Faïza Guène ospite al Festival Mediterraneo Downtown

Faïza Guène autrice di “Un uomo non piange mai” il 6 maggio a Mediterraneo Downtown (5–6-7 Maggio)

In con­co­mi­tan­za con l’uscita del libro “Un uomo non pian­ge mai” l’autrice par­te­ci­pe­rà ad un incon­tro di pre­sen­ta­zio­ne il 6 mag­gio all’interno del Festi­val Medi­ter­ra­neo Down­to­wn

Medi­ter­ra­neo Down­to­wn: dia­lo­ghi, cul­tu­re e socie­tà si ter­rà il pri­mo week end di mag­gio (5–6 e 7 mag­gio) e, que­sta vol­ta, si trat­te­rà di una paci­fi­ca e ani­ma­ta inva­sio­ne del cen­tro sto­ri­co di Pra­to.

Il quar­tier gene­ra­le dell’evento sarà il com­ples­so del­la Ex Cam­pol­mi, tra il Museo del Tes­su­to e la Biblio­te­ca Laz­ze­ri­ni, ma saran­no le stra­de, le piaz­ze, i tea­tri, i cine­ma, i musei e le libre­rie di tut­ta la cit­tà ad esse­re pro­ta­go­ni­sti di una mani­fe­sta­zio­ne che assu­me­rà i con­no­ta­ti di un festi­val popo­la­re, di una ope­ra­zio­ne cul­tu­ra­le e divul­ga­ti­va, con una offer­ta che spa­zie­rà tra incon­tri pub­bli­ci con testi­mo­nial auto­re­vo­li, arte con­tem­po­ra­nea, con­cer­ti, libri, cine­ma, atti­vi­tà per bam­bi­ni, incon­tri di gio­va­ni stu­den­ti, atti­vi­tà spor­ti­ve.

Al cen­tro dei dibat­ti­ti del talk show e del­le pre­sen­ta­zio­ni di libri, ci saran­no come al soli­to i diritti, decli­na­ti sui “fem­mi­ni­smi”, dirit­ti del­le don­ne ed Lgb­ti nel Medi­ter­ra­neo, le eco­no­mie e le rela­zio­ni eco­no­mi­che soste­ni­bi­li, gio­va­ni e inno­va­ti­ve, la liber­tà di espres­sio­ne vista attra­ver­so i fumet­ti e la gra­phic novel e, natu­ral­men­te, le migra­zio­ni: affron­ta­te que­sta vol­ta da una pro­spet­ti­va par­ti­co­la­re ovve­ro, “quan­do la migrazio­ni bus­sa­no alla tua por­ta”.

Al Festi­val pres­so ex fab­bri­ca Cam­pol­mi, di fron­te al Museo del Tes­su­to tro­ve­re­te anche la libre­ria con tut­ti i tito­li del­le col­la­ne Altria­ra­bi e Altria­ra­bi Migran­te dell’editrice il Siren­te. 

Un uomo non piange mai : Faïza GuèneFaï­za Guè­ne pub­bli­ca il suo pri­mo libro all’età di 19 anni (Kif­fe Kif­fe, demain, 2004). Accol­to come il pro­to­ti­po del nuo­vo roman­zo “socia­le” fran­ce­se. L’autrice diven­ta, così, la por­ta­vo­ce di un disa­gio tut­to fran­ce­se, quel­lo dei “ban­lieu­sards”. “Un uomo non pian­ge mai” è il suo ulti­mo libro e quel­lo a cui è più affe­zio­na­ta.

Rac­con­ta con gar­bo e sen­si­bi­li­tà la sto­ria di una fami­glia alge­ri­na emi­gra­ta in Fran­cia. Sen­za giu­di­zio e sen­za durez­za, Faï­za Guè­ne si inter­ro­ga sul­la tra­di­zio­ne fami­lia­re e sul­la que­stio­ne del­la liber­tà.

«Tra­dot­ta in 26 lin­gue, 400.000 copie ven­du­te, Faï­za Guè­ne si è impo­sta come una del­le voci più ori­gi­na­li del­la let­te­ra­tu­ra fran­ce­se con­tem­po­ra­nea.»

 

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Spazio alla redazione con un contributo di Peter de Kuster

The Heroine’s Journey of Chiarastella Campanelli

di Peter de kuster 

What is the best thing that I love about my work?

Invent pro­jec­ts I belie­ve in and be able to rea­li­ze them

What is my idea of per­fect hap­pi­ness?

Living in the pre­sent rejoi­cing each instant without thin­king of the moment after

What is my grea­te­st fear?

Stop drea­ming

What is the trait that I most deplo­re in myself?

Don’t belie­ve enou­gh in myself

Which living per­sons in my pro­fes­sion do I most admi­re?

I appre­cia­te various peo­ple for the strength and the pas­sion they put into their work such as Saphia Azzed­di­ne, the author we have just publi­shed, in per­fect balan­ce in her art and in its rea­li­za­tion as a woman.

What is my grea­te­st extra­va­gan­ce?

Take the time off and relax

On what occa­sion would I lie?

If it is neces­sa­ry to keep calm tho­se around me

What is the thing that I disli­ke the most in my work?

The human fac­tor when orga­ni­zing even­ts and authors deny their pre­sen­ce.

When and whe­re was I the hap­pie­st, in my work?

In my offi­ce last year when we found out to have been selec­ted by the Euro­pean Union for the lite­ra­ry trans­la­tion pro­ject, and I was the one who crea­ted the pro­ject.

If I could, what would I chan­ge about myself?

Mood swings

What is my grea­te­st achie­ve­ment in work?

Mana­ged throu­gh my work to influen­ce the publi­shing pano­ra­ma of my coun­try with our publi­ca­tions.

Whe­re would I most like to live?

Hap­py with my fami­ly in any pla­ce

What is my most trea­su­red pos­ses­sion?

The abi­li­ty to dream, to have pas­sion, to find the beau­ty in eve­ry­thing, plan and be skil­led in public rela­tions.

What is my most mar­ked cha­rac­te­ri­stic?

Being a lit­tle naïf and genui­ne

What is my most inspi­ra­tio­nal loca­tion, in my city?

The sights like the gar­den of oran­ge trees or clim­bing on the many church towers and see my city from abo­ve. Rome is the Eter­nal City, but the inspi­ra­tion is always within us.

What is my favou­ri­te pla­ce to eat and drink, in my city?

La Madia a small bar in the Tor­ri­no area (Rome)

What books influen­ced my life and how?

La coscien­za di Zeno” that I read when I was 16; it made me rea­li­ze that it is human to have wea­k­nes­ses.

Who are my favo­ri­te wri­ters?

Ita­lo Sve­vo, Pier Pao­lo Paso­li­ni, Orhan Pamuk, Susan Vree­land.

Who is my hero or heroi­ne in fic­tion?

Mar­cel­lo Mastro­ian­ni

Who are my heroes and heroi­nes in real life?

Peo­ple who have ener­gy and know how to tran­smit it.

Which movie would I recom­mend to see once in a life­ti­me?

Bla­de Run­ner” and “8 e ½”

What role plays art in my life and work?

Art is the focus of my life.

Who is my grea­te­st fan, spon­sor, part­ner in cri­me?

Festi­vals and Book Fairs.

Whom would I like to work with in 2017?

San­ta Mad­da­le­na Foun­da­tion and some forei­gn publi­shers for chil­dren who deve­lop cer­tain issues rela­ted to fai­ry tale and art.

Which peo­ple in my pro­fes­sion would I love to meet in 2017?

All our authors

What pro­ject, in 2017, am I loo­king for­ward to work on?

Start to open the way for new publi­shing pro­jec­ts. Open our cata­lo­gue to publi­ca­tions for chil­dren with a ‘Wal­dorf line’, to dream and bring to life the most remo­te part of the soul.

Whe­re can you see me or my work in 2017?

Medi­ter­ra­neo Down­to­wn Festi­val (Firen­ze, Pra­to 5–7 May) Salo­ne del Libro di Tori­no (Tori­no, 18–21 May) Festi­val Nues (Caglia­ri, Novem­ber 2) Più Libri Più Libe­ri (Decem­ber, Rome).

What do the words “Pas­sion Never Reti­res” mean to me?

The pas­sion is the base that sup­ports ideas.

Which crea­ti­ve heroi­nes should Peter invi­te to tell their sto­ry?

The wri­ter Sel­ma Dab­ba­gh in publi­ca­tion for our publi­sher for Sep­tem­ber 2017 (il Siren­te / Altria­ra­bi Migran­te series)

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La letteratura è una sfida – intervista allo scrittore iracheno Hassan Blasim

C maga­zi­ne | Lune­dì, 31 mar­zo 2014 | Agne­se Troc­chi |

Agli invi­ti dei pochi ami­ci cri­ti­ci rispon­de­va citan­do lo scrit­to­re unghe­re­se Béla Ham­vas: “In casa impa­ri a cono­sce­re il mon­do, men­tre in viag­gio impa­ri a cono­sce­re te stes­so.” A qua­si cin­quan­ta­set­te anni, Kha­led al-Hamràny non ave­va mai lascia­to la sua cit­ta.” (Has­san Bla­sim, Il Mer­ca­to del­le Sto­rie in Il Mat­to di Piaz­za del­la Liber­tà, il Siren­te ed.)

Se Kha­led al-Hamràny, per­so­nag­gio del rac­con­to Il Mer­ca­to del­le Sto­rie, non si è mai mos­so dal­la piaz­za del mer­ca­to del­la sua cit­tà, lo stes­so non si può dire del suo auto­re, lo scrit­to­re ira­che­no Has­san Bla­sim. Con­ti­nua a leg­ge­re →

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L’autunno siriano secondo Golan Haji

Fron­tie­re News | Mer­co­le­dì 11 dicem­bre 2013 | Moni­ca Ranie­ri |

Incon­tro Golan Haji, poe­ta cur­do siria­no, a Baridove è sta­to invi­ta­to per pre­sen­ta­re la sua rac­col­ta di poe­sie “L’autunno qui, è magi­co e immen­so”, edi­ta da “Il Siren­te”. Ho il libro tra le mani e lo sguar­do con­ti­nua a sof­fer­mar­si su alcu­ni ver­si che ave­vo sot­to­li­nea­to leg­gen­do­lo. “La mia ombra, appe­na calpestata/ si ripa­ra sot­to di me/ e le mie parole/che sono il mio deser­to e mi fan male/si accam­pa­no intor­no a me”. L’espressione degli occhi di Haji men­tre mi rac­con­ta del­la Siria, dei dirit­ti del popo­lo cur­do, e del suo muo­ver­si lun­go ed oltre i con­fi­ni del­le scrit­tu­re e del­le lin­gue, e il tono vibran­te del­la sua voce, mi han­no con­dot­to ami­che­vol­men­te lun­go i sen­tie­ri che le paro­le accam­pa­te trac­cia­no attra­ver­sa­no il deser­to.  Con­ti­nua a leg­ge­re →

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Golan Haji — Every Writing is a Translation

Prai­rie Schoo­ner | Dome­ni­ca 16 giu­gno 2013 |

Photo of Golan Haji; Photo Credit: Mikel KruminsA patho­lo­gi­st and doc­tor, Golan Haji’s lite­ra­ry career inclu­des seve­ral col­lec­tions of poe­try; an Ara­bic trans­la­tion of Robert Louis Stevenson’s clas­sic, The Stran­ge Case of Dr. Jekyll & Mr. Hyde; and nume­rous appea­ran­ces at festi­vals world­wi­de. His fir­st col­lec­tion won the al-Maghut pri­ze and his late­st, A Cold Fara­way Home, will be publi­shed soon in Bei­rut. He lived in Dama­scus until he had to flee his coun­try in 2011. He set­tled in Fran­ce.

It is hard to belie­ve that I met this Syrian/Kurdish poet two years ago in May 2011 as the cri­sis in Syria was only just begin­ning. It sad­dens me that it has con­ti­nued to be so bloo­dy for so long. When I met Golan we were in Bei­rut with Reel Festi­vals and he had no idea if he would be able to go back to his home as the bor­ders were often clo­sed and the road was dan­ge­rous. It was a stres­sful time to be in the region wor­king on trans­la­tions with the­se gene­rous and embat­tled poe­ts. Despi­te the stri­fe, we mana­ged to crea­te a free e-book of new Syrian and Leba­ne­se poe­try in trans­la­tion. Golan’s poe­tic gra­ce and thought­ful­ness con­ti­nues to be rele­vant.

Golan Haji: I think that eve­ry wri­ting is a trans­la­tion. For me as a Kurd, I talk in Kur­dish but I wri­te in Ara­bic. But it’s not as sim­ple as that, and I think that’s what’s going on in the poet’s head. Some­thing is lost, and the wri­ting is always incom­ple­te. When you try to find the right word or the right ima­ge, and it’s not always pos­si­ble, the poem takes its beau­ty from this pro­cess of imper­fec­tion. It’s always imper­fect, and that’s why the wri­ting never ends. Just as the idea of iden­ti­ty ends in death, when one is dead, that’s his final iden­ti­ty. One is always loo­king for others in other pla­ces and lan­gua­ges.

Trans­la­tion is a pro­cess of chan­ging pla­ces whi­le you are in the same pla­ce. It’s not rein­car­na­tion, or just to imi­ta­te the others. It’s the stran­ger who comes to your hou­se, is wel­co­med, is invi­ted, and you know that he will chan­ge you in a very secret way, even throu­gh silen­ce. And this deep, slow chan­ge that trans­la­tion gives is very impor­tant. I think that wri­ting, throu­gh the histo­ry of lite­ra­tu­re, was always influen­ced by trans­la­tions. I can­not see the modern poe­try of any pla­ce in the world [without] trans­la­tions;  that’s impos­si­ble. Modern Arab poe­try is influen­ced by English, Ame­ri­can, French, Japa­ne­se, and Ger­man poe­try, and I think in Ger­ma­ny and England it’s the same. This trans­la­tion makes poe­try more pre­ci­se to work with.

To trans­la­te poe­try well, you need to know what’s going on in the world, and that your roo­ts are eve­ry­whe­re, in all con­ti­nen­ts. Trans­la­tion is not just moving the words from lan­gua­ge to lan­gua­ge; it’s also the move­ment of the sha­dow of mea­ning, how you must be pre­ci­se to cap­tu­re the sen­sa­tions, the ima­ges. You are una­ware when you have chan­ged, and you don’t know how.

RVW: You can trans­la­te eve­ry word in a poem and still not have a poem. I like the notion that you’re trans­la­ting your­self. As a Syrian poet in the cur­rent cli­ma­te , you’ve said befo­re that “being ali­ve is a poe­tic act,” and I’m just won­de­ring how the even­ts in Syria are affec­ting your work?

GH: I think that poe­try in gene­ral is a poli­ti­cal act, anti-poli­tics. When you wri­te any poem, when you’re tal­king about any­thing, it’s a poli­ti­cal act. But what’s been going on in Syria in the past two mon­ths is very new for the Syrian peo­ple. For the fir­st time in four or five deca­des, peo­ple are in the street demon­stra­ting. That is very beau­ti­ful and ter­ri­fy­ing at the same time. You are in the street and afraid of being kil­led… I was ama­zed by such cou­ra­geous young peo­ple in the stree­ts.

And when I see the death of a young man, when I see that beau­ty pass away, I feel com­ple­te­ly hel­pless. I’m una­ble to do any­thing, and that’s why my mind stop­ped for a who­le month, wat­ching tele­vi­sion, the Inter­net, I was una­ble to wri­te. I tried to arran­ge my ideas, just to con­trol this big con­fu­sion, but some­ti­mes I feel asha­med to be using words when such beau­ti­ful peo­ple are kil­led and you can­not do any­thing for them. Many friends and I who are wri­ters, poe­ts, and pain­ters suf­fer from the same cir­cum­stan­ces. Peo­ple in the street do not know us; I wri­te for them, but they do not read me. I wri­te for some peo­ple who I dream of, and I know them like they are my bro­thers and friends. And they chan­ged me.

It’s just two mon­ths but it feels like two years.  I look at my own coun­try in a dif­fe­rent way:  I know that Syria is going to chan­ge, and my only hope is not to see any more blood­shed, any more peo­ple thro­wn in jail, peo­ple who are afraid to talk, afraid to wri­te. Actual­ly fear is a great chain in the histo­ry of man. If you want to descri­be some­thing that is unu­sual psy­cho­lo­gi­cal­ly, it’s very impres­si­ve and at the same moment sad and cheer­ful; the­re are mixed fee­lings. Many peo­ple need time to see. Now, the situa­tion in Syria is com­ple­te­ly blur­red and con­fu­sed, but some­thing beau­ti­ful is coming out, and coming out soon, I hope.


For the com­ple­te inter­view, you can listen to the ori­gi­nal pod­ca­st at the Scot­tish Poe­try Libra­ry.

Watch “Road to Dama­scus,” a short film by Roxan­na Vilk fea­tu­ring Golan Haji.

Ryan Van Win­kle is a poet, per­for­mer, and cri­tic living in Edin­bur­gh. The­se inter­views are from his Scot­tish Poe­try Libra­ry pod­casts pro­du­ced and edi­ted by Colin Fra­ser. This team also pro­du­ces the arts pod­ca­st The Mul­ti-Colou­red Cul­tu­re Laser. He was awar­ded a Robert Louis Ste­ven­son fel­lo­w­ship for wri­ting in 2012.

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Graphic Novelist Magdy El Shafee Arrested Near Clashes

| Ara­bic Lite­ra­tu­re | Saba­to 20 apri­le 2013 | Mly­n­x­qua­ley |

Accor­ding to mul­ti­ple sour­ces, Mag­dy El Sha­fee was one of 39 arre­sted yester­day at Abdel Moneim Riya­dh Squa­re: You­m7 repor­ted that El Sha­fee — god­fa­ther of the Egyp­tian gra­phic novel, who faced trials and other hurd­les for his ground-brea­king Metro – was arre­sted when he went down to try to stop the cla­shes yester­day. He was appa­ren­tly arre­sted at ran­dom.
Dar Merit Publi­sher Moham­mad Hashem said on Face­book that El Sha­fee was accu­sed of per­pe­tra­ting vio­len­ce. Al Mogaz quo­ted author Moham­mad Fathi as say­ing El Sha­fee didn’t try to esca­pe from poli­ce “becau­se he didn’t do any­thing.”
Other nove­lists said on Face­book that El Sha­fee was being inter­ro­ga­ted today at Abdeen Court. It also appea­red El Sha­fee may have been inju­red in the cla­shes.

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Egitto: Al Khamissi, Usa e Ue frenino colpo di stato Morsi

ANSA­med | Mer­co­le­dì 5 dicem­bre 2012 | Lucia­na Bor­sat­ti |

”Gli Sta­ti Uni­ti e l’Europa, che han­no soste­nu­to Mor­si, devo­no ora man­dar­gli un mes­sag­gio chia­ro: che sono con­tra­ri ad un col­po di sta­to come quel­lo che sta com­pien­do”. Kha­led Al Kha­mis­si — scrit­to­re noto per il suo best-sel­ler ”Taxi”, tra­dot­to in più’ lin­gue — non usa mez­zi ter­mi­ni sul­le respon­sa­bi­li­tà dell’Occidente nel­la deri­va che l’Egitto ha pre­so in que­sti mesi, con gli ulti­mi col­pi di mano del pre­si­den­te Moha­med Mor­si sul pia­no isti­tu­zio­na­le ed i san­gui­no­si scon­tri di piaz­za tra suoi oppo­si­to­ri e soste­ni­to­ri.

Gli Sta­ti Uni­ti in par­ti­co­la­re, sot­to­li­nea in un’intervista ad ANSA­med, han­no gran­di respon­sa­bi­li­tà nell’aver soste­nu­to il pre­si­den­te espres­so dai Fra­tel­li Musul­ma­ni. La sua ele­zio­ne e’ sta­ta il pun­to di arri­vo, osser­va, di una tran­si­zio­ne affi­da­ta all’esercito e rive­la­ta­si ”disa­stro­sa” per l’Egitto. Negli ulti­mi mesi Mor­si ha infat­ti por­ta­to avan­ti ”un coup d’etat”, denun­cia, con­tro gli altri pote­ri del­lo sta­to e le altre for­ze poli­ti­che. Insie­me ai Fra­tel­li Musul­ma­ni, ”ha pre­so tut­ti i pote­ri nel­le sue mani e pro­vo­ca­to una vera e pro­pria bat­ta­glia nel­le stra­de del Pae­se. Il regi­me ha per­so ogni legit­ti­mi­tà e quel­la di que­sti gior­ni e’ una situa­zio­ne di vero e pro­prio scon­tro con il popo­lo egi­zia­no”. Uno scon­tro in cui vi sono sta­ti anche i mor­ti di sta­se­ra, ma anche gesti come quel­li di un atti­vi­sta dei Fra­tel­li Musul­ma­ni che — rife­ri­sce dal­la sua casa del Cai­ro, men­tre si pre­pa­ra a tor­na­re anche lui a mani­fe­sta­re — avreb­be addi­rit­tu­ra taglia­to un orec­chio ad un oppo­si­to­re.

Eppu­re vi sono sta­te del­le aper­tu­re da par­te dell’entourage di Mor­si alle istan­ze dell’opposizione, come si pos­so­no valu­ta­re? ”Noi voglia­mo fat­ti, non paro­le — rispon­de al Kha­mis­si, che in Taxi rac­col­se gli umo­ri dell’uomo del­la stra­da del Cai­ro pri­ma del­la rivo­lu­zio­ne -. Anche pri­ma Mor­si ave­va pro­mes­so che ci sareb­be sta­ta una nuo­va Costi­tu­zio­ne con­di­vi­sa da tut­ti, e cosi’ non e’ sta­to”. Eppu­re, Mor­si ha avu­to l’appoggio del voto popo­la­re alle ele­zio­ni. ”Dove­te ricon­si­de­ra­re que­sta idea del voto — rilan­cia — io non ho vota­to, e cosi’ mol­ti altri, perché non pote­va­mo accet­ta­re di dover sce­glie­re tra un can­di­da­to dei Fra­tel­li Musul­ma­ni ed un uomo come Sha­fik, del vec­chio regi­me di Muba­rak”. E chi ha vota­to per Mor­si lo ha fat­to pro­prio per­ché’ non vole­va Sha­fik, aggiun­ge, oppu­re per ave­re il ”dena­ro” che i Fra­tel­li Musul­ma­ni pote­va­no garan­ti­re loro.

Ma ora Euro­pa e Sta­ti Uni­ti non pos­so­no sta­re a guar­da­re e ”devo­no par­la­re chia­ro — con­clu­de lo scrit­to­re -. Deve ripar­ti­re il dia­lo­go con gli altri par­ti­ti poli­ti­ci per una tran­si­zio­ne paci­fi­ca e per una nuo­va Costi­tu­zio­ne di tut­ti”.

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