Bridging Arab mythology with Western sci-fi
Bridging Arab mythology with Western sci-fi
Abbas is a rare breed in Saudi Arabia. In addition to mixing sci-fi, fantasy and adolescent adventure, he is also a creative director and filmmaker. He co-founded Yatakhayalon (The League of Arabic SciFiers), a publishing house, and hopes to enrich the Kingdom by encouraging an Arabic sci-fi culture.
Sitting with Abbas, one feels he is a unique sort of blend between a moderate and ideologue, both in his writing and as a person.
The common denominator in each of his pieces is his singular ability to blend Arab history with a futuristic punch.
He graduated with a bachelor’s degree in computer engineering, being the closest to his aspired field of graphic and 3-D design.
He also worked in marketing at Procter & Gamble. Springing from one field to another, seeking a position where his talent could be exercised and prosper, Abbas was eventually rescued by the burgeoning Saudi advertising industry during the time in which he found the title “creative director.”
Certainly working as a creative director provided an outlet for Abbas’ fertile imagination, but it was writing fantasy and SciFi that fulfilled him.
His first novel, “HWJN,” is the story of forbidden love between a 90-year-old supernatural jinn, who experiences his first interactions with the human dimension through a relationship with a young woman.
The novel is told from the perspective of the supernatural creatures and cleverly conveys their standpoint on humans. (In Islam, jinn are extraterrestrial, invisible creatures believed to have been made from “smokeless fire by God.”)
In writing “HWJN,” Abbas had no intention of publishing the story. It was merely a medium where he could channel his “personal creative journey” in which he allowed his notions to roam free.
But when he ultimately decided to publish “HWJN,” Abbas and his partner, Yasser Bahjatt, hit a brick wall. Publishers didn’t want it. It was too fantastical for Arab tastes. As a result, they were compelled to launch Yatakhayloon where it was successfully published.
Thereafter, “HWJN”, according to Wired Magazine, fueled “rumors, particularly from parents, that it was promoting sorcery and devil-worship” among the youth.
As the book received more attention, religious authorities were reluctant to see “HWJN” on Saudi bookshelves for the same reason.
Nevertheless, the book hit the top of Saudi Arabia’s best-seller list in 2013. Readers were quick to latch onto Abbas’ stories hoping it would establish a dialogue between Western and Arabic sci-fi.
After gaining positive recognition internationally, the January 2014 New York Review of Science Fiction said, “It’s a great YA (young adults) novel... one which would go down very well with a Western YA readership.”
Not all Western sci-fi readers shared the same enthusiasm and some skeptical Saudis had difficulty accepting other aspects of the story. It was thought to have presented a view of women that would be deemed patronizing to Western readers. Arab-English book reviewer Ian Campbell said: “The ending is deeply problematic from a liberal Western viewpoint.”
Having said that, Abbas acknowledges the fact that this very detail “sneaks into another kind of patronizing expectation that a book can only be good if it reflects our prejudices. This is a book that we SciFi readers in the West can learn from.”
Subsequent to success the of “HWJN,” Abbas was encouraged to write Hunak. In lieu of writing sequels, as is often a convention in a second-book release, Abbas seamlessly ties the knot with his third book, “Binyameen.”
His latest piece, “The Hypnotized Ones,” is a narrative of three Arabic historical figures, each possessing their own pronounced characteristics that are the direct antithesis of the others.
He carefully refrains from burdening his writing with philosophical meanings. His distinctive style is the product of employing limited resources to spark inquisition in the minds of his audience.
He says his objective is to deliver “entertainment,” plain and simple.
“Sometimes, yes, some of my readers discover strong messages I had not even intended on,” Abbas said.
Abbas tells Arab News that creating a “fun” experience for people is what prompts him to write. Furthermore, he wants to encourage open-mindedness in his readers’ minds and challenge engineered societal conformities.
Abbas possesses a fiery passion for sci-fi. He thrives a little on pushing boundaries.
Promoting a genre that is more or less ignored in this region, he pares away everything pertaining to the mere shadow of orthodoxy.
He advises young talents to pivot their predominant and transient aspirations of reaching fame to finding fulfillment in doing what they love to do. He believes that young Saudis answer to, and perform better, in competitive networks. He suggests that more platforms, where they can showcase their work, would generate more Saudi talent and produce higher quality work.
Abbas notes that as young Saudi talent rises, impediments they face grow proportionally. They become subject to the abrasive censuring of a society whose principal concern is the way in which the next person perceives them. Measured by the unregulated and variable interpretations of the “norms,” individuals construct a meager and feigned attempt at creative art, he believes.
“A false and enforced perfection,” Abbas observes.
The very act of molding art to please conflicting ideologies in society will undoubtedly render the product watered down.
Often Abbas feels that myriad Saudi dreams have died at confronting the question, “What will other people think of me?”
He believes that being raised by parents who anchored tolerance in their home contributed to his experimental nature. In a large family, however, where undivided attention is scarce, Abbas said he learned “to create my own atmosphere, and invent my own toys, my own fun.”
Abbas is realizing his plans of converting “HWJN” into a movie. He has faith it will be a quantum leap in the sci-fi genre and will excite a succession of productions in the region.
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Ethiopia says British museum must permanently return its artifacts
- The artifacts were plundered by British troops from the fortress of Emperor Tewodros II 150 years ago
- Among the items on display at the Victoria and Albert Museum are sacred manuscripts and gold
ADDIS ABABA: Britain must permanently return all artifacts from Ethiopia held by the Victoria and Albert Museum and Addis Ababa will not accept them on loan, an Ethiopian government official said.
The call comes after the museum, one of London’s most popular tourist attractions, put Ethiopian treasures plundered by British forces on display.
“Well, it would be exciting if the items held at the V&A could be part of a long-term loan with a cultural institution in Ethiopia,” museum director Tristram Hunt said.
“These items have never been on a long-term loan in Ethiopia, but as we look to the future I think what we’re interested in are partnerships around conservation, interpretation, heritage management, and these need to be supported by government assistance so that institutions like the V&A can support sister institutions in Ethiopia.”
Among the items on display are sacred manuscripts and gold taken from the Battle of Maqdala 150 years ago, when British troops ransacked the fortress of Emperor Tewodros II.
The offer of a loan did not go far enough for Ethiopia.
“What we have asked (for) was the restitution of our heritage, our Maqdala heritage, looted from Maqdala 150 years ago. We presented our request in 2007 and we are waiting for it,” said government minister Hirut Woldemariam said.
Ephrem Amare, Ethiopian National Museum director, added: “It is clearly known where these treasures came from and whom they belong to. Our main demand has never been to borrow them. Ethiopia’s demand has always been the restoration of those illegally looted treasures. Not to borrow them.”
The V&A could not immediately be reached for further comment on Monday.
In launching the Maqdala 1868 exhibition of what Hunt called “stunning pieces with a complex history” this month, he said the display had been organized in consultation with the Ethiopian community in London.
“As custodians of these Ethiopian treasures, we have a responsibility to celebrate the beauty of their craftsmanship, shine a light on their cultural and religious significance and reflect on their living meaning, while being open about how they came to Britain,” he said in a blog on the museum website.