Abstract
The literary depiction of the deep scars war and exile have inflicted on Palestinians can be understood in terms of the concept of the in-between (liminal) position of the rites of passage, as developed by Turner, Firmat, and others. The following chapters will show that major works by Palestinian writers as different as Mahmud Darwish, Emile Habibi, Ghassan Kanafani, and Fawaz Turki include characters, techniques, and literary tropes that can be characterized as threshold entities that, in turn, represent the central Palestinian experience of living a marginal existence on literal and figurative borders. This precarious living on border lines can also be seen in the fiction of other Palestinian writers, such as Jabra’s novel The Ship—wavering as it is far from land with characters on board teetering on the brink of madness and death.1 Such experience of living on border lines has shaped both the views of Palestinians on Israeli Jews and the kind of literary and artistic products they employ to reflect these views.
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Notes
Jabra Ibrahim Jabra, Al-Safina (Beirut: Dar al-Nahar, 1970), trans. Adnan Haider and Roger Allen as The Ship (Washington, DC: Three Continents, 1985).
Ghassan Kanafani, Men in the Sun, trans. Hilary Kilpatrick (Washington: Three Continents, 1993), p. 61.
For this and other terms in the Qur’an see Kamal Abdel-Malek, Muhammad in the Modern Popular Egyptian Ballad (Leiden: E. J. Brill, 1995), p. 2.
Edward Said, The Question of Palestine, 2nd ed. (New York: Vantage Books, 1992), p. 151.
Muhammad Siddiq, Man is a Cause: Political Consciousness and the Fiction of Ghassan Kanafani (Seattle, WA: University of Washington, 1984).
Ghassan Kanafani, All That’s Left to You, trans. May Jayyusi and Jeremy Reed (Northampton, MA: Interlink, 1990), pp. 35–36.
Emile Habibi, Sudasiyyat al-Ayyam al-Sitta (Haifa: Matbaat al-Taawuniyya, 1996), p. 12.
Emile Habibi, al-Waqai al-Ghariba fi Iktifa Said abi al-Nahs al-Mutasha’il (Haifa: Dar Arabesque Beirut: Dar Ibn Khaldun, 1974; 3rd ed. Al-Quds: Dar Salah al-Din, 1977; 4th ed. Beirut: Dar al-Farabi, 1981. For all quotations see the English translation: The Secret Life of Saeed, the Ill-Fated Pessoptomist, trans. Salma K. Jayyusi and Trevor Le Gassick (London: Zed, 1984).
Lital Levy, “Exchanging Words: Thematizations of Translation in Arabic Writing from Israel,” Comparative Studies of South Asia, Africa and the Middle East, 23, nos. 1&2 (2003), p. 110. Electronic version.
Peter Heath, “Creativity in the Novels of Emile Habiby, With Special Reference to Sa’id The Pessoptimist,” in Kamal Abdel-Malek and Wael Hallaq (eds.), (Leiden: E.J. Brill, 2000), Tradition, Modernity, and Postmodernity, pp. 158–172.
Roger Allen, The Arabic Novel: An Historical and Critical Introduction 2nd ed. (Syracuse, NY: Syracuse University Press, 1995), p. 211.
Muhsin al-Musawi, The Postcolonial Arabic Novel (Leiden: E.J. Brill, 2003), p. 310.
Habibi, Laka ibn Laka (Nazareth: Dar 3 Adhar, 1980), p. 88.
Yasin Ahmad Faur, in his 1993 Al-Sukhriya fi Adab Emile Habibi (Tunis: Dar al-Maarif, 1993), p. 85.
Mahmud Darwish, Dhakira li al-Nisyan (Haifa: Manshurat al-yasar, 1987); trans. Ibrahim Muhawi as Memory for Forgetfulness: August, Beirut, 1982 (Berkeley, CA: University of California Press, 1995).
Firmat, Literature and Liminality: Festive Readings in the Hispanic Tradition (Durham, NC: Duke University Press, 1986), p. 21. For more on metalepsis see Abdel-Malek, Muhammad in the Modern Egyptian Popular Ballad, pp. 114–118.
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© 2005 Kamal Abdel-Malek
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Abdel-Malek, K. (2005). Exile and Life on Border Lines. In: The Rhetoric of Violence. Palgrave Macmillan, New York. https://doi.org/10.1007/978-1-137-06667-1_5
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