Mark Rothko, No. 6 (Violet, Green and Red), 1951. Source: artscash.com/
It had been a bad morning from the onset. It started with a flood from the bathroom which cracked the lower wall and damaged her one and only painting of any expense. She didn’t have insurance. It was a real shame.
The painting was The Paradox of Color. It was an original. It was the first original piece of art she’d bought. The gallery shipped it to her and it arrived with a crate of champagne. They knew they’d gone to town with the sale’s close. The adrenalin rush isn’t something she’d forget.
Abdel-Hadi El-Gazzar, The Lady Rider, early 1950s. Source: christies.com
We do not see the hut when the lights first come up, and then we see it. Its inhabitants are not interested in us, perhaps because their problems do not concern us. These women spend their days waiting for a man, and they know that one day he will come. Lights shine upstage from the front of the stage, illuminating a door in the back wall. Neither fully open nor quite shut, it swings gently on its hinges, creaking intermittently, as though the fitful wind outside the hut is knocking to make its presence known within. Then the light sweeps downstage and to the right: we see a flight of stairs rising to the princess’s room, mirrored by a flight on the left leading down to their larder. Centre stage is an old-fashioned, rectangular dining table—or rather, it is simply old: it has no identifiable fashion. Around this table there are four chairs, the back of one slightly higher than the rest. The chairs are not neatly arranged but are scattered about as though hastily vacated. Between them wend the backs of two women dressed in black, cleaning the shabby furnishings and complaining.
Youssef Rakha. A stock photo of a woman in niqab is made up of versions of Aliaa Magda Elmahdy’s iconic picture, her act of protest of 2011.
Human behaviour flows from three main sources: desire, emotion, and knowledge. – Plato, BC 427–347
Always I have and will Scatter god and gold to the four winds. When we meet, I delight in what the Book forbids. And flee what is allowed. – Abu Nuwas, AD 756–813
The moment a man questions the meaning and value of life, he is sick, since objectively neither has any existence; by asking this question one is merely admitting to a store of unsatisfied libido to which something else must have happened, a kind of fermentation leading to sadness and depression. – Sigmund Freud, 1937
The revolution is for the sake of life, not death. ― Herbert Marcuse, 1977
Eros is an issue of boundaries. – Anne Carson, 1986
“Hi, I’m writing a piece on Arab porn and would love to get your input…”
“Why would I be relevant to Arab porn?”
“Porn meaning explicit web content, or sexual self expression in general.”
“I see. Well, okay. I’d like to read what you’re writing but I don’t want to contribute. Not because I’m against the idea. I just don’t feel like revealing anything at this point, or I don’t have anything to reveal. I don’t want to explain myself or my sexuality or whatever.”
Istanbul by Ayhan Ton. Source: instagram.com/ayhanton
There is no escaping the fact. Since 2011, I haven’t been in downtown Cairo except twice, heavily sedated and only for as long as it took to run my unavoidable errand. With the help of medication, my condition had improved enough for me to go there frequently when the protests started in January that year, instead of being confined to Heliopolis as usual. After I was shot with a pellet gun and had to run away from hospital on the first day of protests, for a few weeks I returned to the hotspots of the revolution, but tear gas, shooting and all kinds of attacks often forced me (along with everyone else) to run for my life. This fucked it all up again, in time. Protest hotspots became indistinguishable from vast, crowded spaces too far from home. And, succumbing to my terror of both, I confined myself to Heliopolis.
The following excerpt is from Tales from the Nation’s Archive: Raya and Sakina’s Men: A social and political history,the late Salah Eissa’s vast and discursive study of the lives and the worlds of the notorious serial-killers Raya Bint Ali Al Hammam and her sister Sakina, and their husbands Hasballah Saeed Maraei and Mohammed Abdel Aal.
Raya and Sakina and their husbands were arrested in Alexandria in early 1921 on suspicion of murder and it soon became clear that they had been responsible for the disappearance of a number of women in the neighbourhood of Labban where they ran an illegal (unlicensed) brothel. They were thought to be guilty of the robbery and murder of at least seventeen women, many of whom had worked for them as prostitutes. They were hanged in 1921.
Public attention focused on the sisters: the combination of their gender and the violence, sexual promiscuity and general unashamed degradation of their lives generated a fascination which fed into the many films and plays that dealt with their murders.
Mughal emperor Jahangir testing the strength of penance of Gosain Nirmalji and Bhagvanji, 1750. Source: Wikipedia
There is no way for me to measure how much time this day was coming, but it seems to have been destined to arrive to me since always. There are no means left to escape it, and I recognise that even if I had them, I would only be postponing what will never go away, and I accept the need to face it. There is nothing but my conscience and my self now left to live with. It is time to take account – this once and always. However as I start to take account I find it difficult to know where to begin, if not the fact of my forgetting what it was that I would like to come to terms with. For perhaps it is this very lack of memory that I need to take account of. Not the memory of my deeds – although those deeds may be remembered in the course of my account to cause me many hours of shame and wishful thinking – but the memory of the reason I was given this existence, my forgetting of which cause has been the cause of my regrettable behaviours.