I return to one of my favourite humourists, Flann O'Brien, as it just happens that I read a collection of his Stories and Plays. I think this is required reading for all Flann fans, bringing to our attention
some of his theatre work, his unfinished novel Slattery's Sago Saga, as
well as a typical O'Brien piece on James Joyce (James Joyce in the Dark) and a number of short stories, the best of which is, to my mind, The Martyr's Crown (turned into a short film in 2009). Claud Cockburn's
introduction is also very illuminating.
Yet another interesting read for Flann fans is Rhapsody in Stephen's Green / The Insect Play, a lost work by Flann / Myles na
Gopaleen, which is, in fact, an interesting and highly personalised adaptation of a play by
the Czech writer Karel Capek (with Joseph Capek).
A
humorous (close to sarcastic) look at the human condition through
episodes from the life of insects, this play shows Flann / Myles at the
height of his creative powers, with superb powers of characterisation.
The "Dublinisation" of the setting and characters is very successful,
and the lovers of Myles' Cruiskeen Lawn column will recognise elements
of it in here. The text also benefits from an introduction by editor Robert Tracy recounting how the play fared during its theatre career and how exactly it got to be lost.
Friday 19 July 2013
Friday 25 January 2013
An Egyptian Detour
Given that today, 25 January, was the 2-year anniversary of the Tahrir Square revolution, I thought it would be the case to write a note about a very Egyptian book (later turned into a very good film) that summarises very well and accurately enough - at least in my eyes - contemporary Egyptian society.
I am talking about Alaa Al Aswany's Yacoubian Building, a book which looks at a cross-section of Egyptian society with candour and frankness, a touch of irony, and lucid realism.
I have to confess to seeing the film before reading the book (I add a trailer below for your pleasure), within the Arab Film Festival at the ICA, which was followed by an illuminating Q&A with the film's director, Marwan Hamed.
The main characters with whom the book is concerned come from different walks of life and backgrounds: a crooked businessman with political ambitions, an ambitious student whose aspirations are dashed because of his poverty, a feisty young woman who has to work to support her family, an upper class Lothario, a very rich, refined gay man and his policeman lover, and a scheming tailor. They are all connected by the Yacoubian Building itself, a once grand block of flats that houses the rich in its vast apartments, while hosting on its roof a collection of ramshackle huts where the working class poor live.
In the throbbing heart of Cairo, these people love, plot, strive, survive, and dream of the future - each in their own way.
Taha, the young student, dreams of wedded bliss together with his childhood sweetheart, Busaina. But she has to work to maintain her mother and brothers, and his dreams to become a policeman come to nothing because he doesn't have the money to bribe his way in the police academy. While Busaina comes to accept the advances of her boss at the clothing store where she works, and becomes increasingly disillusioned and bitter, Taha finds solace in religion, coming under the sway of a very influential preacher.
Hagg Azzam rose to the top from being a shoeshine. He now has everything he needs and a little more. But he's not happy: he aspires to a place in the national assembly, and discovers that - at his age - he still has physical needs his old wife can't meet. The solution? Get a second, younger wife; but don't complicate things with the family, keep her closeted in the luxury flat in the Yacoubian Building, and take care there would be no new heirs to the fortune. A very religious man, Hagg Azzam sees nothing wrong with this solution (suggested by a friendly imam), nor in enjoying the occasional hashish. To get a leg up in politics, he has to get in the good graces of kingmaker Kamal El Fouli, but he might be in too deep for his own good.
Zaki Bey comes from an old, prestigious family. He spends his days spending what's left of the family fortune chasing women and appreciating fine drinks - and occasionally having monster rows with his sister, always careful of the family name. When Busaina is introduced to him as a prospective secretary, he discovers a very fine woman who might tame him, while she discovers the charm of a bygone age - and maybe a means of salvation.
Hatim Rasheed is the editor of the French-language newspaper Le Caire, and also a fairly open gay man. His employees respect him too much to make an issue about it, and his neighbours are both understanding (to some point) and intimidated by his wealth and high position in society to say anything about it in his face.
Although the book, and subsequently the film, was accused by some commentators (in the West) of presenting a "dated and shallow" view of homosexuality, the simple fact that it is presented as a fact of life, is considered to be revolutionary. "I tried to portray the gay character as a human being, not as a particular case. That is something new" said Alaa Al Aswany in an interview for The Guardian.
To quote Rachel Aspden, writing in The Observer, "Al Aswany's frank treatment of everything from homosexuality and corruption to illegal abortion and police brutality was sensational. His book went on to become the bestselling Arabic novel in recent history."
The style of writing is clean, without exaggerations, and sparse with regard to metaphors, making for a very enjoyable read that uncovers a previously unknown world.
The most likeable character was, for me, the libertine Zaki Bey, possibly also because he is wonderfully played in the film by veteran actor Adel Imam. In fact, the characters are all having bigger or smaller flaws, just like anyone else, but some people's flaws are way bigger than the others. Who comes off the worst, in my opinion, is Hagg Azam, who embodies some of the worst traits of the corrupt society the Egyptian revolution tried to get rid off two years ago. I think the film wholly does justice to the book, although it had to cut some parts and change others. If you're going to get through the film and the book, I'd recommend to start with the film.
I am talking about Alaa Al Aswany's Yacoubian Building, a book which looks at a cross-section of Egyptian society with candour and frankness, a touch of irony, and lucid realism.
I have to confess to seeing the film before reading the book (I add a trailer below for your pleasure), within the Arab Film Festival at the ICA, which was followed by an illuminating Q&A with the film's director, Marwan Hamed.
The main characters with whom the book is concerned come from different walks of life and backgrounds: a crooked businessman with political ambitions, an ambitious student whose aspirations are dashed because of his poverty, a feisty young woman who has to work to support her family, an upper class Lothario, a very rich, refined gay man and his policeman lover, and a scheming tailor. They are all connected by the Yacoubian Building itself, a once grand block of flats that houses the rich in its vast apartments, while hosting on its roof a collection of ramshackle huts where the working class poor live.
In the throbbing heart of Cairo, these people love, plot, strive, survive, and dream of the future - each in their own way.
Taha, the young student, dreams of wedded bliss together with his childhood sweetheart, Busaina. But she has to work to maintain her mother and brothers, and his dreams to become a policeman come to nothing because he doesn't have the money to bribe his way in the police academy. While Busaina comes to accept the advances of her boss at the clothing store where she works, and becomes increasingly disillusioned and bitter, Taha finds solace in religion, coming under the sway of a very influential preacher.
Hagg Azzam rose to the top from being a shoeshine. He now has everything he needs and a little more. But he's not happy: he aspires to a place in the national assembly, and discovers that - at his age - he still has physical needs his old wife can't meet. The solution? Get a second, younger wife; but don't complicate things with the family, keep her closeted in the luxury flat in the Yacoubian Building, and take care there would be no new heirs to the fortune. A very religious man, Hagg Azzam sees nothing wrong with this solution (suggested by a friendly imam), nor in enjoying the occasional hashish. To get a leg up in politics, he has to get in the good graces of kingmaker Kamal El Fouli, but he might be in too deep for his own good.
Zaki Bey comes from an old, prestigious family. He spends his days spending what's left of the family fortune chasing women and appreciating fine drinks - and occasionally having monster rows with his sister, always careful of the family name. When Busaina is introduced to him as a prospective secretary, he discovers a very fine woman who might tame him, while she discovers the charm of a bygone age - and maybe a means of salvation.
Hatim Rasheed is the editor of the French-language newspaper Le Caire, and also a fairly open gay man. His employees respect him too much to make an issue about it, and his neighbours are both understanding (to some point) and intimidated by his wealth and high position in society to say anything about it in his face.
Although the book, and subsequently the film, was accused by some commentators (in the West) of presenting a "dated and shallow" view of homosexuality, the simple fact that it is presented as a fact of life, is considered to be revolutionary. "I tried to portray the gay character as a human being, not as a particular case. That is something new" said Alaa Al Aswany in an interview for The Guardian.
To quote Rachel Aspden, writing in The Observer, "Al Aswany's frank treatment of everything from homosexuality and corruption to illegal abortion and police brutality was sensational. His book went on to become the bestselling Arabic novel in recent history."
The style of writing is clean, without exaggerations, and sparse with regard to metaphors, making for a very enjoyable read that uncovers a previously unknown world.
The most likeable character was, for me, the libertine Zaki Bey, possibly also because he is wonderfully played in the film by veteran actor Adel Imam. In fact, the characters are all having bigger or smaller flaws, just like anyone else, but some people's flaws are way bigger than the others. Who comes off the worst, in my opinion, is Hagg Azam, who embodies some of the worst traits of the corrupt society the Egyptian revolution tried to get rid off two years ago. I think the film wholly does justice to the book, although it had to cut some parts and change others. If you're going to get through the film and the book, I'd recommend to start with the film.
And, since we're talking about Tahrir Square, here is a short video interview with a young Egyptian who has taken part in the events.
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