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, even as I exercise caution when returning to my homeland, I maintain a strong faith in the authorities there.
