Egyptian Colloquial Poetry in the Modern Arabic Canon
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1 Egyptian Colloquial Poetry in the Modern Arabic Canon
2 Literatures and Cultures of the Islamic World Edited by Hamid Dabashi Hamid Dabashi is Hagop Kevorkian Professor of Iranian Studies and Compar ative Literature at Columbia University. Hamid chaired the Department of Middle East and Asian Languages and Cultures from 2000 to 2005 and was a founding member of the Institute for Comparative Literature and Society. His most recent books include Islamic Liberation Theology: Resisting the Empire ; Makhmalbaf at Large: The Making of a Rebel Filmmaker ; Iran: A People Interrupted ; and an edited volume, Dreams of a Nation: On Palestinian Cinema. Published by Palgrave Macmillan: New Literature and Philosophy of the Middle East: The Chaotic Imagination By Jason Bahbak Mohaghegh Literature, Gender, and Nation-Building in Nineteenth-Century Egypt: The Life and Works of `A isha Taymur By Mervat F. Hatem Islam in the Eastern African Novel By Emad Mirmotahari Urban Space in Contemporary Egyptian Literature: Portraits of Cairo By Mara Naaman Poetics and Politics of Iran s National Epic, the Shāhnāmeh By Mahmoud Omidsalar Iranian Cinema and Philosophy: Shooting Truth By Farhang Erfani Egyptian Colloquial Poetry in the Modern Arabic Canon: New Readings of Shiʿr al-ʿāmmiyya By Noha M. Radwan Gender, Sex, and the City: Urdu Rek_h_tī Poetry, By Ruth Vanita Islam, Migrancy, and Hospitality in Europe By Meyda Yeğenoğlu Global Perspectives on Orhan Pamuk s Literature: Existentialism and Politics (forthcoming) By Mehanz M. Afridi and David M. Buyze Catastrophe and Exile in the Modern Palestinian Imagination: Telling Memories (forthcoming) By Ihab Saloul Urdu Literary Culture: Vernacular Modernity in the Writing of Muhammad Hasan Askari (forthcoming) By Mehr Afshan Farooqi
3 Egyptian Colloquial Poetry in the Modern Arabic Canon New Readings of Shiʿr al-ʿāmmiyya Noha M. Radwan
4 EGYPTIAN COLLOQUIAL POETRY IN THE MODERN ARABIC CANON Copyright Noha M. Radwan, S o f t c o v e r r e p r i n t o f t h e h a r d c o v e r 1 s t e d i t i o n All rights reserved. First published in 2012 by PALGRAVE MACMILLAN in the United States a division of St. Martin s Press LLC, 175 Fifth Avenue, New York, NY Where this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number , of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave and Macmillan are registered trademarks in the United States, the United Kingdom, Europe and other countries. I S B N I S B N ( e B o o k ) D O I / Library of Congress Cataloging-in-Publication Data Radwan, Noha M. Egyptian colloquial poetry in the modern Arabic canon : new readings of shi r al- ammiyya / Noha M. Radwan. p. cm. (Literatures and cultures of the Islamic world) Includes bibliographical references. 1. Dialect poetry, Arabic Egypt History and criticism. 2. Arabic poetry 20th century History and criticism. I. Title. PJ8210.R dc A catalogue record of the book is available from the British Library. Design by Newgen Imaging Systems (P) Ltd., Chennai, India. First edition: March
5 To the Revolutionaries of January 25th, 2011
6
7 Contents No t e f r o m t h e E d i t o r A ck n o w l e d g m e n t s ix xi I nt ro duc t ion 1 1 Historically Speaking: Arabic Poetry and the Language of Speech 9 2 Shiʿr al-ʿāmmiyya and Modernism in Arabic Poetry 37 3 Fuʾād Ḥaddād: A Modernist in Traditional Garb 71 4 Ṣ alāḥ Jāhīn: A Sage in Fool s Clothing ʿAbd al-raḥmān al-abnūdī: A Ṣaʿīdī a mon g C a i re ne s 159 C onc lu sion 19 9 Postscript: Egyptian Colloquial Poetry Blooms in the Arab Spring 205 Notes 213 Bibliography 2 27 Index 2 33
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9 Note from the Editor T he Islamic world is home to a vast body of literary production in multiple languages over the last 1,400 years. To be sure, long before the advent of Islam, multiple sites of significant literary and cultural productions existed from India to Iran and from the Fertile Crescent to North Africa. After the advent of Islam in the mid-seventh century CE, Arabic, Persian, Urdu, and Turkish authors in particular produced some of the most glorious manifestations of world literature. From prose to poetry, modern to medieval, elitist to popular, oral to literary, this body of literature is in much need of a wide range of renewed scholarly investigation and lucid presentation. The purpose of this series is to take advantage of the most recent advances in literary studies, textual hermeneutics, critical theory, feminism, postcolonialism, and comparative literature to bring the spectrum of literatures and cultures of the Islamic world to a wider audience and appreciation. Usually the study of these literatures and cultures is divided between classical and modern periods. A central objective of this series is to cross over this artificial and inapplicable bifurcation and abandon the anxiety of periodization altogether. Much of what we understand today from this rich body of literary and cultural production is still under the influence of old-fashioned Orientalism or post World War II area studies perspectives. Our hope is to bring together a body of scholarship that connects the vast arena of literary and cultural production in the Islamic world without the prejudices of outmoded perspectives. Toward this end, we are committed to pathbreaking strategies of reading that collectively renew our awareness of the literary cosmopolitanism and cultural criticism in which these works of creative imagination were conceived in the first place. H a m i d D a b a s h i
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11 Acknowledgments T he genesis of this project, which now seems like it belongs in the distant past, was on a warm Cairo afternoon in July at the home of my dear friend, formerly also my professor, Samia Mehrez. She and I had been talking about the poetry of ʿAbd al-ra ḥ mān al-abnūdī which she had taught in one of her classes. Samia was aware that by bringing al-abnūdī s poem to a class of modern Arabic poetry, she was blazing new trails, because, hardly ever have the colloquial poets been allowed into the same literary space occupied by their contemporaries who write in the standard language. That afternoon we talked about the subtleties and complexities of al-abnūdī s poetry and she said: You know, that would make for a good doctorate dissertation. I have taken her word for it and have walked a trail that she blazed. For that, I will always be immensely grateful to her. It has been a wonderful journey. Although I am no Dante, I was lucky enough to be guided through my journey by a soul who proved to be no less supportive and knowledgeable than Dante s Virgil. Pointing, warning, explaining, and advising, Margaret Larkin was my guide through the inferno that is now more commonly called graduate school. And of course, for her guidance and continuous support I am also truly and deeply grateful. I wish to thank many others for their help along this long journey, both during the years of graduate research and writing and beyond (during a period we can call purgatory). I wish to thank James Monroe and John Hayes from UC Berkeley. John may have a better memory of how many versions and drafts he read of this manuscript or parts of it, and always as meticulously as if it were the final draft. Mark Pettigrew must have read a similar number of drafts. I am grateful for your patience, your rigor, and for not remembering exactly how many versions we went through. I wish to thank Gil Anidjar, Hamid Dabashi, and Joseph Massad, formerly colleagues at Columbia s MEALAC, and always good friends, editors, and advisors. I am grateful for your suggestions, edits, and support.
12 xii Acknowledgments Thanks are also due to Amin Ḥaddād, Amina Jāhīn, Bahaa Jāhīn and to ʿAbd al-ra ḥ mān al-abnūdī. Your gracious support and help with my research has been instrumental in the completion of this project. I hope to have done some justice to the treasure trove of poetry you have made available to me. I also wish to express my gratitude to Dr. Fayeq Oweis whose beautiful artwork now adorns the cover of this monograph and to Brigitte Shull at Palgrave who first suggested that we use Arabic calligraphy for the cover art. Parts of this manuscript have previously appeared in articles that I wrote for the Journal of Arabic Literature (35:2, 2004) and the Journal of Palestine Studies (11:4, 2011). I wish to thank the editors of both journals for their permission to use this material in this book.
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