Archive for January 2017
I interviewed my friend Hassan Blasim, a brilliant writer and a wonderful human being, for the National.
Hassan Blasim is an Iraqi-born writer and film-maker, now a Finnish citizen. He is the author of the acclaimed story collections “The Madman of Freedom Square” and “The Iraqi Christ” (the latter won the Independent Foreign Fiction prize), and editor and contributor to the science fiction collection “Iraq +100”. His play “The Digital Hat Game” was recently performed in Tampere, Finland.
Because it’s so groundbreaking, his work is hard to categorise. It deals with the traumas of repression, war and migration, weaving perspectives and genres with intelligence and a brutal wit.
Why do you write?
To be frank, I would have killed myself without writing.
If you read novels and intellectual works since your childhood, your head is filled with the big questions. Why am I here? What’s the meaning of life? You apply this questioning to the mess of the world around you – why is America bombing Iraq? why are we suffering civil wars? – and you realise the enormous contradiction between your lived reality and the ideal world of knowledge. On the one hand, peace, freedom, and our common human destiny, and on the other, borders, capitalism and wars.
Writing for me began as a hobby, or a way of dreaming. And then when I witnessed the disasters that befell Iraq, it became a personal salvation. It wouldn’t be possible to accept this world without writing.
Maybe writing is a psychological treatment, or an escapism. It’s certainly a dream. But it’s also to confront the world, and to challenge all the books that have been written before. And it’s a process of discovery. It’s all of these things.
Dezeray Lyn interviewed me for the Arab Daily News on the next stage in Syria, propaganda and conspiracy theories, and the connections between Syria and the world. The full article is here.
DL: I think it cheats every revolutionary, pro democracy organizer and all lovers of the land to only discuss Syria only in post counter-revolutionary, post civil war contexts. Can you intimate us with life in Syria and Aleppo before the Arab Spring uprising in terms of organizing/living/arts/love/culture under an oppressive Assad dictatorship?
RYK: Syria was in many ways a lovely country. Foreigners who visited generally loved it, and Syrians were very proud of it. Syria has a fine climate, one of the world’s great cuisines, unparalleled historical riches, and a diverse and friendly population.
It was also, beneath the surface, a tragic country, one which had suffered enforced poverty and dislocation under first Ottoman and then French imperialism, then bitter class oppression, and then sixty years of dictatorship in which a new ruling class of security officers and loyal businessmen coalesced. All forms of government exploited sectarian, ethnic, regional and tribal differences amongst the people, the better to control them. The Baathist dictatorship in particular ruled by violence and fear. About 30,000 people were killed in Hama in 1982, and thousands of dissidents disappeared in the regime’s torture prisons. Civil society was crushed.
Despite the extreme repression, Syrians produced some remarkable poetry, music, drama and films. And dissident thought continued to surface, particularly in the brief and abruptly aborted ‘Damascus Spring’ in 2000, after Bashaar al-Assad inherited the dictatorship from his father Hafez.
Bashaar shut down the political and social opening. Instead, he ‘opened’ the economy. In effect this meant a set of neo-liberal and crony capitalist reforms which enormously enriched his own family and friends while impoverishing large swathes of the population. This was the context for the 2011 uprising.