Interview with: British Algerian author Mouloud Benzadi
Mouloud Benzadi: "Arab writers
excel at winning literary awards, but are unable to achieve global recognition!"
By:
Latifa Muhammad Hasib Al-Qadi
Mouloud Benzadi, a British Algerian
novelist, essayist, linguist, translator, critic, and researcher, is a
prominent figure in Arab cultural diaspora. With roots in Algeria and a spirit
influenced by Great Britain, his intellectual prowess knows no bounds. Delving
into the nuances of humanity and promoting cultural harmony, he is an
enlightening beacon in our globalized world. In this exclusive interview, we
explore the captivating mind of Mouloud Benzadi as he shares his insights,
inspirations, and aspirations for a more interconnected world.
In a recent book review you published
about "Spare," you noted that Prince Harry contradicts himself
regarding the topic of privacy. Could you please provide further clarification?
Certainly. Prince Harry has consistently expressed his
concerns regarding the media's intrusion into his and his family's privacy. He
has taken legal action against prominent British newspapers such as "The
Sun," "Daily Mirror," and "Mail on Sunday," as well as
a news agency that captured unauthorized aerial photos of their Cotswolds home,
ultimately resulting in their decision to relocate. However, his bombshell “Spare”
suggests that Prince Harry is now facing accusations of contradicting himself
or displaying hypocrisy. Despite his complaints about privacy breaches, some
newspapers argue that the release of his widely-publicized memoir,
"Spare," may be seen as a violation of his own family's privacy.
You mentioned in a recent interview
that Arab writers are skilled at winning literary prizes but are unable to
achieve global recognition. How would you explain this discrepancy?
This statement highlights an aspect that may be difficult
for Arab writers to accept: the challenge of achieving universal recognition.
Universalism, signifying widespread acknowledgment and global distribution, is
often elusive for Arab writers. Their fame tends to be constrained within their
home countries and the Arab region, often diminishing over time as new literary
figures emerge.
Moreover, Arab writers have sometimes misunderstood the
path to attaining universality. Some mistakenly believe that participation in
international events, winning prestigious awards, or translating their works
into foreign languages automatically leads to international acclaim. However,
it is difficult to claim international recognition when Arabic books struggle
to achieve significant sales outside of the Arab world. How can we speak of
universality when Arab literary figures remain relatively unknown on the global
literary stage?!
Speaking of translation, while working
in this field, doesn't translation help Arab writers achieve universality by
having their works reach audiences speaking other languages?
Translation enables a work to be available in another language,
but it does not guarantee foreign interest or engagement. Translated Arabic
works often struggle to captivate foreign audiences or gain significant
popularity worldwide, leading them to remain on library shelves indefinitely.
Several factors contribute to this, including Arab writers occasionally falling
into the trap of self-indulgence and focusing solely on local or regional
themes to please award committees and themselves, rather than considering
broader appeal. These works often fail to generate interest among global
readers who have a vast array of literary works at their disposal. It is ironic
that Arab writers are skilled at winning literary awards, yet they just can’t
achieve international recognition and remain unknown around the world!
In your opinion, how can Arab writers
achieve universality?
In my opinion, the first step towards achieving
universality for Arab writers is to free themselves from the obsession with
winning literary awards and seeking fame. It is unfortunate that Arab writers
often prioritize winning awards over capturing the hearts of contemporary
audiences and future generations with globally impactful humanistic works.
Investing time and effort in the pursuit of awards is uncertain, as it does not
guarantee lasting recognition, even if it provides instant regional fame. That
is why I suggest labeling this era of literature in the Arab world as "The
Era of Literary Awards," starting from 1988 when Mikhail Naima passed away
and Naguib Mahfouz won the Nobel Prize until a time in the future when writers
shift their focus away from such accolades and start writing beyond their
boundaries and embrace universal themes.
Another reason for the underachievement of Arab writers on
the global stage is their tendency to write while thinking in their own
language and with a logic that only their society understands. It is crucial to
recognize that to effectively reach audiences in the English-speaking world, we
must familiarize ourselves with their way of thinking and write using a logic
that they can understand and engage with. I have learned this from my own
experience in Britain. When I published my Arabic quotes translated into
English, they went unnoticed because I had written them with an Arabic mindset.
However, when I published quotes from my English writings, crafted with an
English logical framework, the results exceeded my expectations. My English
quotes garnered widespread attention worldwide. This achievement has motivated
me to write in English, and I now encourage the Arab world to consider this
approach. It represents a pioneering proposition in the history of the Arab
world, and I implore future generations to contemplate it. Perhaps my English
writings will serve as a model and evidence of the potential for success in
writing in English, the global language.
The novel "Angelina: A Girl from
Austria" falls within the category of autobiographical literature. Its
events take place in Britain, Austria, the Canary Islands, and Slovenia. What
does it convey to the reader?
This novel is a romantic story that follows the impossible
love between a young Arab man and an Austrian girl. The book takes readers on a
journey through the vibrant streets of London and then transports them to the
Austrian-Slovenian border, immersing them in the local lifestyle. Eventually,
the story leads them to the breathtaking Canary Islands. Classified as
autobiographical literature, this novel has been described by critics as a
provocative work due to its explicit sexual scenes and the unconventional ideas
and reflections it presents, stemming from the new environment, in contrast to
what is familiar and acceptable in the Arab world. The publishers informed me
that it was one of the best-selling books at Arabic book fairs.
The novel Abarat Wa Ibar "Lessons
and Conclusions" clearly reflects the tremendous effort put into its
creation. Could you kindly share the inspiration behind it?
This engaging novel tells the story of a humble family in
an impoverished suburb of Algeria's capital. Set during the French occupation
and liberation war (1954 – 1962), it draws from real accounts, making it historical
fiction. It's a great choice for a TV series based on true events. But creating
this wasn't easy; it required collecting stories from various people and
thorough historical research. In essence, this novel is the result of years of
hard work and dedication from many contributors.
Mouloud Benzadi is a prominent Arab
cultural figure in the diaspora. He is a novelist, translator, critic, and
researcher in language and literature. Besides Arabic, can he communicate his
thoughts in English and French?
After spending a significant amount of time in Britain,
I've come to realize the value of understanding the British perspective and
adjusting my writing accordingly. My immersion in British society has led me to
be the first Arab writer to advocate not only understanding the mindset and
writing style of English-speaking societies but also writing in English. I
encourage Arab writers to consider this proposition carefully. If they choose
not to, I leave it to future generations to evaluate and decide. History
supports this notion. Consider Omar Khayyam's poetry, which succeeded where
many other Eastern works failed in gaining popularity when translated into
English. The key was Edward Fitzgerald, the meticulous translator who adapted
the text to align with English thought patterns, earning admiration from the
masses.
Another example is the success of writers like Gibran and
Mikhail Naimy, who captivated the world through their English writings, while
renowned Eastern writers like Naguib Mahfouz and May Ziadeh struggled to
achieve the same recognition in English translations. Additionally, my English
quotes are widely shared on various platforms, in contrast to my translated
Arabic quotes. This has motivated me to write my first novel in English, and I
invite fellow Arab writers and future generations to join this endeavor. It's
worth noting that quotes from my upcoming novel have already been selected by
various quote websites and are gaining popularity on platforms like Twitter,
TikTok, and Instagram before the book's release, which fills me with motivation
and encouragement.
What about the presence of women in
your novels?
You might not believe it, but women are present in all of
my novels, from "Lessons and Conclusions" to "Angelina, a Girl
from Austria." And you can expect a strong female presence in my upcoming
English novel!
When you're writing, who do you
imagine as your internal censor? And who's the initial person you seek feedback
from regarding your writing?
In my literary world, there is no room for censorship. My
novels and articles fearlessly critique various practices within Arab
societies. While many diaspora writers often champion nationalism, I take a
different path by critiquing nationalism and patriotism. Instead, I advocate
for a common global culture that mirrors the multi-racial and multi-cultural
facets of British society. This society is bound not by identity but by a
shared language, English, and a common culture. One prime example is my spontaneous
creation of “Angelina, A Girl from Austria”, which I never imagined would
become a shocking novel in the Arab world.
As for readers, my writing does not target a specific tribe
or nation, but is intended for the whole world. I value and listen to input
from readers from around the globe.
Before we end this interview, is there
anything else you would like to express or any final thoughts you would like to
share with our readers and audience?
I've been profoundly influenced by two distinct
environments, and today I am eager to fully embrace and explore my British
side. My aspiration is to contribute significantly to English literature by
creating works that transcend national boundaries. I emphasize universal human
values and a profound love for the unity of humanity—a unity beautifully
exemplified by British society, where I now reside.
Some years ago, I made the decision to step away from an
Arab literary scene dominated by a select few veteran writers - a decision that
I consider both permanent and unchangeable. Nevertheless, I remain fully
committed to fostering positive and constructive relationships with my local
colleagues. I can engage in collaborative efforts from a distance, championing
literature, tolerance, and humanity, all while building bridges of friendship
and love among people across the globe.
My diverse and extensive experiences in the British Isles
hold great potential to benefit my colleagues in the Arab world. It's worth
noting that my unconventional thinking has come at a personal cost, including
threats from colleagues in my home country due to my differing views and my
advocacy for a different language. However, However, even as I exercise caution
when returning to my homeland, I maintain a strong faith in the authorities
there.
