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Robyn Creswell

Robyn Creswell is Assistant Professor of Comparative Literature at Yale. He is the author of City of Beginnings: Poetic Modernism in Beirut. (October 2019)

IN THE REVIEW

The Slave Trade

            I went down the narrow passage, wide enough for one slave at a time, to the harbor.             An Englishman inspects the line of those leaving the fort—maybe he has unloaded his cargo of missionaries and guns and now …

A Free Man in Nablus

Isabella Hammad; drawing by Karl Stevens

The Parisian, or Al-Barisi

by Isabella Hammad
In his meditation on the peculiar beauties and burdens of Palestinian life, After the Last Sky, Edward Said writes, “The striking thing about Palestinian prose and prose fiction is its formal instability.” While readers may be tempted to look for political messages, Said suggests that the real drama in this …

‘An Enthusiastick Sect’

‘The Hanging of al-Hallaj in 922’; attributed to Iran, late nineteenth century

Sufism: A New History of Islamic Mysticism

by Alexander Knysh

Hallaj: Poems of a Sufi Martyr

by Husayn ibn Mansur al-Hallaj, translated from the Arabic by Carl W. Ernst
Simon Ockley was the first writer in English to compose a history based on Arabic sources. The Conquest of Syria, Persia, and Ægypt, by the Saracens (1708), which recounts the Arab conquests following the death of Muhammad, deeply influenced Edward Gibbon and, in the words of a recent scholar, “revolutionized …

Waking the Dead

Patrick Modiano on the Quai Conti, Paris, 1969

The Occupation Trilogy: La Place de L’Étoile, The Night Watch, Ring Roads

by Patrick Modiano, translated from the French by Caroline Hillier, Patricia Wolf, and Frank Wynne

Missing Person

by Patrick Modiano, translated from the French by Daniel Weissbort
Patrick Modiano’s first novel, La Place de l’Étoile, published fifty years ago, is a satire of French anti-Semitism as hilarious as it is unsettling. Modiano, who was twenty-two years old at the time, seems not to have known—or, in some moods, to have cared—whether his book was a parody of …

NYR DAILY

Persia’s Hybrid Art

“Technologies of the Image,” now at the Harvard Art Museums, is fascinated by precisely the thing that repelled many Europeans about art of the Qajar period (1779-1925)—its hybrid aesthetic, a combination of “native styles” with European sources and technology. The curators are especially interested in what they call “remediation,” that is, images made in one medium subsequently emulated in another: a painting that incorporates a photographic model, for example, or a lithograph based on a sculpture. The longer one studies them, the more absorbing they become.

Voices from a Different Syria

The characteristic style of Abounaddara, an anonymous Syrian film collective, took shape during the early days of the Syrian uprising, before it became an armed conflict, and the collective’s work remains close to the ethos of the protest movement. But their politics have more to do with challenging the way we consume images than with taking sides in the conflict.

Syria’s Lost Spring

The Syrian People Knows Its Way: This is civil disobedience. There's no excuse for silence anymore, circa 2012

What happened to the Arab Spring in Syria? Amid a wave of jihadist violence extending from Aleppo to Paris, it is sometimes hard to remember that many of the original participants aspired to something dramatically different. In their courage, humor, defiance, and occasional moments of optimism, these protesters already seem to belong to another era—before sectarian war and waves of refugees made the idea of revolution seem quaint.