Hassan Blasim Quotes

You learn something from the classics but your feelings and your imagination operate in the domain of the colloquial. We need to think seriously about reforming the Arabic that we use today.

Losing hope means ceasing to love my son and my girlfriend and many friends and people around the world. We in Iraq have not descended from another planet. Just as people in many other countries have gotten over the tragedy of war, Iraq will get over its ordeal. I'm talking about the essence of humanity. Hope is mixed into the blood of every human being, everywhere and in every time.

For seven years I wrote and published my texts on the Internet and no Arab festival invited me and no Arab publishing house wanted to publish my books, and I wasn't known in the Western world because of my political positions.

Knowledge and imagination are the life buoy and the extra lung for breathing outside the walls of a tainted reality.

I still write in literary Arabic but I try to rid it of the rhetoric, the symbolism, and the stuff that ordinary people don't understand.

One of the Baathists once told me, "If you're not careful, I'll have you put away," and those words meant death.

We in Iraq have not descended from another planet. Just as people in many other countries have gotten over the tragedy of war, Iraq will get over its ordeal.

It's ridiculous and painful to use the Arabic of an Iraqi poet who lived centuries ago to describe what we in Iraq are suffering today.

Migration was not the only unpleasant experience I went though. I was born and lived in a country ruled by a brutal dictator whose wars never ended, and from an early age I was passionate about understanding the world through knowledge.

The trail of "secret migration" was a shock to me. I knew a little about the difficulties, just bits of news in the media.

The Arab world is full of corruption, in the time of the dictatorships and in the time of anarchy. This corruption is not only in politics and the economy, but also in the field of creative activity. There's an elite that controls the festivals, the newspapers, and the reviews. They are just a corrupt clique with no interest in creativity.

Whenever we went out to film in the street we would end up in the police station and in the offices of some other security agency. They deliberately intimidated us. I moved to Kurdistan and changed my name and made my first feature film in Kurdistan with very basic resources.

When my stories were translated into other languages and received good reviews in the international press and won prizes, some Arab festivals and newspapers began to take an interest in what I had produced. This sudden Arab interest is a form of hypocrisy and nonsense.

I've been working on the margins and I was aware of this choice from the start. I buy most of what's written and produced in the Arab world and I don't much like it.

I'm not much interested in prizes, whether from the Arab world or from the Western world. Writing is a very difficult process and I want to continue my work.

All the children in the world, when they go to school, have the right to study in their mother tongue. But we go to school and run into literary Arabic as children. It sounds like a foreign language. The words for "house" or "table" or "lamp" are not the same as the words we use at home, and most of the other words are alien to children at school. Classical Arabic is one of the prisons of the Arab world.

I began writing and became attached to writing at an early age. I began by writing poetry and experimenting with dialogues: modest plays, in other words. I also used to describe at great length the way people in the area lived.

I'm talking about the essence of humanity. Hope is mixed into the blood of every human being, everywhere and in every time.

Losing hope means ceasing to love my son and my girlfriend and many friends and people around the world.

The Iran-Iraq war began the same year that I went to primary school, at the age of six.

In art class at school we learned how to draw tanks and soldiers opening fire at [Iranian leader Ayatollah] Khomeini and his beard. They didn't teach us the names of the flowers that grew around us in the city - wild flowers of all kinds and all colors. The math teacher used to whip the kids with his trouser belt. My father was constantly violent toward my mother for the most trivial reasons.

In fact I didn't think about fear much at the time. I felt angry about everything that was happening around me: the violence of the dictatorship and the violence of society.

It's true that we in Iraq are now paying a heavy price as a consequence of senseless violence, but nonetheless there are many positive things happening generally on the part of people in Arab countries who were living in darkness and absolute silence because of dictatorship. The people in Arab countries are now speaking out and asking many questions about human rights, minorities, religion, democracy, "the other," and so on.

The people in Arab countries are now speaking out and asking many questions about human rights, minorities, religion, democracy, "the other," and so on.

We used to watch executions. I mentioned that in one of my stories. There was a piece of open ground near the area where we lived and we used to play soccer there. That was where they used to hold public executions for soldiers who deserted the army and members of the Kurdish resistance.

There's no violence worse than the violence of Iraq. For the last fifty years Iraq has been living a nightmare of violence and terror. It's been a horrible experience and people in Iraq will need a lot of time and work to get over the disastrous effects. But first we have to think about how to stop the violence, so that the bloodshed stops. In spite of everything, on the personal level I don't easily lose hope.

I live in a small country in Europe - Finland - and I don't speak English well and I had nothing to do with publishing houses in the West. I lived in complete isolation.

I didn't start publishing literary texts until I had left Iraq. At the Academy [of Cinematic Arts] I was busy with short films.

I studied at the Academy during the years of economic sanctions. Life was almost dead because the sanctions imposed on Iraq by the civilized world were so strict.

"Secret migration" across borders is a form of human degradation and evidence of the depravity of the human conscience.

My stories were translated and had many reviews before I had an interview with any international or Arab newspaper. If the stories hadn't succeeded, you wouldn't have asked me my position on Arab festivals and I wouldn't have been interested in the festivals anyway, because I would be in seclusion, writing.

How can one talk in a classical language about a child who's torn apart in an explosion in the market near his school? People in Iraq don't talk about their joys, their problems, and the destruction of the country in literary diction.

While I was studying film at the Academy, the problems started. I wasn't a political activist directly in the time of Saddam [Hussein], because the dictator was so cruel and brutal that no one could criticize or complain. I felt futile and empty. The only solution in Iraq was to run away.

Some Iraqi writers are more daring today and have excellent imaginations and their material is rich in human experience. But the Arab prizes, once again, are part of the context of life in the Arab world - anarchy, confusion, and corruption.