Stevenson

“This Fourth of July is yours, not mine. You may rejoice, I must mourn. To drag a man in fetters into the grand illuminated temple of liberty, and call upon him to join you in joyous anthems, were inhuman mockery and sacrilegious irony. Do you mean, citizens, to mock me, by asking me to speak today?” Frederick Douglass, WHAT TO THE SLAVE IS 4TH JULY? 07.05.1852 (full text in blog)

Senator Elizabeth Warren "We're a country that is built on our differences; that is our strength, not our weakness"

 

"We are more alike than we are different"v  Maya Angelou

As a Black writer, I was expected to accept the role of victim. That made it difficult in the beginning to be a writer.      James Baldwin

I often feel that there must have been something that I should’ve done that I didn’t do. But I can’t identify what it is that I didn’t do. That’s the first difficulty. And the second is, what makes you think you’re it?   

         Harry Belafonte, activist and singer at 89

 

It ain't what you don't know that gets you into trouble; It's what you know for sure that just ainst so.

Mark Twain

 

You can't be brave if you've only had wonderful things happen to you.

Mary Tyler Moore

 

 You can’t defend Christianity by being against refugees and other religions

Pope Francis:

 

"I don't have to be what you want me to be". Muhammad Ali

"The Secret of Living Well and Longer: eat half, walk double, laugh triple, and love without measure"  attributed to Tibetan sources

Recent audio posts include interviews with Rumi interpreter Shahram Shiva, London-based author Aamer Hussein, South African Muslim scholar, professor Farid Esack, and Iraqi journalist Nermeen Al-Mufti's brief account of Kirkuk City history. Your comments on our blogs are always welcome.

 

Life Without A Recipe--from the Arab American Pen

2016-04-15

by Barbara Nimri Aziz

If an Arab writer comes to mind it’s likely Nawal El-Saadawi, Hanan Al-Shaykh, Mahmoud Darwish, Nizar Qabbani, or Kahlil Gibran --all non-Americans. But it’s the 21st century and new names claim attention and respect: e.g. Diana Abu-Jaber, an American writer who for 20 years has woven Arab themes into her stories of life in the USA. This skilled writer and storyteller consistently offers us something others cannot:--subtle and intimate portrayals of Arab culture and people. Her new book--her sixth-- “Life without A Recipe”, adds to her repertoire of American life with an Arab ‘flavor’ (her last two books-- “Origin”, a crime story, and “Birds of Paradise” about a runaway daughter—are exceptions).

One of the first Arab American novelists to gain wide recognition, Abu-Jaber now represents an established community of women writers in the USA who contribute to feminist thought and to what’s known as ‘ethnic narratives’. This is a literary community where women far outnumber men writers, a fact that begs explanation and comparison. (Does one find parallels among American East Asian, South Asian and Latino writers?)

During the initial phase in the history of Arab American literature, i.e. writing by Americans of Arab heritage, fiction did not figure in our artistic expression. What literary image we claimed was though poetry, established mainly by Gibran, Samuel Hazo and Etel Adnan. Peter Blatty, author of The Exorcist, (he’s now 88 and still writing) is barely recognized as Arab; the same is true for Jane Brox whose essays offer scant reference to her Arab roots. Apart from them, our most accomplished writers are poets; with Hazo stand Sam Hamod, Naomi Shihab Nye, Khaled Mattawa, Lawrence Joseph, DH Melhem, Mohja Kahf, and Suheir Hammad-- a few names from scores of established contemporary Arab American writers.  

As literary output by Arab Americans grows, poetry remains dominant, and our men are more prolific in this genre.

Just as novels and memoirs arrived late in Arabic literature, they have been slow to take hold in Arab American and Diaspora Arab literary expression. Hanan Al-Shaykh, Nawal El-Saadawi, Fadia Faqir and Adhaf Soueif—all women, although not American -- are well established fiction authors writing in English.

Diana Abu-Jaber is one of the first American writers from our community to establish a reputation as a novelist. She joins Rabih Alameddine whose rich, prize-winning style propelled him into mainstream, with Laila Lalami, a brilliant storyteller moving into the top ranks of this country’s writers with her latest book “The Moor’s Account”. Compared to them, and to Rawi Hage, Patricia Sarrafian Ward and Kathryn Abdul Baki whose tales are set in the Arab homelands, Abu-Jaber’s narratives are (contemporary) America- centered. Today Jaber represents an emerging voice of mainly women authors, e.g. Laila Halaby, Randa Jarrar, Frances Khirallah Noble, Evelyn Shakir, and Susan Muaddi Darraj.

“Life without A Recipe” is a woman’s exploration of a career as a writer told through the influences of her Arab father, her maternal German grandmother, and her decision (with her husband) to adopt a baby. Hers is not a typical woman’s story –two short-lived marriages, a childhood filled with tension between father and grandmother, the decision to adopt, and then raising her child while resuming her career. Yet it is one which many writers and many more women will enjoy and imbibe as they reflect on their own (American) lives. Abu-Jaber shows us that life need not—cannot-- follow a prescription. Added joy awaits us in Abu-Jaber’s masterful imagery and in her delicious way with words.

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