A Quote by Rabih Alameddine

Whenever I come across an Arabic word mired in English text, I am momentarily shocked out of the narrative. — © Rabih Alameddine
Whenever I come across an Arabic word mired in English text, I am momentarily shocked out of the narrative.
It sometimes happens to me while writing, that I seek a word; mischievous as it is it appears in English, it appears in Arabic, but refuses to come in Hebrew. To some extent I made up my Hebrew. Unquestionably, the influence of Arabic is dominant, my syntax is almost Arabic.
Woman at Point Zero I wrote during the '70s in Arabic. It came in English in '82. So, almost ten years' difference between the Arabic and the English.
We are so mired in the complexity of our reactions to other people that when you come across someone who is asocial, there is a simplicity that is refreshing.
The sign was spray-painted in Arabic and English, probably from some attempt by the farmer to sell his wares in the market. The English read: Dates-best price. Cold Bebsi. "Bebsi?" I asked. "Pepsi," Walt said. "I read about it on the Internet. There's no 'p' in Arabic. Everyone here calls the soda Bebsi." "So you have to have Bebsi with your bizza?" "Brobably.
I think sometimes a narrative can come out of a single word.
I think in Arabic at times, but when I'm writing it's all in English. And I don't try to make my English sound more Arabic, because it would be phony - I'm imagining Melanie Griffith trying to do a German accent in Shining Through. It just wouldn't work. But the language in my head is a specific kind of English. It's not exactly American, not exactly British. Because everything is filtered through me, through my experience. I'm Lebanese, but not that much. American, but not that much. Gay, but not that much. The only thing I'm sure of, really, is that I'm under 5'7".
With Orff it is text, text, text - the music always subordinate. Not so with me. In 'Magnificat,' the text is important, but in some places I'm writing just music and not caring about text. Sometimes I'm using extremely complicated polyphony where the text is completely buried. So no, I am not another Orff, and I'm not primitive.
I am an extremely private person. I always feel that I come across as a caricature of myself whenever I do interviews.
My identity comprises of more than just my faith. I am a proud Muslim, but I am also a liberal, a Briton, a Pakistani, a Londoner, a father, a product of the globalised world who speaks English, Arabic and Urdu.
I am shocked, truly shocked. I was in Siberia a few weeks ago, and I am now just back in from the field in Alaska. The permafrost is melting fast all over the Arctic, lakes are forming everywhere and methane is bubbling up out of them.
A translation needs to read convincingly. There's no limit to what can go into it in terms of background research, feeling, or your own interests in form and history. But what should come out is something that reads as convincing English-language text.
Those who are not shocked when they first come across quantum theory cannot possibly have understood it.
English is a forgiving language. It's not like Classical Arabic and it's not like French. You can speak broken English and be expressive and no one will hold it against you.
James Joyce's English was based on the rhythm of the Irish language. He wrote things that shocked English language speakers but he was thinking in Gaelic. I've sung songs that if they were in English, would have been banned too. The psyche of the Irish language is completely different to the English-speaking world.
[I have a] way of making narrative sculpture, where first you make a text and out of that text you make objects. [...] I start with a story and then I make sculpture from that story, it's just that the stories become more and more elaborate.
In my lifetime all our problems have come from mainland Europe and all the solutions have come from the English-speaking nations across the world.
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