New Poetry: Maha Al Aswad’s ‘Death in Six Images’
From Saïd Khatibi’s ‘I Resist the River’s Course’
From Ghazi Algosaibi’s ‘Abu Shalakh, the Chameleon’
Fiction
From Saïd Khatibi’s ‘I Resist the River’s Course’
Saïd Khatibi’s I Resist the River’s Course — on the shortlist for the 2026 International Prize for Arabic Fiction (IPAF), with a winner set to be announced online April 9 — chronicles half a century of Algerian history, from the Second World War to the early 1990s.
From Ghazi Algosaibi’s ‘Abu Shalakh, the Chameleon’
“Abu Shalakh, the Chameleon” is a 2002 fantastical, satirical novel by Ghazi Algosaibi (1940-2010) in which the Saudi literary giant and politician recounts the history of the Kingdom and its global entanglements through Abu Shalakh, a lovable liar, unreliable storyteller, and self-proclaimed “truth-teller.”
Poetry
New Poetry: Maha Al Aswad’s ‘Death in Six Images’
“They walk beneath the sky. As their arms extend. As they grow new arms. As they carry their children.’
Interviews
Samar Yazbek on Redefining Collective Memory
“Sometimes, I believe that silence itself could carry meaning in the face of this barbarity. Sometimes, I tell myself that I’ll stop documenting atrocities and only write literature. But all of this only makes sense in the context of our desire for justice, our desire to preserve the true essence of humanity.”
In Conversation: Songs as Memory, as Solidarity, as Resistance
Iman Humaydan, Michelle Hartman, and Emma Hardy discuss the new translation of Iman’s book “Songs for Darkness” and songs as a tool for the transmission of memory, of solidarity, and as a method of resistance.
Translating Noir: On ‘The End of Sahara’
In this conversation with ArabLit’s Tugrul Mende, translator Alex Elinson talks about how literary prizes affect the translation landscape, the draw of detective novels, and how he hones voice in a novel with many starring characters.
In Focus
From the archives
Jonathan Smolin on the Relationship Between Ihsan Abdel Kouddous’s Politics and His Novels
“My book really is an examination of how he participated in the coup ,and how he believed fundamentally that the Free Officers were going to install democracy, and—once he realized that they were actually installing military dictatorship—the way he dissented, in the editorials and in person, the way that he was jailed, and the way he turned to fiction to express his dissent directly to Nasser.”
For Valentine’s Day: The Many Loves of Nizar Qabbani
Your love has taught me… how to be sad.
And I have needed, for ages
A woman to make me sad
A woman in whose arms I could weep
Like a sparrow,
In Conversation: The Possibilities for Doing ‘Right’ in 14th Century Morocco & Spain
