13th Issue

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November 3, 2009

Issue: 13

Published on the first Tuesday of the Month

D I T I O

Beacon… A Year of Enlightenment By: Badr Al Jahwari

“It is in literature that the concrete outlook of humanity receives its expression” Alfred North Whitehead The identity of any civilization is best seen in its literature. It is the means through which thought is communicated across the globe. Can we not remember Homer’s Iliad when we talk about the Greek? Can we ever forget Beowulf and Grendel when we discuss the history of the Anglo-Saxons? Can we ever feel proud of our Islamic and Arab civilization without reference to our great poets, Hassan bin Thabet, Al Mutanabbi and Ahmad Shawqi. Are these lyrics of the past? Then how about viewing Palestine without the mention of Mahmoud Darwish? Literature identifies civilizations. However, this could not have been done without translations. Translations break the language barrier and bridge cultures, thoughts and beliefs. From that philosophy, Beacon was born. On November 3, 2008 in the Cultural Club, Beacon was inaugurated. Despite the short and humble ceremony, on that day, a new page in Omani history was written. I still remember the one thing I emphasized that night, “Publishing a journal for Omani literature is not an achievement. What can be considered an achievement is keeping it going.” Today we stop and wonder, “Have we made it yet?” A year has passed since then, and Beacon kept its promises in promoting Omani literature to English readers. Every month was a new idea; a new name to be added, be it a writer, a poet or a translator. Our team grew from 4 to 18, which is still a tiny figure compared to the responsibility upon our shoulders. There are names that just have to be mentioned whenever we talk about Beacon. They were the ones who constituted the cornerstone of our “little project”. Those were Nasser Al Badri, Said Al Hashmi, Suleiman Al Mamari, Aysha Al Seifi, Salim Al Kindi, Azza Al Kindi, Hammal Al Belushi, Muna Al Battashi, Dalal Al Attabi, Mathla Al Wahaibi and Umayma Al Harthi. Other names joined later including Ahmed Al Hadrami, Sara Al Sheyadi, Ameera Al Harrasi, Mutasim Al Raisi, Ahmed Al Sabi, Issam Al Qasmi, Safaa Al Nabhani, Asma Al Dawdi, Asma Al Aufi, Asma Al Harthi, Sumayya Ambusaidi and Abdul-Rahman Al-Maskari. Credit must also be given to our editor, Thomas Roche and our two creative designers, John Lopez and Mahmoud Al Hosni. This issue is a special one. It is an issue about Beacon. Has it fulfilled its promises? Has it reached out to the “other”? What do the readers think about it? How do the translators evaluate their experience? It is not only a time of celebration but also a time of reflection. Let us sit back and reflect on what we have achieved, and celebrate every success we have made. We welcome all contributions and suggestions at:

[email protected]

Image courtesy of: Malik Al Mahrooqi

In this issue:

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Questions About Poetry In Oman

4

The Star To Every Wandering Translator

8

And When The Bough Breaks

November 2009

Omani Poetry is part of the Universal By: Talib Al Mamari Translated By: Umaima Al Harthi

Poetry of Humanity Omani Poets Produce Deep Unique Poetry

Poetry has always existed deep within Omani souls throughout the centuries. It has accompanied human existence in Oman from its beginnings to the present day.

Text Selection

Badr Al Jahwari Aysha Al Saifi Graphics Selection

Safaa Al Nabhani Public Relations

Umayma Al Harthi Ahmed Al Hadhrami Design by

Mahmoud Al Hosni Special Thanks to:

• Society for Fine Arts at Sultan Qaboos University • Photography Society at Sultan Qaboos University • Department of Public Relations & Information

Today, poetry can be considered a well of support for us in this desert called “life” which drives human beings to destruction through corruption, regression, wars and globalization. Poetry has always reflected the voice of the nation and individuals in Oman. It was the voice of the nation struggling to prove itself in times of ignorance, wars, as well as political and religious conflicts. Poetry urged on the existence of the soul of this nation when it was weak and exploited. It was also the voice of the individuals to reflect their unique genuine personality beyond the stifling immediacy of the group. Here, a poet could create his own identity through an original style. Omani poets were faithful in producing poetry at different times. Sometimes, Omani poetry shone with elegance and while at other times it was modest in its ambitions maintaining traditional rhythms. Omani poetry maintained the form of classical Arabic until the end of E

Thomas Roche Salim Al Kindi Dalal Al Attabi Muna Al Battashi

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Editors

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Azza Al Kindi Hammal Al Belushi

Certainly poetry and life are connected by hidden bonds in the Arab world. For Omani people, like other Arabs peoples, poetry plays a special role. Our Prophets’ saying “An Arab shall not leave poetry till a Camel leaves its grumble” and the saying of Al-Farahidi,1 “Poets are Maters of Speech” reflect this special bond.

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Editorial Supervision

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the 1970’s when other forms of creative writing appeared in print in Oman. It was in the 1980’s that Omani Poetry changed dramatically. Omani poets started writing a new kind of poetry. This style used feet and meters that were influenced by Nizar Qabbani’s 2 style which underpinned much of the Arab world’s poetry at that time. Some poets tried to compose in a manner different to Nizar’s, but the core of their writings or the themes they revolved around remained based his structural elements. Writing poetry remained affected by its past despite the attempts of some poets to be influenced by the new Lebanon poets who had emigrated to Oman. These attempts were however, only moderately successful. Poetry inside Oman had continued until the 1980’s essentially in the classic style with some authors attempting a new frame (the foot). Despite the attempts to mix old and modern styles and registers, it was difficult to change the poetic language of Oman. The same period witnessed the beginnings of a dramatic change of style in the modern poetry of young poets who were studying abroad. They were influenced by the new discoveries in Arabic and world poetry as they became acquainted with old literature that had been abandoned or disregarded here because of political and religious factors. Omani poets appeared to desire their individual voice, deciding their own destiny by using their own words. New Omani poets started to opening

November 2009

up to wider human experiences and writing poetry accordingly. As Goethe said “Poetry is my redemption”. The redemption that Omani poets wanted for themselves and presented in their writings had an echo that spread whether their poetry used feet, was structured as prose poetry, or in the new form of modern poetry that still requires a suitable term. Is it a free poem or a prose poem? The Jury is still out, so currently manner poets prefer to say that they write prose poetry whenever asked. The expression prose poetry holds an uncertain position for us in Oman and in most of the countries of the Arab World. However, criticisms of and the products of modern poetry show the differences between the old and the new world of Oman. Literary criticism has showed that in general that prose poetry has French features while free poetry has American ones. Omani Poets kept including all the three types of poetry in their divans. For example, they included poetry using feet, prose poetry and free poetry, and later on detailed poetry. Moreover, some of them included classically structured poetry in their divans, to prove themselves to detractors of the modern style - or for other reasons. In short, writing prose poetry at that time was an adventure. A number of poets in Oman were influenced by it because they found their own voices through it and could best express their broken souls, pain, happiness and hallucinations through this form. The spreading popularity of modern poetry, including the prose poem, urged others to stand against it. Classical writers and conservative poets, who used feet, were the first to oppose the new creative writings. Foremost amongst the reactionary old guard were a number of teachers from the College

of Sciences, Egypt, who came to teach at Sultan Qaboos University. They all warned against the modern ways of writing, saying that prose poetry would destroy the Arabic language, identity and culture. This negative generalization garnered modern writers and they began to attend new poetry in festivals. It encouraged the new generation to try make modern poetry their life and the most authentic way to express themselves. The 1990’s were the golden age of modern Omani prose poetry. Most of the divans in that decade were filled with prose poetry. With the beginning of the third millennium, modern poetry took its rightful position in Oman. Yet, it was hard to find distinguished modern poets, because they were so devoted to their creative writing, caught up in their broad horizons and profound adventures. A number of both male and female poets appeared of the scene at this time from a variety of backgrounds, which is the reason for the breadth and creativity of Omani poetry. This was a time when poetry called to writers: “if you want to be a poet, depend on yourself.” Symposiums where held where poets could benefit from other’s experiences. Despite all the obstacles in the way of the modern poetry, we might say that it has a future. This is because the new generation of poets has similar visions and thoughts and each one of them has his own character and voice in writing a different poetry. Although modern poetry started bright, one can notice some fainting sometimes due to the conditions of the place in Oman and the Arab World in general. The Omani and Arabic conditions usually are not encouraging; they are mostly swinging up and down for several reasons. Some of these reasons are the instability of P A G E

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the job and the position of the poets, the encouragements for creativity are mainly negative, the printing, the freedom of expression, the problems in publishing, the poor rewards and the observation. Moreover, they rarely get interaction with whatever published because real deep discussions and readings don’t exist, and even if they exist, they are not suitable for the creative production that shows a bright future. This is because of the lack of Academies and specialties, and the weak existing cultural leaderships. Moreover, those who are in the poetic cercal in particular and the creative one in general rarely participate in the meetings and the exchange of ideas. This is one of the biggest difficulties in the cultural circle in Oman, including poetry, that is controlled sometimes by individuals and tight visions and ideas. Therefore, creative Omanis, starting from poets, shouldn’t think that their production will open all doors for them. Entering this field that is full of obstacles forces them to struggle continuously to improve their poetry and reach the top. This can be found in number of creative Omani texts that are genuine, deep and unique. Omani poets face the same issues as the contemporary poets everywhere. Their poems that are Omani in origin are part of the universal human poetry in content, concerns and relationships. After all, the questions about poetry in Oman represent the Omani existence. Footnotes: A famous linguist.

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Omani

intellectual

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A Syrian diplomat, poet and publisher

November 2009

The Star to Every Wandering Translator

By: Salim Al Kindi

• Muna Al Battashi

Nations, The Arab world translates about 330 books annually, one-fifth of the number that Greece translates. The accumulative total of translated books since the Caliph Maa’moun’s [sic] time [9th century C.E.] is about 100,000, almost the average that Spain translates in one year. Beacon’s team believes in translation, they believe that through translating the works of Omani writers into English they can bridge

“Translating poetry is rather a complicated task because poetry does not follow any typical linguistic rules”

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some of the gaps between theArab World and the English speaking World. Badr Al Jahwari, one of the founders of Beacon, wrote in the first issue of Beacon, “... it is time for us to stop playing the role of the recipient and take on the role of the sender.” Perhaps it’s too early to step completely into the sender role, but there’s always a first step. It’s been a year since the launch of the Beacon

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A popular online free Encyclopedia defines translation as “... the interpreting of the meaning of a text and the subsequent production of an equivalent text, likewise called a «translation», that communicates the same message in another language.” The ultimate purpose of translating a text is to communicate a message from one language into another. The art of translating literature has a long history in the Arab world. In fact Arabs were pioneers in translating works of science, history and philosophy, and their own works were translated into other languages. The scientist Ibn Sina (known to the West as Avicenna) wrote the first medical text based on medical trials and efficacy tests. It was translated as The Canon of Medicine, and was used throughout Europe as the standard medical text until the 18th century C.E. Plato and Aristotle’s writings were mostly translated from Greek into Arabic before being translated to Latin thanks to Arabic translators working in Spain. However, at some point in history, written texts became less and less valued in the Arab world. According to an Arab Human Development Report published by the United

• Asmaa Al Oufi

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After a year of publications the Beacon team reflect on the work, challenges and achievements associated with the translation of literary texts. But first let’s reflect on translation itself and translated literature in the Arab world.

• Sara Al Sheyadi

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• Hammal Al Belushi

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• Badr Al Jahwari

project. How do the members evaluate their experience so far? Since Beacon has included a variety of genres, how did each member find their chosen genre? We had the chance to meet

“Arabic tends to be more repetitive and descriptive, but the English language regards this style as prolix!” some of the members of Beacon and they were excited and thrilled that the project is celebrating its first year of success. Hammal Al Bulushi said that Beacon gave him the opportunity to read Omani literature more extensively than before and being part of this project allowed him to meet new Omani people from different backgrounds. Hammal is more known for his feature articles’ translations, so we asked him whether he had any setbacks when translating someone else’s standpoint and how difficult translating written Arabic into English was. He responded, “To be honest, it’s a bit difficult to translate someone else’s standpoint, especially because in some texts there is a surface

November 2009

message as well as a deeper hidden message.” He added that, “In order to be faithful, I tend to stick to the literal meaning of the source text without explaining the figurative meaning. This is my style of trying to be faithful to the source text - because it is very difficult to be sure what the writer actually meant with their hidden message! However, sometimes I do elaborate and include hidden meanings, but that’s only when there’s a cultural, perhaps Omani specific, concept involved that I feel English readers need to have explained.” Another genre included in Beacon is poetry and it’s been described as “nearly approaching total untranslatability,” Sarah Al Shiyadi said that, “It is right that translating poetry is rather a complicated task because poetry does not follow any typical linguistic rules, in terms of syntax and pragmatics. The way it is composed and the way the poet squeezes all of their thoughts into a few lines adds to the beauty but also the complexity of poetic language. This complexity makes its translation demanding work.” Muna Al Battashi agrees with Sarah, but raises a point, every time she translated a poem she found that, “Translating poetry is a difficult task but the process is enjoyable because of the repetition of words - suddenly you begin to hear different sounds playing in a very harmonic way.” She adds, that struggling to find and “…understand the intended meaning sometimes might be tedious and dull but at the end, most poems can be translated.” Short stories proved to be one of the most popular genres with Beacon readers. When discussing this genre with Mathla Al Wehaibi we found out that some stories were open to numerous interpretations – when plots and characterization were unclear or subtle the translators worried about making the correct choice. We asked her if she experienced any difficulty in producing the same feelings in English that were aroused in her when reading the Arabic texts. She first stressed the idea that there will always be something missing when rendering a text from one language into another. She added that translating a text depends on the style of writing in the target and sources languages, “…we can see this when the source text language (here Arabic) typically uses more description and repetition to add more feelings and emotions than the target language (here English), you feel something is always missing in the final translation.” She elaborates,

“In our case, Arabic tends to be more repetitive and descriptive, but the English language regards this style as prolix! Thus, I sometimes find it difficult to find an appropriate equivalence for certain expressions, especially the more playful or poetic ones.” Translating book reviews presents another challenge because they contain evaluations of books that are unknown to the English audience. We asked Umaima Al Harthi whether she goes back to the reviewed book before translating the review and she said, “I don’t often read the books, unless there is a quote from the book that is unclear to me.” She adds, “…book reviews are difficult to translate, because they analyze the characters and dig deep into the structure of the book, sometimes they use psychological perspectives to deconstruct the books while at other times they are more focused on language use.” As such of the stylistic concerns of Arab readers may not be comprehensible to the English readers. Azza Al Kindi said that her first translation of a book review wasn’t exciting because she didn’t go back to the book; she just translated the text. Thus, she found it a bit unusual, “…it wasn’t difficult to translate in such a way. The only drawback I encountered was the void I had to feel when translating mere words… I translated mere words without giving myself the opportunity to enjoy their beauty or play genius by adding my own touches, as a result of a comprehensive understanding of the whole work.” Azza had a different experience when translating another book review. She said, “Yet,

“I know now that deep down I have the skills required for translation, and all I need to do is to develop them” my other experience was much better. I read the book described in the book review and that gave me a wider space to find a place for myself when translating. I didn’t face any difficulty in the language or in understanding the writer’s stand point as I was familiar with the whole work.” The team is more than familiar with editors returning their work with question marks, scribbles and circles over the page. Thomas P A G E

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Roche, one of the editors commented, “One of the interesting challenges of translation is communicating, not only the information contained in a text, but also presenting it in a style that is entertaining and engaging for an English reader. Sometimes our translators have produced a wonderful translation of the content of an Arabic text, but the article is written in a style that confuses an English reader.” The Omani style of argumentation can be very subtle, as authors here don’t like to overstate the case, whereas an English reader wants to read a thesis statement in the introduction and a concluding statement at the end of an essay. English readers expect concrete evidence to be stated whereas Omani authors prefer alluding to shared knowledge. Sometimes the team decided to leave articles as close to the original as possible, giving readers a feel for the unique flavor of Omani writing. At other times, the scribblers, circlers and question mark writers had their way and texts were modified to reflect the conventions English readers expect. After going through the experience of translation with these members, we asked them about the experience of being a member in this project. Hammal was so excited about it and said that it opened up doors for him to read Omani literature more extensively than before. He said, “Beacon made me face many unique words which are deeply rooted in our culture but I never thought of their equivalents in English.” Sarah was thrilled to be an active member and said, “The idea of letting others as well as Omanis to taste the beauty of our literature, is surely a project that is worthy of credit, and I am very proud to be part of it.” Muna said that this professional experience motivated her to develop her translation skills. Asmaa Al Oufi said that she didn’t know that she had the potential to produce some great texts! She said, “I know now that deep down I have the skills required for translation, and all I need to do is to develop them.” Azza stressed the fact that everyone is proud to be a member in Beacon, “Being a member in Beacon is honor for me as an Omani, for we are carrying our voice to the world.” She concluded that the members are not just concerned about having their works published but rather believing that everyone is doing something exceptional for the country. Through translation the team hopes they are sharing something of the Omani experience with the world.

November 2009

“Beacon in the Eyes of Its Readers” By: Muna Al Battashi & Azza Al Kindi

- “In the Arab world, Oman is well known for its poets. There is even a saying here in Oman which could be translated roughly as “Under every Omani stone, there is an Omani poet.” Poetry is the lifeblood of the nation. What you are doing here with Beacon is allowing Oman’s chief cultural product – not its oil or gas, but something more important, something to do with the Omani soul – to be exported to other cultures. Walaa’hee this is a very nice achievement.” -Al-Hadi, Sudan, Educational Advisor, Nizwa. - “Beacon is one of the first publications that care about young Omani writers and intellectuals. I like that it’s managed by promising young translators who try their best to make it unique. It has that social and humanistic touch through which you can feel a special connection to the Omani society.” –Ahlam Al Ma’mari, English Teacher Furthermore, Beacon has received very interesting and encouraging feedback from non-Arab staff who are working in various sectors in the Sultanate, showing that Beacon has really obtained a remarkable place by becoming (establishing Beacon as) a window through which others gaze to know our Oman in a deeper sense.

- “The short stories are excellent. I love the humour, very quirky.” -Shannon, Canada, household engineer & student, Muscat. - “Könnt ihr bitte so was auf Deutsch machen? Ich kann kein Englisch.” -Wolfgang, Switzerland, Copper Mining, Sohar. - “It is good to see such a quality literary product being produced by Omanis for the world. The range of literary text types, the mastery of poetic forms, the information about life in Oman - all of these make your publication worth necessary reading for the expatriate community in Oman.” -Veejay, India, Embassy Staff Member, Muscat - “I’m a fan of poetry – in all forms. But especially people like Wilde. It was fascinating for me to read Omani poetry in translation. Beacon is doing a fantastic job of bringing local poets, their passions and preoccupations to an international English speaking audience. Hats off to a commendable achievement.” -Nathanial, England, Personal Trainer, Saham - “I came to Oman to work but also to learn about a new culture. I had only been here a few months when one of my colleagues gave me a couple of editions of Beacon that he had at home. Ma’sha’allah they were wonderful. Through them I have had the opportunity to find out much more about life in Oman than the travel books full of pictures of wadis and date palm plantations. I look forward to reading more Beacons.” -Aliya, Pakistan, lecturer, Muscat - “I’ve just found out about it. Wish we had something like that in the Emirates.” -Mark, Wales, Dubai - “I read it at times when work is quiet. This is a different Oman to the bright light world of shopping centres many of us foreigners here live in.” -Daisy, Phillipines, Fun Park Attendant, Muscat. Special thanks to Thomas Roche and Sara Al Sheyadi

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- “Beacon is the light that transfers Omani culture to non-Arabic speakers. I believe that it’s a huge addition to Oman’s intellectual perspectives.” –Hilal Al Badi, Writer

- “It’s good for a bit of history. I remember reading about archaeology around Nizwa. It filled me in on a bit of Omani history I wasn’t familiar with.” -Sean, New Zealand, Geologist, Al Batinah Region

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- “When I read Beacon I feel all the emotions and feelings being moved to give a unique meaning to literature. Moreover, I feel the spirit of the Omani society dancing between the lines accompanied with those fabulous pictures that draw the world in a new image.” –Maya Al Azri, Coordinator, College of Commerce and Economics, SQU

- “I think it is a great idea. I’d love it if Arabic TV stations in the Gulf had English subtitles, too.” -Stephanie, Austria, PR officer, Muscat

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Following are some of our readers’ attitudes and points of view on Beacon as a publication and as an important addition to Omani literature as well as Omani culture.

- “I love Omani culture, but I don’t speak enough Arabic to really understand it. [Beacon] is a way for me to get to know Oman better.” -Chris, Australia, a teacher working in Shinas

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Beacon’s everlasting objective is to expose nonArab speakers to the culture and literary tradition of Oman. Bearing this aim in mind, it has always been of the utmost importance for Beacon’s team to elicit the genres and texts that would put the reader in the spot light, providing him or her with the rich and varied cultural aspects of our society as well as the innovative, unique style of Omani writers. In order for Beacon to realize its goal in becoming a gateway for rendering Omani literature, its readers’ feedback would surely contribute positively to its success and progress.

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ON THE ANNIVERSARY

OF BEACON

By: Dr. Janet Holst, Asso. Prof, English Department, Sultan Qaboos University It slipped into the Times of Oman on November 4, 2008, its blue banner blazing a brave title: BEACON: Our Voice to the World. Beacon? What did it mean? When I looked it up, I found the word had many meanings: 1. beacon - a signal, or guiding light; 2. beacon - a tower with a light that gives warning in the dark; 3. beacon - an inspiration; 4. beacon - symbol of hope; 5. beacon - something that encourages people and gives them a good example to follow…. How could this elegant little supplement be so many things at once? I opened it, read - and was hooked. What a splendid publication we now have! In Beacon I have found original essays, poems and articles that in my monolingual darkness I would not otherwise have ever read, now “brought across” from Arabic by a team of enthusiastic and talented young translators. In editorials and articles, Beacon has brought a brave light to contemporary issues – women working, exiles, and journalistic freedom; as a beacon, it provides inspiration and encouragement a platform - for the creative fire of new writers of stories and poems, in both Arabic and English. In the articles and interviews published in this little paper, I have found writers grappling with serious literary questions, or celebrating and illuminating the work of some special Omanis, as in the tribute to dear, departed Ali. And behind each issue is the burning fire (a beacon) of passion, of fierce pride in Omani heritage and talent, and a determination to open minds, to lighten darkness by bridging linguistic and cultural divides. “Bringing across” a piece of writing from one language to another readership is no easy endeavor: a translator has to engage deeply with the source writer’s ideas and intentions and enter into another’s world view. It is a creative act that brings a piece of writing to life in a new form. Beacon comes from an Old English word, beacen, or sign: what this paper signals is that literature, creative energy, passion and ideas are all thriving here, in Oman. The 8-page monthly supplement has indeed become a bright, brave light shining out, giving inspiration and encouragement to Oman’s emerging literati and translators. My thanks and congratulations go to the innovators, the hard-working, professional team behind these 12 fine issues – pioneers all, who deserve a special place in Oman’s literary annals. Long live Beacon! I say.

November 2009

WHAT MAKES OMANI WRITING A LITERARY TREASURE

CELEBRATING ‘BEACON’S FIRST ANIVERSARY’

By: Rory Allen, English language Specialist, Royal Air-force of Oman

By: Priyanka Sacheti, Writer, Muscat

Today we celebrate the first anniversary of a literary magazine that is rapidly becoming a flagship for Omani writing and Omani writers. The “Beacon” literary supplement of Oman is the latest in a long history of story telling, that showcases and reflects the culture, traditions, way of life and even the “personality” of a society whose writers and narrators tell, in their own individual way, the make up of the world in which they live. Since the dawn of time and the beginning of the age of Man, stories have been told, around camp fires, in drawings and paintings on the walls of caves, (Visit Dhofar) the dwelling places of pre-historic man, this primeval urge to recant a tale still persists in our modern times. Yet it is only recently in the evolution of mankind that the written form of a tale has appeared, before then it was by word of mouth, passed on from generation to generation, keeping alive the spirits of the ancestors, great tales of battles and bravery, embellished more with the frequency of narration, lessons in life told as parables, fables, allegories, myths and legends all added to the great collective unconsciousness of man, creating that cement that so binds a society, individual to individual, tribe to tribe, village to village and so on. To understand the tradition of story telling and its roots we have to look at the religions of the ancients. The two most prevalent religions in the distant past were «Animism» and «Pantheism» and it is through these religions that we can trace the history of the tradition in story telling for in these two belief systems there exists a whole concept of «The meaning of Life» Animism is the belief that everything has a soul or spirit, an anima in Latin, including animals, plants, rocks, mountains, rivers and stars. Animists, in the ancient world, believed each anima is a powerful spirit that can help or hurt them and are to be worshipped or feared. Animists deified animals, stars and idols. They practiced witchcraft, wizardry and engaged in astrology. They used magic spells, enchantments, superstitions and anything that would prevent them from harm from evil spirits and placate the good spirits that are found everywhere in everything. Anyone from Bahla reading this, does it ring any bells. Before Islam, there was still Oman, and tradition and belief hold that many parts of Oman were devotees of Animism and its close neighbor Pantheism. Pantheism is the view that God is everything and everyone and that everything and everyone is God. Pantheists believe that nature is god, a tree, a rock, the sun and the stars are god. They do not believe in one supreme deity rather that the universe and all in it is god. It is inside these beliefs, that we see many aspects of Omani storytelling traditions. In the tales of Paolo Coelho «The Alchemist,» Gabriel Garcia Marquez «One hundred years of solitude» a genre that is known as «Magical Realism» owes its roots to the traditional religions of the ancients. It is this same genre, but with its special Omani flavor and additional cultural and religious influences that I discovered when I first read a copy of «Beacon.» The stories are rich in metaphor and imagery. They are sensual in their prose and there is a feeling of oneness with nature, as in Pantheism and Animism, mysticism in the vein of Khalil Gilbran, yet also a great sense of acceptance of fate, destiny, or «The Will of God» as expressed in Islam. All these belief systems are integrated into the work of Omani writers, such as Abdullah Habib, Salim Al Tuwayyeh, Thurayya Al Kalbanni, that make Omani literature so vital, rich and unique. Thank you «Beacon» for revealing such literary treasures that are stored in the minds and souls of the writers of Oman.

What is literature without the accompanying ferment of debate about style, language, or imagery? Furthermore, when it operates in conjunction with visual arts, it adopts a new dimension in which the viewers/readers study the language of words as closely as that of visual art. A photograph too can be a poem; a poem too can be a snapshot of life. I personally have always enjoyed the photographs and paintings that complement the works published in Beacon; the publication not only fosters literature but provides a space for other art forms. While introducing us to those writing in English, Beacon also provides access to writing in Arabic through the medium of translations. The act of translating must very well offer exciting intellectual challenges to the translators what with the loaded responsibility of having to translate cultures as well as words. Thanks to the translations, Beacon is as much an ode to explorations and articulations of an Omani English literary idiom as a glimpse into the rich indigenous Arabic literary traditions. Beacon has also highlighted talented Omani writers such as the late Ali Mehdi with a selection of his poetry and tributes. It is through such gestures that writers like Mr. Medhi are remembered and their works given a chance to be viewed in a literary context. Virginia Woolf memorably spoke of a room of my own, talking of staking out a specifically gendered space. Yet, if we extrapolate her statement to a localized literary context, Beacon too is a room and a valuable one at that. I wish Beacon all the very best and may the radiance of its encouraging, beckoning light grow deeper with time to come.

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It is hard to believe that one year has already passed since the launch of Beacon. Beacon has already become a beacon in the most literal sense of the word, ushering and leading us into a garden where grow tender saplings of Omani Literature in English and translated from Arabic. Tender, did I say? I correct myself. These are robust, full-blooded pieces of writing: poetry, short stories, book reviews, articulations, debates, all of them articulating an uniquely Omani essence and ethos. Even if the language itself used is English, it is Omani in tone and sensibility.

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And When The Bough B r e a k s

By: Thomas Roche [email protected]

Beacon has spent the past year publishing a wide range of literary texts from Omani authors, from short stories to free verse poetry, from book reviews to editorial pieces tackling

her and her siblings. It is a song of protection.

Shake the ropes slowly, slowly

My babe I told you - do not sleep in the deserts.

A well-wisher has come visiting our smiling boy

pressing social issues. In the following editions we plan

Sleep in a safe place - between my heart and soul.

to include another type of literature not typically found

I will protect you from your enemies - sheltered deep in my

in print, but a type of literature found out in the fields, in school-yards and on the lips of mothers hushing their babies to sleep – oral literature.

heart. My babe I told you - do not sleep on the sand.

But a daughter needs more care But a daughter will be my assistance And she will cry at someone’s passing And she will remember me in performing Duaa2 after I am gone The next song was sung by Sheika’s grandmother. It tells of

“Why bother publishing lullabies, children’s rhymes and

the joy mothers feel on delivering a boy. The nasty sentiment

harvest songs in a literary supplement?” - you might ask.

in the poem may seem shocking, however consider what

Well, spoken language, it is estimated, is 70,000 years old

befalls the infant in the well known English lullaby “Rock-

whereas the oldest written language, the Sumerian symbolic

a-bye baby” which we sing while rocking children to sleep.

writing, was first pressed in clay in Mesopotamia about 10,000 years ago. That means that poems, spoken stories and

When I delivered a boy - my heart was full of happiness.

songs have about a 60,000-year head start on written texts

So, I fasted for two months - in both Shaban and Ramadan3

as a repository of wisdom and site of entertainment. Oral

.

literary genres, such as lullabies, the songs which parents,

When I delivered a girl - my heart was broken and my face

grandparents and other carers sing to help babies fall asleep,

darkened.

are more remarkable than we probably realize.

My neighbor and mother-in-law shamed me and laughed.

Like children’s songs, lullabies often remain in the same

Palms bent low and fell on me - slicing at my fingers.

form for centuries, passed down through generations without being written down. Most native English speakers

The child song is another lullaby which is a celebration of

across the world will be familiar with lullabies like Rock-a-

child-birth. Students recorded versions of it in Muscat and

Bye Baby and the children’s game song Ring-a-Ring-Rosy

throughout the Batinah region, the following was recorded

without ever having read them. In fact, it is a testimony to

in As-Suwaiq and was translated by Aliya.

the poetic nature of such songs, their rhyming and rhythmic

Oh God, my God, how beautiful is that bird

qualities, that we can remember these poems without

as it drinks from river’s edge... hullaah hullaah hullaah!

necessarily knowing what the words refer to. Ring-a-Ring-

I have a child, I cannot think about any other.

Rosy is quiet possibly a song about the black plague of the

I will hide him in my eyes then close them tight.. hullaah hullaah hullaah!

1340s which killed one third of Europe’s population: “ring a ring a rosy” referring to the red swelling of the bubonic plague. “A pocket full of posies” – posies were thought to

Image courtesy of: Fatma Al Ghadani

protect you from infection, and “We all fall down” – speaks

I have a beautiful child beaming like the moon. I will hide him my heart.. hullaah hullaah hullaah! Those who see my child, say he is pearls and gold.

for itself.

I will keep you in my eyes - and I wrap you in my spirit.

Folklorist or academics who study oral literature have

Ho babe, hush now – sleep soundly.

Those who see my child say, “Peace Be Upon the Prophet.»

Sleep as the gazelles - dozing gently in safe spaces.

Good morning my baby, Good morning to kohl4 for eyes.

recorded and catalogued examples from poetic traditions around the globe. From such studies we learn not only about

Good morning to everyone once but to you twice.

the communities who tell the poems but about the capacity

The next song was recorded by Fatma Al-Kindi in Sohar.

of the human mind. Milman Parry and Albert Lord’s studies

The repetitive “Ho Ho” is used here to hush children off to

of epic poetry in Montenegro astounded psychologists and

sleep much like the English “Shhhhh”.

Your morning is joyous, without irritation or illlness.

folklorists alike when they recorded illiterate bards who

Ho-ho, Oh Ali’s cradle

God give you happiness.

could recite poems consisting of 16,000 memorized lines.

Shake the ropes slowly, slowly

The oral tradition of Greece, the Iliad and Odyssey, count as

A well-wisher is visiting our beaming boy

Dubdepooh Dubdepooh5 , he will grow up and be as his father

a cornerstone of Western literature. Many other epics, such

Mother, this morning is like two mornings!

as the Anglo-Saxon Beowulf, The Kalevala from Finland

Arabian dawns come but once,

or King Gesar from Tibet are considered key cultural texts. Oral epics, ballads and poems tell us much about the beliefs, fears and desires of a people. In the series that follows I hope to present a small taste of the rich, sophisticated and varied Omani oral tradition - in translation. The lullabies below are known throughout the Sultanate of

Our darling’s day is worth many more! And so he salaams her twice 1

Ho-ho, Oh Ali’s cradle Shake the ropes slowly, slowly

Your morning is apples and roses,

Raise your tiny leg and put down the other, your father will visit tonight. This oral literature provides us with a window on family life in Oman. In the next editions we intend to focus on poems relating to harvesting, school-yard games, the sacred and desire.

A well-wisher is visiting our beaming boy Your morning shines

Footnotes:

And your features are beautiful to my eye

1

where each of the original poems were recorded. The songs

God alone gives such gifts

2

presented were collected by current fourth year students of

Ho-ho, Oh Ali’s cradle

translation at Sohar University, some of the authors have

Shake the ropes slowly, slowly

chosen to only include their first names.

A well-wisher is visiting our beaming boy

This first lullaby is popular among child carers in the

A daughter is as valuable as a boy, both gifts from God

Batinah region. It was recorded by Aysha Al-Fazari, who

A daughter so active

took it down as her mother sang it in her home in Saham. It

She herds our goats

is a song Aysha recalls her mother and grandmother sang to

Ho-ho, Oh Ali’s cradle

Oman. Due to the nature of oral transmission these songs vary slightly from village to village so we have indicated

Salaam is an Arabic greeting wishing someone peace.

An petition in the form of a prayer to God. In this case asking God to take care of a deceased parent Shaban and Ramadan names of two Arabic months. Muslims are fasting in these months especially Ramadan have to fast it.

3

Traditional eye make-up used by women in Oman similar to mascara, also put on small children.

4

An expression said to children when they start walking to encourage them.

5