Contemporary Spanish fiction, film, photography, feminist theory, Spanish civil war
How does a generation without personal memory begin to grapple with its urban past in a nation that has silenced its memories? How are symbolic sites of memory recovered and represented by such a generation? Much recent scholarship on post-war Lebanon has studied the memory culture of the decades following the declared end of civil war. This scholarship deals with the implications of Lebanon’s ‘amnesiac’ political culture on the social and political landscape. In the meantime, Lebanon—and especially Beirut’s—urban landscape has been altered beyond recognition by post-war reconstruction, mostly by private real estate holding companies, the most notorious of which is Solidere. In the early 2000s, a slew of historical novels about Lebanon and especially Beirut was published in both Arabic and French. In this article, I will focus exclusively on the strategies of urban commemoration in Rabī Jābir’s trilogy. I argue that the genre of historical fiction is used in these novels to re-create the downtown life of Beirut in and around Martyrs’ Square from the 19th and early 20th century, a commemoration of a cityscape and an urban lifestyle that its author recreates using the tools of the archive (documents, bibliographies, etc.). This post-memorial fiction—here, I use Marianne Hirsch’s definition of postmemory as “second-generation memories of cultural and collective traumas and experience” (22)—attempts to recover Beirut’s repressed Ottoman urban history, and to re-write Solidere’s narrative of the city center. By intertwining downtown Beirut’s past with its present, in a clever back-and-forth palimpsestic act that superimposes the historical city upon the present city—site of capitalist consumption—Jābir’s novels map out the old upon the new, and thus refuses the erasure of the ancient city by its newest urbanists. In Jābir’s novels, a new, contestatory commemorative narrative of Beirut’s history and—more significantly, its present—emerges.
This essay offers a reading of Glissant’s work on memory and history, arguing that traumatic experience is central to that work and consequent conceptions of identity. I explore the function of traumatic memory in relation to Glissant’s notions of the past and also futurity, both of which work with a sense of the painful past that simultaneously bequeaths melancholy and fecundity. This mixture grounds Glissant’s thought in the specificity of the Caribbean.
This is a response to the review of my edited volume, Memory and History: Understanding Memory as Source and Subject (Routledge, 2013) published online by the Institute of Historical Research’s ‘Reviews in History’ website. The original review, as well as the author response is included here.
Contemporary Spanish literature, film, and culture; memory studies; feminist, gender, and women’s studies
I’m working at the Marx Memorial Library in London. The library is home to the Spanish Collection, which is an archive of more than 7000 items, initially gathered by British International Brigaders and their families. We have just completed cataloguing the collection thanks to a grant from the National Archives (link below). Only very few […]
I am a historian of 20th-century France, with a special interest in cultural and gender history, and more recently in the history of health and medicine. I have published on such topics as the collaborationist press, 1940-1944, and its rehabilitation after the war; the obsessions of early to mid-twentieth-century physical culturists with masculinity, eugenics and national decline; and on aspects of the interwar radical right. I am currently working on a social and cultural history of natural health cures in early to mid 20th-century France, the cultural work of physicians, the presentation of science and medicine at the 1937 Paris world’s fair, and the emergence of self-help literature across the century.