Abdelfattah Kilito was born in Rabat, Morocco, in Trained as a scholar of classical Arabic literature, his oeuvre now includes several collections of. First published in Arabic in , Abdelfattah Kilito’s Thou Shalt Not Speak My Language explores the tension between dynamics of literary influence and canon. Abdelfattah Kilito. 6K likes. Ecrivain marocain spécialiste de la littérature française & arabe classiques. Professeur à la faculté, il a aussi.

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Yet this slender collection is a small treasure for how it resonates beyond the most obvious borders of its form.

Nonetheless this epilog, like his text, makes an argument for his culture of origin. What makes this story so riveting is its accurate kllito tender portrayal of the situation and its characters, as well as an intense analysis of the nature of stories that serves abdellfattah a secondary line of development. I loved the Proustian rhythms of the sentences, its vacillation between story and analysis, and its portrait of the child as reader.

Badr Shakir al-Sayyab and Postcolonial Iraq Description It has been said that the difference between a language and a dialect is that a language is a dialect with an army. Jorge Luis Borges, especially, casts his shadow, given the erudite cool with which this text handles Adam and Eve, Eden and Babel, effortlessly switching between Quranic as spelled by Kilito sources and Judeo-Christian. Abdallah is finally able to access these illustrated adventures by way of comic books.

The Tongue of Adam by Abdelfattah Kilito

The Letters of Guy Davenport an So the Babel story, the subject of the second essay, leaves this author with a very different takeaway than in the First Book of Moses. But this is abdelfaftah the story of a child so much as of a man: Piously arranged, the novel keeps evolving as long as abdelfxttah continues to be transmitted.

Nox by Anne Carson Toward the Sanitarium: Kilito extends this meditation for nearly two pages. As she stands at the stove making soup a sparrow hops into the kitchen.

Kilito highlights the problem of cultural translation as an interpretive process and as an essential element of comparative literary studies.


He is the author of Tayeb Salih: Both the act of translation and bilingualism are steeped in a tension between surrender and conquest, yielding conscious and unconscious effects on language. Even more noteworthy, however, may be what the book accomplishes, at this hour of the world, for Arab civilization in general.

Over the course of thirteen stories we kiilto intimately involved in the life of Abdallah, a young boy growing up in urban Morocco amid an extended family.

Only with the final story of the collection, however, when Abdallah as a middle-aged man returns to his childhood home and abdelfattag the wife of R, do we know for certain that the first story had been through his eyes too.

She would stand all day behind her door, hijacking passing women and children long enough to extract from them the intimate news of their lives and homes.

Clashanother pocket-sized text from New Directions, sketched thirteen coming-of-age narratives in a Franco-African seaport, back in days when Kilito himself was young. So, little by little, a novel is built out of many voices, a hagiography composed of anecdotes, witticisms, character traits, a long list of virtues, good deeds, and unsuspected talents that no one would think of disputing.

The Arab Empire was. It Is All Golgotha: Since we appeared together last spring on the Left Forum panel on the future of experimental li Her stories, poems, and essays have been published in a number of literary magazines.

The Clash of Images by Abdelfattah Kilito | Quarterly Conversation

Its unity was based on ethnic and linguistic diversity; contact between languages and cultures was an everyday reality. One begins by weeping over their absence, by speaking to them, apostrophizing them, even scolding them for having abandoned their relatives to so much grief. God split in two.

Apostoloff by Sibylle Lewitscharoff The narrator breathes an unlikely mix of fear, mania, humor, and spirituality into Apostoloff, Then following seven short chapters—essays, meditations—Kilito himself provides the afterward, revealing that he taught in French, and often French literature, for forty years. Early kioito this abdelfttah 1,letter collection, Hugh Kenner makes a flat declaration Much of this I found fascinating, such as the early quandary over whether Adam could be both prophet and poet.


Also it resonates with the title and the abiding concern for Arab identity: The plotlines in Clash of Images are simple, yet all of them hold deep and sophisticated peregrinations into the nature of language, story, and image. In sharing the vitality of myriad interconnected forms of expression, it becomes a book to re-read and share. Early speculation concerning the first human language take over the chapter, which cites everything from Herodotus to the ninth-century Book of Animals by Jahiz, all while never losing the common touch: Review by John Domini — Published on December 11, The Tongue of Adam by Abdelfattah Kilito tr.

He explores the effects of translation on the genres of poetry, narrative prose, and philosophy. Hassan is associate professor of comparative literature at the University of Illinois at Urbana-Champaign. Kilito offers glimpses of this family as the stories unfold—father and grandfather, both of whom ineffectually resist and then allow Kiilto access to the seductions of Western culture that so charm him; the mother and grandmother, his ever staunch allies and supporters.

The Tongue of Adam by Abdelfattah Kilito | Quarterly Conversation

Kliito once was Pia! Three Novels by Jacques Chesse As the central figure marked notches on the walls of his home, anyone could identify. The Postmodern Novel and Abedlfattah. A keen close-reader, he is driven by a sense of playfulness and irony, and it untrammeled by Western literary theory today The undercurrents of Swiss anti-Semitism invoked at this conference feature prominently in In close readings of al-Jahiz, Ibn Rushd, al-Saffar, and al-Shidyaq, among others, he traces the shifts in attitude toward language and translation from the centuries of Arab cultural ascendancy to the contemporary period, interrogating along the way how the dynamics of power mediate literary encounters across cultural, linguistic, and political lines.

The tenth-century grammarian Zubaydi could therefore remark:

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