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Articles by Abdelfattah Kilito
Grand Prix de la Francophonie Marks Pinnacle of Abdelfattah Kilito’s Profound Impact on Ancient Arabic Literary Traditions
Moroccan literary scholar and writer Abdelfattah Kilito’s efforts in spreading recognition for Arabic literature have been honored again in the form of the Grand Prix de la Francophonie, one of two prestigious prizes awarded annually by the French Academy. The award, which marks Kilito’s second prize from the French Academy since he received the French Academy Award in 1996, celebrates the author for his contributions to developing the French language worldwide.
चीख़ | मोहम्मद अली
Translated into the Hindi by Nasiruddin. मैं अपने डॉक्टर के पास आया हूँ। ये ख़ास तरह के डॉक्टर हैं। दिमाग़ में पैबस्त उलझनों की तार और गाँठों को सुलझाने वाले डॉक्टर। मैं क्लिनिक में रखे चमड़े के भूरे सोफे पर बैठा हूँ। मेरे बगल में टिश्यू पेपर का डिब्बा पड़ा है। वक़्त गुज़र रहा है और मैं धीरे-धीरे स्याह यादों में लौटता जा रहा हूँ: . . .
Why Read the Classics?
English | العربية What follows is an essay by the Moroccan writer Abdelfattah Kilito, from his new collection Fi jaw min an-nadm al-fīkri (“In a Spirit of Intellectual Repentance”), at present available only in Arabic. Born in 1945, Kilito is the author of a number of books on Arabic literature––though it would be inadequate to simply describe him as a scholar and critic. His work elides the distinction between literary criticism and storytelling, analysis and fabulation.
First Read—From “The Tongue of Adam” by Abdelfattah Kilito - Words Without Borders
How, from Babel onward, can we explain the plurality of language? In The Tongue of Adam, translated from the French by Robyn Creswell and forthcoming from New Directions, Moroccan writer Abdelfattah Kilito explores this and other enigmatic questions related to translation, comparative religion, and lexicography. Babels The question of an original language arises when multiple languages are found in a state of competition or rivalry.
When I Die, I Want to Remember Every Poem I Know by Heart
What if you could remember every poem in the next life? The dead play a sly trick on the living: in dying, they pass on the duty of interpreting what they thought, of arguing over what they said—or might have said, or even what they never said. This is how we get the fantasy, as stubborn as it is unrealizable, of interrogating the dead directly and without an interpreter. To meet them, just once, and to ask them to clarify what they’d said—or even, in certain cases, to ask if they said it at all.
November 1, 2016 – The Paris Review
What if you could remember every poem in the next life? The dead play a sly trick on the living: in dying, they pass on the duty of interpreting what they thought, of arguing over what they said—or might have said, or even what they never said. This is how we get the fantasy, as stubborn as it is unrealizable, of interrogating the dead directly and without an interpreter. To meet them, just once, and to ask them to clarify what they’d said—or even, in certain cases, to ask if they said it at all.
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