A high-ranking Syrian official in DC laughed when he heard I was reading Michel Aflaq and writing this book. He said, "Let me tell you something. There are no Baathists, no one believes this stuff, this is stuff you read in school because it's assigned to you. Maybe someone believed it, but no one really believes it." And I thought that was really interesting to hear, because the ideology of Baathism was presented so often to Americans as the core of what's wrong.
Elliott CollaEnglish is a forgiving language. It's not like Classical Arabic and it's not like French. You can speak broken English and be expressive and no one will hold it against you.
Elliott CollaIn the Green Zone in Iraq you have your radio, you have your food, you have your own electricity, your own toilets. Everything is a sealed American reality overlaid on top of an infrastructure that is crumbling.
Elliott CollaAcademic writing you have to get right. Fiction you have to get plausible. And there's a world of difference. In a way, if someone says this didn't feel exactly right, I don't care. But that is not okay to do in academia - it's not about feeling. You want to establish a pretty solid case. So did this allow me to express things differently? Absolutely. Another thing I've been thinking about as an academic: our writing style is expository, and in fiction, withholding information matters quite a bit. Withholding things in academia - there's no place for that!
Elliott CollaWhy is thinking about crime or imagining crime so goddamn central to pop culture? It doesn't matter whether it's American TV or British TV. And there's entire sections of bookstores devoted to crime.
Elliott CollaIt does not take much to imagine the humanity of people you don't know. An American author does not need to know a word of Arabic to write a book like the one I wrote.
Elliott CollaTake Ezra Pound's translations of poetry from Chinese. He doesn't really know Chinese, and the very strange results that he comes up with aren't all successful, but as a whole it's incredibly successful, moving us away from familiar forms and indicating other forms we might think in or express in.
Elliott Colla