I need to have one foot inside and one foot outside a culture to be able to write about it. For example, I couldn't write about the gay culture if I were wholly inside or outside of it. Finding that distance is always interesting. I jokingly say that when I'm in America, I write about Beirut, and when I'm in Beirut, I write about America. A lot of my friends in Beirut think I'm more American than Lebanese. Here, my friends think of me more as Lebanese.
Rabih AlameddineI'm an atheist, a devout atheist, but I find religion fascinating. Primarily because of cultural references, as in: This is what we grew up with. Both on a personal level and a collective level.
Rabih AlameddineI'm surprised how often I'm asked about being a man with a woman narrator. I'm not the first, nor will I be the last. It's been done forever, but we seem to forget that. The whole notion of "write what you know" is not just boring, but wrong. Lately it seems like every novel has to be a memoir. I'm a boring person, but I'm a writer with a relatively vivid imagination. And when people ask me about how I find the voice of a woman, I tell them that my life is run by women.
Rabih AlameddineBy nature, a storyteller is a plagiarist. Everything one comes across - each incident, book, novel, life episode, story, person, news clip - is a coffee bean that will be crushed, ground up, mixed with a touch of cardamom, sometimes a tiny pinch of salt, boiled thrice with sugar, and served as a piping-hot tale.
Rabih AlameddineMe? I was lost for long time. I didnโt make any friends for few years. You can say I made friends with two trees, two big trees in the middle of the school [โฆ]. I spent all my free time up in those trees. Everyone called me Tree Boy for the longest time. [โฆ]. I preferred trees to people. After that I preferred pigeons, but it was trees first.
Rabih Alameddine