"The world needs more honesty and courage in confronting political hypocrisy"

Literature is essential to understanding other societies, says Egyptian writer Salwa Bakr, who has been longlisted for the BRICS Literature Award. In this interview, she discusses the women at the heart of her fiction, the shortage of translators holding Arabic literature back internationally, and her concerns about a publishing industry increasingly driven by commercial interests.

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Dear Mrs. Bakr, how did you react to the news that you were included in the longlist of nominees for the BRICS Literature Award?

First and foremost, I am glad there is an economical alliance between a group of states to combat the greed of capitalism which makes the underprivileged with even more privileges and the privileged a lot more privileged. And I am happy because this economic alliance has a cultural interest which shows in this award which I am longlisted in and this is something that makes me happy.

In your opinion, how can such initiatives contribute to mutual understanding among BRICS countries and to increasing interest in the literature of the Global South?

It is important to have an understanding of the cultural context of the BRICS countries and literature is one of the most important means of getting to know the cultures of nations. For example: I was made aware of the Russian society through a lot of its phases and developments through the readings of Nikolai Gogol, Leo Tolostoy, Mikhail Lermontov, Anton Chekhov, Fyodor Dostoevsky, Anna Akhmatova, Maxim Gorky and all the great writers that introduced us to Russia and how we touched through them the spirit of Russia. And this is the same for the writers of South America, China, India and all the other nations of the global south. Without literature, we cannot understand one another.

The main goal of the award is “to return the richness of our cultures to each other”. What would you name as the main “richness” of Egyptian literature that you would like to present to the world?

Egypt is an ancient country that has a rich civilization extending to thousands of years. And the authors of Egypt enjoy a civil specialty that was reflected in their works. This specialty is rich with humane spirit that loves kindness and peace but unfortunately what was translated from this great literature is very few and this cultural exchange between BRICS countries might be one of the reasons why the world would be introduced to this literature.

Do you feel that literature today is becoming a new language of diplomacy — a tool through which nations begin to understand each other better?

I think diplomacy with its current definition needs to be reviewed given that the world today needs more honesty and brave confrontation to the prevalent political hypocrisy which is very common under the umbrella of diplomacy. We need diplomacy that reflects the true causes of nations. Diplomacy that rejects dominance and conflict that is based on power. We need more humane justice and dealing with mother earth as a place where we all can live together in peace and stop destroying it.

Your protagonists are women who have found themselves on the margins of life: convicted, lonely, rejected. Why did this “from below” perspective become central to your work?

I live in a region which is full of conflicts, violence and wars where women pay the biggest price from it. When I introduce my protagonists, they represent the majority of women in this region, which is why, in addition to the archaic values that work against women especially those marginalized and underprivileged and I care for such women.

Is it true that in Egypt, literary prizes are more often awarded to men and those "close to power"? In this situation, what helps a writer maintain independence?

Most of the prizes are awarded to men. Regardless of how distant or close they are to power. They seldom go to women. This situation changed slightly in the recent years, but we
have to take into consideration that there are multiple powers and not just one power working within the cultural sphere in a country where culture is not a priority for most people.

In one interview, you mentioned that you published your first collection at your own expense. Has the situation changed for writers today — is it easier now to succeed without support from publishers and patrons?

Yes, the situation has changed because literature is being commodified and complicated which made publishing easier, but it is distorted by a lot of sheer commercialization
where artistic and creative value is degraded.

In your opinion, what difficulties prevent Arab authors from reaching the international level — language barrier, lack of translators, publishing policy?

First off, lack of translators from Arabic to other languages. secondly, publishing policies. and the absence of the promotion of Arabic literature and agents.

What do you think about the idea of establishing a unified literary agency under the BRICS Literature Award to help authors find publishers abroad?

This is a great idea that might be very helpful.

What is more important for you: recognition at home or international attention and opportunities that come with such an award?

My priority is to be known on the Arab level but this does not change the fact that it would be nice to be recognized internationally. Nevertheless, my work is translated into multiple languages which is good. Furthermore, prizes shed a light on authors and their works which is amazing.

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Иллюстрация: «За рубежом», Leonardo.ai