I'm a veteran author, journalist, and journalism professor who has taught over 1000 students. At the age of 50, through a memoir I began writing, I fell down a rabbit hole of memory and began to suspect I had been sexually abused as a child. The man was a close family friend, who liked to call himself my grandfather. He did not speak English. My parents were immigrants and the usual difficulties of retrieving memories from childhood were complicated by the fact that they were all in the Czech language. For years I read everything I could find about childhood sexual abuse and then everything I could read about psychoanalysis.
This is the first book I ever read about how, exactly, a classic psychoanalysis worked to cure a woman deeply damaged by childhood abuse.
It is set in France and written by an Algerian/French writer and academic, who seeks out psychoanalysis after physicians have given up on curing her symptoms. It is an intricate examination of how psychotherapy works and has become a classic text.
THE WORDS TO SAY IT by Marie Cardinal, translated by Pat Goodheart, Van Vactor & Goodheart Publisher, is in the words of Bruno Bettelheim "the best account of a psychoanalysis as seen and experienced by the patient." It is the story of a healing set against the events in Algeria. Taught in over seven hundred and fifty colleges and universities as a text, and in over fifteen different departments, literature at Harvard University and in courses in medical ethics at Yale Medical School. It has received rave reviews in The London Sunday Times and the New York Times Book Review,…
I've been fascinated by Algeria ever since I first visited the country in the summer of 1982, visiting cities in the north, Algiers and Oran, and then crossing over the Atlas Mountains to the Sahara Desert. This encounter never left me, so it was quite natural that when I started a PhD I was drawn to Algerian history. My books seek to both put Algerians centre-stage through their creativity expressed in music, food, poetry, writings and humour and to connect them to wider global histories. I'm co-curating a Cultures of Resistance Festival in Dublin which will bring together Algerian and Irish creatives to reflect upon their common resistance cultures.
This is not only a beautifully written book, it is an important one. Why? Because it poses challenging questions about the promise of post-independence freedom for Algerian women through a collection of short stories written between 1959 and 1978. First published in French in 1980, the writing style is at once innovative, lyrical, and unsettling as Assia Djebar explores the condition of Algerian women across the pre-colonial, colonial and immediate post-colonial periods. The inspiration for the book is Eugène Delacroix’s 1834 painting of women in an Algerian harem because, as Djebar explains in the post-face, this picture leads her straight to the conundrum of 1970s Algeria: “What would Delacroix see if he entered into contemporary Algerian apartments?” And for her the depressing conclusion is that he would still find women locked up and shut away just as in the 1830s. One of the most significant voices to emerge from Algeria,…
The cloth edition of Assia Djebar's Women of Algiers in Their Apartment, her first work to be published in English, was named by the American Literary Translators Association as an ALTA Outstanding Translation of the Year. Now available in paperback, this collection of three long stories, three short ones, and a theoretical postface by one of North Africa's leading writers depicts the plight of urban Algerian women who have thrown off the shackles of colonialism only to face a postcolonial regime that denies and subjugates them even as it celebrates the liberation of men. Denounced in Algeria for its political…
I hold a doctorate in political science and am an expert on Algeria. I was a senior scholar at Carnegie for ten years before I joined the European Union Institute for Security Studies (EUISS), the EU's official think tank. I was born in Algeria, where I grew up. When I was fourteen, between 22-23 September 1997 the massacre of Bentalha took place while I was living in Algeria, and I became obsessed with that massacre. This obsession led me ten years later to write a Ph.D. on that bloody page of Algerian history, political violence, and jihadism. Eventually, my expertise encompassed all of Algeria's political, social, and economic developments.
One of my favorite books of its kind and I do not think I have read a better book about this topic ever since. It explains the critical role that the military plays in stabilizing authoritarian regimes in Egypt, Algeria, and until recently, Turkey. It also analyses how informal politics can restrict formal democratic institutions. In this book, Cook perfectly grasps how the military works in these countries and explains it in a clear and accessible style. The book is simply captivating and a must-read.
"Ruling But Not Governing" highlights the critical role that the military plays in the stability of the Egyptian, Algerian, and, until recently, Turkish political systems. This in-depth study demonstrates that while the soldiers and materiel of Middle Eastern militaries form the obvious outer perimeter of regime protection, it is actually the less apparent, multilayered institutional legacies of military domination that play the decisive role in regime maintenance. Steven A. Cook uncovers the complex and nuanced character of the military's interest in maintaining a facade of democracy. He explores how an authoritarian elite hijack seemingly democratic practices such as elections, multiparty…
Louisa Waugh is a writer, blogger, and the prize-winning author of three non-fiction books: Hearing Birds Fly, Selling Olga, and Meet Me in Gaza. She has lived and worked in the Middle East, Central and West Africa, and is a conflict adviser for an international peace-building organisation. She blogs at The Waugh Zoneand currently lives in Brighton, on the southern English coast, where she kayaks and drinks red wine on the beach, usually not at the same time.
Isabelle Eberhardt was born in 1877. She was “a crossdresser and sensualist, an experienced drug taker and a transgressor of boundaries”. Born in Switzerland, she crossed the Sahara Desert on horseback dressed as a male marabout, driven by a hunger for nomadic adventures, and for love. Isabelle’s evocative diaries are intense, beautifully written, self-centred and dramatic, occasionally very funny. She fell madly in love with the Sahara, was accused of being a spy, married a young Algerian soldier, and drowned in a desert flash flood at the age of 27. This book is about a short life that burned radiantly and the desiccated landscape that mirrored her intensity.
Eberhardt's journal chronicles the daring adventures of a late 19th-century European woman who traveled the Sahara desert disguised as an Arab man and adopted Islam. Includes a glossary. Previously published in English by Virago Press in 1987, and as The Passionate Nomad by Virago/Beacon Press in 19
I've been fascinated by Algeria ever since I first visited the country in the summer of 1982, visiting cities in the north, Algiers and Oran, and then crossing over the Atlas Mountains to the Sahara Desert. This encounter never left me, so it was quite natural that when I started a PhD I was drawn to Algerian history. My books seek to both put Algerians centre-stage through their creativity expressed in music, food, poetry, writings and humour and to connect them to wider global histories. I'm co-curating a Cultures of Resistance Festival in Dublin which will bring together Algerian and Irish creatives to reflect upon their common resistance cultures.
Psychiatrist, philosopher, revolutionary, Frantz Fanon is born in Martinique in 1925 and comes to work in French Algeria in 1953 as a doctor in a hospital in Blida, just south of Algiers. Angry at the way in which treatment of Algerian patients is shot through with institutionalised racism, Fanon resigns his post in 1956 and joins the FLN in Tunisia. Working as a journalist, his writings are a piercing attack on French colonialism which feed directly into A Dying Colonialism. Published in 1959, the fifth year of the Algerian Revolution, each chapter analyses how the liberation struggle is transforming Algerian society at every level, from attitudes to technology and medicine through to the role of women—perspectives that decisively frame Gillo Pontecorvo’s depiction of the Algerian War in his 1966 cinematic masterpiece Battle of Algiers.
Fanon dies of cancer two years later, shortly before independence, but this book, translated…
Frantz Fanon's seminal work on anticolonialism and the fifth year of the Algerian Revolution.
Psychiatrist, humanist, revolutionary, Frantz Fanon was one of the great political analysts of our time, the author of such seminal works of modern revolutionary theory as The Wretched of the Earth and Black Skin, White Masks. He has had a profound impact on civil rights, anticolonialism, and black consciousness movements around the world.
A Dying Colonialism is Fanon's incisive and illuminating account of how, during the Algerian Revolution, the people of Algeria changed centuries-old cultural patterns and embraced certain ancient cultural practices long derided by their…
One has to learn about France's Military history to understand the Legion. I served in her ranks, and my efforts are to help educate those interested in facts. That is why I wrote the book Appel: A Canadian in the French Foreign Legion and continue to laisse with the Legion to try and help increase recruitment.
Not a book that covers the legion directly but the war in Algeria is a big part of the Legions history, and notably the Legion’s 2erégiment étranger de parachutistes. The Algerian War lasted from 1954 to 1962. It came close to provoking a civil war on French soil. For those interested in the Putsch, then get into this book. More than a million Muslim Algerians died in the conflict and many European settlers were driven into exile. Above all, the war was marked by the unholy marriage of revolutionary terror, and repressive torture.
The Algerian War lasted from 1954 to 1962. It brought down six French governments, led to the collapse of the Fourth Republic, returned de Gaulle to power, and came close to provoking a civil war on French soil. More than a million Muslim Algerians died in the conflict and as many European settlers were driven into exile. Above all, the war was marked by an unholy marriage of revolutionary terror and repressive torture.
Nearly a half century has passed since this savagely fought war ended in Algeria’s independence, and yet—as Alistair Horne argues in his new preface to his now-classic…
As an American artist and writer who has lived in European cities for the last decade and a half—first Berlin, now Paris—I often look for echoes of dislocation and longing in the books I read. My first published book explores the lives of people who fled other countries to arrive in a city filled with a complex and dark history.
My partner recommended this book, only recently translated into English, about a Parisian gallery worker, Naïma, who unravels her family's tangled history between rural Algeria and France. In this book, Zeniter explores the complex aftershocks of colonization and how they affect and inform subsequent generations of migrants.
Naïma’s family story in France begins when her grandfather, Ali, flees North Africa after the Algerian war for independence. Coming from a mountain village, Ali finds the decrepit French apartment blocks bewildering and unwelcoming. The final section of Zeniter’s book is devoted to Naïma’s return to Algeria, where she attempts to weave together the past and future of her family and her identity.
'Remarkable . . . a novel about people that never loses its sense of humanity' - The Sunday Times
'Zeniter's extraordinary achievement is to transform a complicated conflict into a compelling family chronicle.' - The Wall Street Journal
Naima has always known that her father's family were from Algeria - but up until now, that has meant very little to her. Born and raised in France, her knowledge of that foreign country is limited to what she has learned from her grand parents' tiny flat in a crumbling French sink estate: the food…
I've been fascinated by Algeria ever since I first visited the country in the summer of 1982, visiting cities in the north, Algiers and Oran, and then crossing over the Atlas Mountains to the Sahara Desert. This encounter never left me, so it was quite natural that when I started a PhD I was drawn to Algerian history. My books seek to both put Algerians centre-stage through their creativity expressed in music, food, poetry, writings and humour and to connect them to wider global histories. I'm co-curating a Cultures of Resistance Festival in Dublin which will bring together Algerian and Irish creatives to reflect upon their common resistance cultures.
This intensely personal diary conveys the savage day-to-day reality of this colonial conflict like no other and is a must-read for anyone interested in Algerian perspectives. By November 1954, the moment when the National Liberation Front (FLN) launches the armed national liberation struggle that will achieve independence eight years later, Mouloud Feraoun is already a very well-established novelist, writing while simultaneously working in the French education administration in French Algeria. Through his journal entries, therefore, he tries to make sense of the cycles of violence and counter-violence as they unfold around him which means that the diary is not a dry, detached account.
It is written in the very eye of the storm and brilliantly conveys how ordinary Algerians sought to navigate one of the most brutal episodes of the whole decolonsation process. Assassinated by a right-wing terrorist group, the Secret Army Organisation (OAS), just days before the official cease-fire…
"This honest man, this good man, this man who never did wrong to anyone, who devoted his life to the public good, and who was one of the greatest writers in Algeria, has been murdered. . . . Not by accident, not by mistake, but called by his name and killed with preference." So wrote Germaine Tillion in Le Monde shortly after Mouloud Feraoun's assassination by a right wing French terrorist group, the Organisation Armee Secrete, just three days before the official cease-fire ended Algeria's eight-year battle for independence from France.
Frequent visits to my parents’ Maltese homeland from the time I was very young piqued my interest in the island’s opulent history. Life under the rule of the Knights of St John fascinated me most. The Maltese Islands lend themselves very well to literary descriptions—gifted with four compass points of natural beauty, the smell of the sea constant no matter how far inland one might venture, ancient temples that predate the pyramids of Egypt. It was during a pre-college trip to Malta in July 2000 that the idea to write a novel based on the Siege of 1565 took root, thanks to a visit to the Malta Experience in Valletta.
Empires of Sand embodies the grandest tradition of historical fiction—an epic, intricate tale that sweeps from European chateaus to North African dunes. In the late nineteenth century, the French Empire stands on the precipice of collapse and attempts to colonize the Sahara. Cultures collide, the consequences deadly. Cousins Moussa and Paul are raised as brothers in Paris until harrowing events separate them, and they find themselves on opposing sides as battle lines are drawn. I read this novel at a measured pace, partly to absorb the nuances of every scene, partly because I did not want it to end. Empires of Sand captivated me to the point that I missed subway stops during my commute. I reread passages to ingrain them in my mind. David Ball’s mesmerizing, poetic prose serves as evidence that he truly views the world with wonder. The sands of the Sahara beckoned as the story unfolded—so…
From the mysteriously beautiful, richly hued landscape of the Saharan mountains to the sumptuous splendor of nineteenth-century Paris, Empires of Sand is a novel that takes us on an extraordinary, powerfully emotional journey In a clash between two civilizations, two men of common blood discover that in war, love, and even family, they are both destined to be outsiders....
The year is 1870. The proud Republic of France is crumbling under the onslaught of the Prussian army. Paris is under siege. Too young to understand the shifting fortunes of the empire, two boys forge a bond with their breathless adventures…
I have loved Algeria since I lived there for 3 years from 2007. The experiences of the 20th century, particularly the War of Independence, make Algeria such an important country. The anti-colonial War overturned an entrenched colonialism, not only in Algeria, but set in train a movement for freedom across an entire continent. I have written extensively on the growth of civil society associations and how these helped people recover from tragedies; and more recently, the developments that sprung from the Algerian Hirak of 2019. This saw millions of protesters march peacefully, for over a year, to bring about significant changes and new understandings of citizenship in the 21st century.
Elaine Mokhtefi’s exceptional memoirs, document her life, moving from the US to France, then Algeria, to participate in the Algerian liberation struggle and then in post-independence Algeria.
They are as inspiring as they are exciting. Her story and personal connections with the Black Panther movement’s exiles, give fascinating insights into Algiers as the capital, the Mecca, for revolutionaries of the 1960s and 1970s.
This is an optimistic, but not uncritical, account, which shows the potential of recent Algerian history, to teach us about courage, resilience, and our collective struggles for democracy and justice.
Mokhtefi (nee Klein), a Jewish American from Long Island, has had an exhilarating life. In the 1960s, she served as a press adviser to the National Liberation Front in postwar Algiers, before going to work with Eldridge Cleaver, who was wanted in the US for his role in a deadly shoot-out with Oakland police. Half a century later, as an eighty-nine-year-old painter living on the Upper West Side, Mokhtefi still seasons her prose with the argot of revolution.
