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.
The Baathist state did two things extremely well. One was create information-gathering intelligence networks and a filing system. There's actually a lot of information on a lot of people and that is a major achievement of a police state. The second one is the promotion of literature and poetry, and the arts generally. So this is a state that's producing mass police archives - surveillance - and poetry. And in fact a lot of the archives are about what poets are writing or what they should be writing.
Academic writing you have to get right. Fiction you have to get plausible. And there's a world of difference.
It 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.
When you're writing your own fiction, you don't have to ride two horses.
If I have learned how to write fiction it's by working with great writers and getting them to explain their craft to me so that I can do it in English.
Academic 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!
Translation is harder, believe it or not. You do have to come up with a story, and actually I'm mystified by that process. I don't exactly know how the story just comes, but it does. But in writing a story that you're inventing, versus writing a story that somebody else has made up - there's a world of difference. In translation you have to get it right, you have to be precise in what you're doing.
I wrote Baghdad Central right after translating a great work by Ibrahim al-Koni, who is sort of a master of Arab fiction. In conversations with him I realized that translations have been my MFA program. If I have learned how to write fiction it's by working with great writers and getting them to explain their craft to me so that I can do it in English. That's how I've figured it out.
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