I imagined, even felt, that I was inhabiting the gazelle (or any other prey) in this equation because it represents me and I represent it. A deep reflection on exile and the power of books. Created by Grove Atlantic and Electric Literature, Click to share on Twitter (Opens in new window), Click to share on Google+ (Opens in new window), Click to share on LinkedIn (Opens in new window), Click to share on Reddit (Opens in new window), Click to share on Tumblr (Opens in new window), Click to share on Pinterest (Opens in new window), Click to share on Pocket (Opens in new window), You're stuck with the cover, and other advice for debut authors. I’m the prey’s prey. I’m going to pluck this minute out of the black hole. I am the one who’s been marginalized and disappeared at least twice. Assuming there’s someone to count in the first place, because the historians of the hunt count the number of dead hunters! In 'The Book Of Collateral Damage,' An Accounting Of What Baghdad Lost. And how can what I write escape the traps of distortion and domination of official history? The Book of Collateral Damage It is an unconventional approach but the big risks Antoon takes enable him to perform mean feats. ... Book picture is for illustrative purposes only, actual binding, cover or edition may vary. The following is from Sinan Antoon's novel The Book of Collateral Damage. Once we’ve been skinned, our skins might be tanned and hung on the wall in the hunters’ homes. On the title of The Book of Collateral Damage. There are times that might intersect but never coincide. The first time I read that proverb I empathized with the lion, of course. "—Alberto Manguel, author of, "Sinan Antoon is a master storyteller and, "Mixing the past and the present of Arabic literature, Sinan Antoon leads a hallucinatory investigation into the territories of memory and tragedies of Iraq. Unfortunately we do not have a summary for this item at the moment. Published by Yale University Press in May 2019 in the Margellos World Republic of Letters series. Collateral Damage book. By the time someone who wants to revise, question, or change it comes along, it’s already too late. Can I enter time through a hole or through the window of one moment in time? I’m not sure, but many of these condensed moments come just before death. In-depth conversations with experts on topics that matter. ISBN: 9780300228946 Statistics may count us, but at best they diminish our lives and our deaths. Well presented, and effective in portraying the devastating cost of war and all that is lost in it.”—M. But what about the history of the victim? Subscribe to hear when New Releases or Catalogs are ready! . . . “The gifted novelist and poet Sinan Antoon . Those who do see them, after making an effort and training themselves to do so, and those who talk to them are labeled mad by your standards. . All pages are intact and the cover is intact. But then I thought hard about the matter and reconsidered, to discover, or rather remember, that I should be in solidarity with the lion’s victim. Humans say goodbye only to those they know and those they love, whereas things say goodbye to each other and to humans too. Interview Highlights. But where should I begin, and how? Published by Yale University Press in 2019. This is my rationale and the rationale of my catalog. . by I realize there’s something paradoxical and ironic about it. Is it reasonable to worry about the fate of what I write before my pen even begins to bleed ink onto paper? Among the small differences between Nameer and the author is that Nameer too came across The New York Times' story of a body-washer which inspired Antoon's The Corpse Washer, but, while Nameer also collects material and: "thought about writing a novel about Raad Abboud and people like him" [note: in The New York Times piece Abboud's first name is given as 'Riad', not 'Raad'] he finds himself unable to: "I didn't write anything. Collateral Damage by Dale Brown. Sinan Antoon, general information | review summaries | our review | links | about the author. (...) Formally daring, stylistically inventive, this is Antoon’s most complex work to date. There’s always a moment in the life of every being and every thing in which their whole truth is manifested. Similarly the illustrative quotes chosen here are merely those the complete review subjectively believes represent the tenor and judgment of the review as a whole. Nameer is intrigued by a project Wadood has been working on, collecting newspaper clippings and notes to form a grand catalogue: © 2019 the complete review The minute will be a three-dimensional space. And the ones that have nested in it and so on. . In Baghdad, he meets a bookseller who is trying to catalogue everything that's been destroyed in the war. –Translated from the Arabic by Jonathan Wright. From Book of Collateral Damage by Sinan Antoon; Translated from the Arabic by Jonathan Wright. But in this project I’m interested in one time in one place. Or photographs of the hunters, standing next to our dead bodies to celebrate a new record, might be hung on museum walls. There’s a wonderful African proverb in Chinua Achebe’s novel Things Fall Apart that goes “Until lions have their own historians, the history of the hunt will always glorify the hunter.” The idea isn’t new, of course, but the metaphor is a gem. Trying to meet all your book preview and review needs. And you realize that this photograph/moment preserves the whole existence and history of that person. The Book of Collateral Damage is, essentially, the story of another book Nameer wants to, and finally succeeds in writing, inspired by a man he met while in Baghdad in 2003, Wadood Abdulkarim, a bookseller on the city's famous book-row, al-Mutanabbi Street. A Guide to Philosophy in Six Hours and Fifteen Minutes. If this last possibility is the case, then there is more than one time. Or is each moment associated with its own place in the universe? And the branches and their memory and everything the wind has picked up and scattered far and wide. . Even the beginning of this whole universe, according to one theory, was an explosion. Most of the people who tackle history record centuries, decades, and years. I often tried but I didn't succeed, so the folder stayed as it was". . . Is the moment the same moment everywhere? “Reads extraordinarily smoothly . Or the victim’s victim? However, in addition to the acute human attention to details, the novel moves beyond cultural and identity politics to a posthuman view . . Read 137 reviews from the world's largest community for readers. Note. “The author reclaims his own narrative of what happened to his home country and navigates the cultural politics of his hybrid identity as an Iraqi American intellectual. They dehumanize us. fills his pictorial prose with life-affirming energy surrounded by destruction. A. Orthofer, “Autofiction, by definition, centers around questions of the self . That’s what I am concerned with. I’m the one who saw everything, and I see what they don’t see. Reproduced with permission. The Book of Collateral Damage is a two-part novel, divided into 'Beginnings' and 'Endings'. But how can I describe the moment when it isn’t a moment, but in fact more like a tree? The narrator of The Book of Collateral Damage is named Nameer al-Baghdadi but his life-story closely mirrors that of author Antoon, certainly in the outlines. The juncture where they meet before disappearing forever, without saying goodbye. It challenges but it also impresses and enthrals." Nameer, an Iraqi PhD candidate at Harvard, is hired by a filmmaker to document the devastation in Iraq after the 2003 invasion. giving agency to things and places that the war consumes.”—Ghyath Manhel. But. Nameer’s exploits are intercut with excerpts from Wadood’s catalogue. And which particular moment are we talking about? It’s a labyrinth. . I’m interested in minutes, especially the first minute. The victors are always the ones who write history. Sinan Antoon; Translated from the Arabic by Jonathan Wright, Tahar Ben Jelloun; Translated from the French by Linda Cove, Sinan Antoon; Translated from the Arabic by the author, Máirtín Ó Cadhain; Translated from the Irish by Liam Mac Co, Norman Manea; Translated by Oana Sânziana Marian, Carlos Rojas; Translated from the Spanish by Edith Grossman, Rodrigo Rey Rosa; Translated by Chris Andrews, Witold Gombrowicz; Translated by Benjamin Ivry, Witold Gombrowicz; Translated by Lillian Vallee, Can Xue, Translated by Karen Gernant and Chen Zeping, Miguel de Cervantes; Translated from the Spanish by Edith G, Umberto Saba; Translated by George Hochfield and Leonard Na, Kiki Dimoula; Translated by Cecile Inglessis Margellos and.

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