7.4 Not Prophecy but Inversion: Omar El Akkad and Min Hyoung Song (RB)

Posted byhajo43545Posted inMin Hyoung Song, Omar El AkkadTags:, , , , ,

Omar El Akkad joins critic Min Hyoung Song for a gripping conversation that interrogates fiction’s relationship to the real. Before he became a novelist, Omar was a journalist, and his experiencing reporting on (among other subjects) the war on terror, the Arab Spring, and the Black Lives Matter movement profoundly shapes his fiction. His first novel, American War, follows the protagonist’s radicalization against the backdrop of a fossil fuel-motivated civil war. His second, What Strange Paradise, is a haunting retelling of Peter Pan focused on a young Syrian refugee. But as Omar and Min’s dialogue reveals, literary criticism doesn’t always get the politics of political fiction right. Their conversation moves from the preoccupation with “literal prophecy” which plagues the reception of speculative fiction in general and climate fiction in particular to the multifaceted appeal of the fantastical in writing migration stories. They discuss Omar’s interest not in extrapolation, but in inversion. And they take up the imaginative challenges posed by climate change: the way it fails to fit zero-sum colonial ideologies; the way it relies upon the continued development of “the muscle of forgetting, the muscle of looking away.” Finally, Omar’s answer to the signature question is a case study in the inversion that characterizes his work: Little Women readers, prepare yourselves!

Mentioned in this episode:

Paolo Bacigalupi
Kim Stanley Robinson
Barbara Kingsolver
Jenny Offill
Richard Powers, The Overstory
Amitav Ghosh, The Great Derangement
Barack Obama, “A New Beginning: Remarks by the President at Cairo University, 6-04-09”
Stephen Markley, The Deluge
Alan Kurdi (photographed by Nilüfer Demir)
Mohsin Hamid, Exit West

Listen and Read:

Audio: Not Prophecy but Inversion: Omar El Akkad and Min Hyoung Song (RB)

Transcript: 7.4 Not Prophecy but Inversion: Omar El Akkad and Min Hyoung Song (RB)

10.2 Beautiful Sentences Matter. Billy-Ray Belcourt and Matt Hooley (SW) – Novel Dialogue

Can a novel with a singular voice also be a chorus? Can it reject the conventions of the novel and still be a novel? Poet, essayist, and novelist Billy-Ray Belcourt tells critic Matt Hooley how his desire to write a novel that “would sound like something else,” led him to produce A Minor Chorus, his experimental debut novel. Together they consider how Billy-Ray’s vulnerable, first-person narrator makes room for other voices, or more precisely, how it becomes “a voice that could focalize the desires of a community.” Billy-Ray discusses how his influences— queer theory, indigenous novelists, and contemporary autofiction—harmonize in his search for a new form. While author and critic trace the circuits of grief and melancholy that run from Roland Barthes to Billy-Ray, their conversation is joyful, reminding listeners that romance and intimacy sustain us and that beautiful sentences matter. His answer to this season’s signature question attests to the way that even the classroom can be refashioned, like the novel, into a chorus. Mentioned in this episode By Billy-Ray Belcourt: A Minor Chorus A History of My Brief Body This Wound is a World Also mentioned: The Summer Day “Arundhati Roy Sees Delhi as a Novel” Rachel Cusk, The Shakespeare and Company Interview “The State of the Political Novel: An Interview with Édouard Louis” “100 Things About Writing a Novel” Mourning Diary Ann Cvetkovich Joshua Whitehead Mourning and Melancholia Learn more about your ad choices. Visit megaphone.fm/adchoices
  1. 10.2 Beautiful Sentences Matter. Billy-Ray Belcourt and Matt Hooley (SW)
  2. 10.1 "Extreme Circumstances, Extreme Reactions:” Aaron Gwyn and Sean McCann (JP)
  3. We Better Laugh About It: A Discussion with Álvaro Enrigue and Maia Gil’Adí
  4. 9.5 Who Owns These Tools? Vauhini Vara and Aarthi Vadde (SW)
  5. 9.4 “That In Between Time,” Fernanda Trías and Heather Cleary (MAT)
Listen to more episodes