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Share this:TwitterFacebookEmailPrintLinkedInRedditGoogleTumblrWhatsAppPinterestTelegramPocketSkypeLike this:Like Loading…‹ Taleb Al-Refai’s IPAF-longlisted ‘Al-Najdi’: Alnukhethah’s Ode to the SeaCategories: Morocco We spoke in French, and Safia, who is fluent in English, helped me whenever I stumbled on a word. “Moroccan writers are the people who made Moroccan literature, not the state. The state did nothing, and will do nothing. He or she must demolish all taboos, all statues, all idols. And, of course, he or she cannot look for help from anyone.” The state will not and cannot help in this vision, he said; the writer must forge ahead on his or her own. “Against everything—the writer is a demolisher. And that will continue like that, and we don’t care.”
You can read it all at The New Yorker and then read an excerpt of Fadel’s A Beautiful White Cat Walks with Me, tr. The sixties was an era of Marxism everywhere in the world. That was culture. Engaged theatre,” he said. Engaged novels. He began writing plays in the nineteen-sixties. Nicolas Niarchos talks to Moroccan novelist and playwright Youssef Fadel in The New Yorker, in “’To Be a Writer You Have to Be Against the State’: Youssef Fadel Illuminates Morocco’s Past and Present”:
Fadel without his signature hat with translator Alex Elinson. Alex Elinson, at Hoopoe Fiction, followed by an excerpt of A Rare Blue Bird Flies with Me, tr. “All culture back then was Marxist. Jonathan Smolin. Photo credit: The Moroccan- American Commission for Educational and Cultural Exchange
From the piece:
We walked over to a hotel lobby near the rail station, where Fadel told me about falling in with a leftist crowd during his youth. When you wanted to make something cultural, when you read, you read engaged writing. Fadel goes on to say:
“To be a writer you have to be against the state, firstly,” Fadel insisted.