Studies a neglected area of postcolonial fiction, fostering a better understanding of Iraqi culture and society This exploration of the work of Iraqi novelists begins with the early pioneering works and then moves towards an outline of the vibrant Baghdad cultural scene during the 1940s and 1950s. Particular attention is paid to detailed textual analysis and the evaluation and comparison of the aesthetic and poetic qualities of the key works of the four writers who form the central subject of the book -- Abd al-Malik Nuri (1921-98), Gha'ib Tu'ma Farman (1927-90), Mahdi Isa al-Saqr (1927-2006) and Fu'ad al-Takarli (1927-2008) -- all of whom began to write in or around the pivotal decade of the 1950s. It is in these writers' works that Iraqi fiction came of age and reached artistic maturity. The best of them are among the most complex portrayals of the particularities of life in Iraq and the human condition in general to come out of the Arab world.

Pluralism in the Iraqi Novel is about the use of literature and the novel to express the new content of an Iraqi national identity constructed after the American invasion of 2003. Instead of the homogenizing national identity in Iraqi literature created before 2003, postoccupation literature presents Iraqi society as a kaleidoscope of multiple religious identities converging in an accommodating Iraqi national identity. The author argues that this could not have happened without the upheaval of 2003 and its consequent results: democracy and political restructuring that incorporated Shia for the first time into the ruling political coalition in recognition of their numerical majority. Literature was consequential to processing the complicated subject of Shia-Sunni relations and the sectarian identity of each and, even more, in the wake of the geopolitical events of 2003, literature was instrument in bringing representation of the Kurds, the small minorities, and even the last Jews of Iraq to the fore. As such, literature demonstrated its revolutionary power and formed the basis for a “New Iraq.”

The last three decades in Iraqi history can be summarized in these words: dictatorship, war and occupation. After the fall of Saddam's regime Iraqi novelists are not only writing about the occupation and the current disintegration of Iraq but are also revisiting previous wars that devastated their lives. This book examines how recent Iraqi fiction about war depicts the Iraqi subject in its relation to war, coercion, subjugation and occupation. The theoretical medieval concept of the homo sacer, the killable, as defined by Giorgio Agamben is used to explore the lives and the experiences of different war actors such as the soldier, the war deserter, the camp detainee and the suicide bomber depicted in their "e;bare life"e; as men doomed to death in the necropolitical context. War and Occupation in Iraqi Fiction is an exploration of fictional works by a new generation of leading Iraqi authors such as Ali Badr, Shakir Nuri, Najm Wali, Hdiya Hussein and others. It brings to light the overarching continuum in the production of homines sacri in Iraq. Instances of homo sacer under the dictatorship are complemented by new instances found in the camp and under the state of exception of the occupation and the war on terror.

By exploring how translation has shaped the literary contexts of six Iraqi woman writers, this book offers new insights into their translation pathways as part of their stories’ politics of meaning-making. The writers in focus are Samira Al-Mana, Daizy Al-Amir, Inaam Kachachi, Betool Khedairi, Alia Mamdouh and Hadiya Hussein, whose novels include themes of exile, war, occupation, class, rurality and storytelling as cultural survival. Using perspectives of feminist translation to examine how Iraqi women’s story-making has been mediated in English translation across differing times and locations, this book is the first to explore how Iraqi women’s literature calls for new theoretical engagements and why this literature often interrogates and diversifies many literary theories’ geopolitical scope. This book will be of great interest for researchers in Arabic literature, women’s literature, translation studies and women and gender studies.

Explores discourses on gender and representations of women in modern Iraqi fiction. By exploring discourses on gender in both propaganda and high art fictional writings by Iraqis, this book offers an alternative narrative of the literary and cultural history of Iraq.

Arab women's writing in the modern age began with 'A'isha al-Taymuriya, Warda al-Yaziji, Zaynab Fawwaz, and other nineteenth-century pioneers in Egypt and the Levant. This unique study-first published in Arabic in 2004-looks at the work of those pioneers and then traces the development of Arab women's literature through the end of the twentieth century, and also includes a meticulously researched, comprehensive bibliography of writing by Arab women. In the first section, in nine essays that cover the Arab Middle East from Morocco to Iraq and Syria to Yemen, critics and writers from the Arab world examine the origin and evolution of women's writing in each country in the region, addressing fiction, poetry, drama, and autobiographical writing. The second part of the volume contains bibliographical entries for over 1,200 Arab women writers from the last third of the nineteenth century through 1999. Each entry contains a short biography and a bibliography of each author's published works. This section also includes Arab women's writing in French and English, as well as a bibliography of works translated into English. With its broad scope and extensive research, this book is an indispensable resource for anyone interested in Arabic literature, women's studies, or comparative literature. Contributors: Emad Abu Ghazi, Radwa Ashour, Mohammed Berrada, Ferial J. Ghazoul, Subhi Hadidi, Haydar Ibrahim, Yumna al-'Id, Su'ad al-Mani', Iman al-Qadi, Amina Rachid, Huda al-Sadda, Hatim al-Sakr.

This book discusses a rich variety of voices from the margins and experiences of living in the postmillennial globalised world represented in selected novels by Irish-Canadian, British, American, Serbian, Australian, Iraqi and Māori authors. Contributions focus on illustrative examples of the contemporary novel that reflects acute awareness of globalizing processes and the rising tension between global and local identities, discourses and trends. In its diversity, the book serves to map voices from the new margins overshadowed by the intense pressure of globalization. Whether these new margins are ethnic minorities living in globalized centres of contemporary metropoles or authors whose national, local or regional voices are marginalized by works with more global ones, they are equally deserving of the attention of general readers, university students and literary scholars. The book will primarily appeal to scholars in the fields of literary, gender, postcolonial and food studies, but will also be of interest to a broader readership involved in explorations of literary works in the context of globalizing processes.

The first study in English to chart the development of the Palestinian novel in exile and under occupation from 1948 onwards.

Considers the Arabic novel within the triangle of the nation-state, modernity and traditionWen-Chin Ouyang explores the development of the Arabic novel, especially the ways in it engages with aesthetics, ethics and politics in a cross-cultural context and from a transnational perspective.Taking love and desire as the central tropes , the story of the Arabic novel is presented as a series of failed, illegitimate love affairs, all tainted by its suspicion of the legitimacy of the nation, modernity and tradition and, above all, by its misgiving about its own propriety.

The 2003 Iraq invasion provoked an unprecedented phenomenon in the Iraqi literary scene: fiction exceeds poetry in production, critical reception, and market figures. New narrative genres, concerned with stories of wars and trauma, depict corporality and sexuality in their most material sense. Writing Through the Body argues that interest in the physical indicates a new perception of corporeality and, to show this, it traces a genealogy of the Iraqi body to uncover the complexity of its historical and socio-political discourses. Considering religious, social, and political factors, the body is examined in three semiospheres: Iraqi society and culture before 2003, the discourse of the war on terror as a semiotic interference, and contemporary Iraqi fiction as the result of the encounter between the two. This structure shows how corporeality was interrupted by and instrumentalised in war propaganda, and how new representations in fiction respond to the two spheres in conflict.