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Apprehension of Colonial Modernity: Radwa Ashour’s Granada Trilogy and the Retrieval of Past Hope

Published online by Cambridge University Press:  30 August 2018

Abstract

This essay studies the Granada Trilogy by Egyptian writer Radwa Ashour, a novel that tells of the growing constraints on and eventual expulsion of the Arabs during the Spanish Inquisition across five generations of an Andalusian family. In linking this story to that of the Palestinians in the twentieth century and beyond, Ashour ascertains a logic of modernity in which the longue durée governs the experience of time’s passage, and peoples disconnected by long intervals of chronological time bear an intimate affinity by virtue of their common subjugation. Far from being merely a reflection of her despondency over the inability to change this historical dynamic, the Granada Trilogy suggests that the hopefulness animating these refugees is a revolutionary resource with which to apprise present actors of the multiple possible futures that remain alive in the present.

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© Cambridge University Press 2018 

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References

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17 The characterization of pre-1492 Andalusia as a culture of “convivencia” or conviviality was articulated by Américo Castro in The Spaniards: An Introduction to Their History, trans. W. King and S. Margaretten (Berkeley, CA: University of California Press, 1971 [1948]). This view was popularized by María Rosa Menocal in The Ornament of the World: How Muslims, Jews, and Christians Created a Culture of Tolerance in Medieval Spain (Boston, MA: Little, Brown, 2002); and Menocal, María Rosa, “Al-Andalus and 1492: The Ways of Remembering,” in The Legacy of Muslim Spain, ed. Salma Khadra Jayyusi, vol. 1 (Leiden, Netherlands: Brill, 1994)Google Scholar. For analyses of the anti-Islamic tendency in contemporary historiography of Andalusia, see Aidi, Hishaam D., “The Interference of al-Andalus: Spain, Islam, and the West,” Social Text 24.2 (2006): 6788 CrossRefGoogle Scholar; and Hirschkind, Charles, “The Contemporary Afterlife of Moorish Spain,” in Islam and Public Controversy in Europe, ed. Nilüfer Göle (Farnham, England: Ashgate, 2013)Google Scholar. The most recent historiography diverges from the paradigm of convivencia, finding it overly simplistic. Barbara Fuchs argues on behalf of a “hybrid” society rather than one populated by essentially distinct entities, however cooperative. See Fuchs, Barbara, Exotic Nation: Maurophilia and the Construction of Early Modern Spain (Philadelphia, PA: University of Pennsylvania Press, 2009)CrossRefGoogle Scholar. Other scholars note that convivencia wasn’t unique to Andalusia; see for example Soifer, Maya, “Beyond Convivencia: Critical Reflections on the Historiography of Interfaith Relations in Christian Spain,” Journal of Medieval Iberian Studies 1.1 (2009): 19-35 CrossRefGoogle Scholar.

18 William Granara notes that Ashour’s novel is unique among the many contemporary literary engagements with classical Andalusia in avoiding nostalgia. See Granara, William, “Nostalgia, Arab Nationalism, and the Andalusian Chronotope in the Evolution of the Modern Arabic Novel,” Journal of Arabic Literature 36.1 (2005): 5773 CrossRefGoogle Scholar.

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20 Ibid., 10.

21 Al-Dab, Mahmud‘, “Al-Tārīkh al-Ijtimā‘ī wa al-Ibdā‘ al-Sardī fī Adab Radwa Ashour,” in al-Mu’tamar al-‘Āmm li-Udabā’ Miṣr, al-Dawra al-Thalathūn: Radwa Ashour: Tamaththulāt al-Muthaqqaf, ed. Sayyid Khitab (Cairo, Egypt: Al-Hay’a al-‘Āmma li-Quṣūr al-Thaqāfa, 2015), 31, 37 Google Scholar.

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23 Jurji Zaydan, Al-Ḥajjāj bin Yūsuf, quoted in ‘Abd al-Muhsin Taha Badr, Tatawwur al-Riwāya al-‘Arabiyya al-Ḥadītha fī Miṣr, 1870–1938 (Cairo, Egypt: Dar al-Ma‘ārif, 1963), 52.

24 Ashour, Thulāthiyyat Gharnāṭa, 10.

25 Nezar Ajaj Andary, A Consuming Fever of History: A Study of Five Urgent Flashbacks in Arabic Film and Literature, PhD dissertation, University of California at Los Angeles, 2008, 72; al-Dab‘, “Al-Tārīkh al-Ijtimā‘ī wa al-Ibdā‘ al-Sardī fī Adab Radwa Ashour,” 44.

26 The study of rumor is a centerpiece of early Subaltern Studies methodology. See, for example, Guha, Ranajit, Elementary Aspects of Peasant Insurgency in Colonial India (Delhi, India: Oxford University Press, 1983), 251277 Google Scholar; Arnold, David, “Touching the Body: Perspectives on the Indian Plague, 1896–1900,” in Selected Subaltern Studies, eds. Ranajit Guha and Gayatri Chakravorty Spivak (New York: Oxford University Press, 1988), 404413 Google Scholar.

27 Ashour, Thulāthiyyat Gharnāṭa, 21, 46–47, 87, 88, 105, 122, 166.

28 Samir, Iqbal, “Ramziyyat Suqūṭ Gharnāṭa fī Thulāthiyyat Radwa Ashour,” Fuṣūl 66 (2005): 167 Google Scholar.

29 In an interview, Ashour contrasts the various linguistic registers of her novel—fuṣḥā [classical Arabic] and colloquial, Koranic and biblical, the high literary and the documentary—with the “single voice” [al-ṣawt al-uḥādī] of the Inquisition. See Al-‘Aqili, Ja‘far, “Raḍwā ‘Āshūr: al-Ḥakī Asās al-Riwāya,” Āfkār 265 (2011): 107 Google Scholar.

30 Ashour, Thulāthiyyat Gharnāṭa, 477.

31 Ibid., 498.

32 Ibid., 502.

33 Christina Civantos, whose reading of the Granada Trilogy also focuses on the books, interprets them as symbols of hope, cultural continuity, and resilience. See Civantos, Christina, The Afterlife of al-Andalus: Muslim Iberia in Contemporary Arab and Hispanic Narratives (Albany, NY: State University of New York Press, 2017), 271281 Google Scholar.

34 Giorgio Agamben critiques the received understanding of potentiality in Aristotle and his followers, pointing to the teleological nature of a potentiality that would simply await its own actualization. He instead commends a form of impotentiality that would abnegate itself in order to let others have a chance at becoming. Such a radical passivity, however admirable in its context, cannot command the same ethical force under conditions of coloniality, where impotence is enforced. Yet Agamben usefully calls us to think a form of potentiality that would not be hoarded as power but could still inspire efforts at transformation. See Agamben, Giorgio, Potentialities: Collected Essays in Philosophy, trans. Daniel Heller-Roazen (Stanford, CA: Stanford University Press, 1999)Google Scholar.

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42 Kudsieh, Suha, “Expulsion from Paradise: Granada in Raḍwā ‘Āshūr’s The Granada Trilogy (1994-8) and Salman Rushdie’s The Moor’s Last Sigh (1995),” in Roads to Paradise: Eschatology and Concepts of the Hereafter in Islam, eds. Sebastian Günther, Todd Lawson, and Christian Mauder, vol. 2 (Leiden, Netherlands: Brill, 2017), 953976 Google Scholar.

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44 Ashour, “Li-kullin Gharnāṭatuhu,” in Thulāthiyyat Gharnāṭa, 508. Elsewhere Ashour has stated explicitly that the Granada Trilogy “is not an allegory.” See Ashour, Radwa, “Eyewitness, Scribe and Story Teller: My Experience as a Novelist,” The Massachusetts Review, 41.1 (2000): 91 Google Scholar.

45 Ashour, “Li-kullin Gharnāṭatuhu,” 508–09.

46 See for example Anidjar, Gil, “Medieval Spain and the Integration of Memory (On the Unfinished Project of Pre-Modernity),” in Islam and Public Controversy in Europe, ed. Nilüfer Göle (Farnham, England: Ashgate, 2013), 221 Google Scholar.

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48 Stoler, Ann Laura, Duress: Imperial Durabilities in Our Times (Durham, NC: Duke University Press, 2016)CrossRefGoogle Scholar; Lear, Jonathan, Radical Hope: Ethics in the Face of Cultural Devastation (Cambridge: Harvard University Press, 2008)Google Scholar; Jayyusi, Lena, “Iterability, Cumulativity, and Presence: The Relational Figures of Palestinian Memory,” in Nakba: Palestine, 1948, and the Claims of Memory, eds. Ahmad H. Sa’di and Lila Abu-Lughod (New York: Columbia University Press, 2007)Google Scholar.

49 Stoler, Duress, 7.

50 On the loss of a capacity for action in modernity, see Halpern, Richard, Eclipse of Action: Tragedy and Political Economy (Chicago, IL: University of Chicago Press, 2017)CrossRefGoogle Scholar.

51 Ashour, “Li-kullin Gharnāṭatuhu,” 514. Edward W. Said makes a similar suggestion in “Reflections on Exile,” Reflections on Exile and Other Writings (Cambridge: Harvard University Press, 2000), 173–86.

52 Ashour, Radwa, “My Experience with Writing,” Alif: Journal of Comparative Poetics, trans. Rebecca Porteous, 13 (1993): 170 Google Scholar.