Anouar Benmalek Haus Publishing, 2011 Library of Congress PQ3989.2.B425R3713 2011 | Dewey Decimal 843.92
Drawn together by the tortured memory of a massacre years ago, a shared experience binds Mathieu, Tahar and Aziz, and has repercussions for Meriem and Chehra, Aziz's wife and daughter. Chehra is abducted, and the kidnapper's brutal demands and threats of violent torture turn this into a tense thriller. But how far will Aziz go to save his family?
Albert Camus Harvard University Press, 2013 Library of Congress DT295.C293 2013 | Dewey Decimal 965.04
More than 50 years after independence, Algerian Chronicles, with its prescient analysis of the dead end of terrorism, appears here in English for the first time. Published in France in 1958—the year the war caused the collapse of the Fourth French Republic—it is one of Albert Camus’ most political works: an exploration of his commitment to Algeria.
Frank Kearns was the go-to guy at CBS News for danger- ous stories in Africa and the Middle East in the 1950s, ‘60s, and early ‘70s. By his own account, he was nearly killed 114 times. He took stories that nobody else wanted to cover and was challenged to get them on the air when nobody cared about this part of the world. But his stories were warning shots for conflicts that play out in the headlines today.
In 1957, Senator John Kennedy described America’s view of the Algerian war for independence as the Eisenhower Administration’s “head in the sand policy.” So CBS News decided to find out what was really happening there and to determine where Algeria’s war for independence fit into the game plan for the Cold War. They sent Frank Kearns to find out.
Kearns took with him cameraman Yousef (“Joe”) Masraff and 400 pounds of gear, some of which they shed, and they hiked with FLN escorts from Tunisia, across a wide “no-man’s land,” and into the Aures Mountains of eastern Algeria, where the war was bloodiest. They carried no passports or visas. They dressed as Algerians. They refused to bear weapons. And they knew that if captured, they would be executed and left in unmarked graves. But their job as journalists was to seek the truth whatever it might turn out to be.
The personal history of journalist Henri Alleg is tied inextricably to the history of the French-Algerian Conflict. Best known for his book The Question, a first-hand account of his torture by French troops during the Algerian war for independence, Alleg is famous both for having brought the issue of French torture to the public eye and for his passionate work as a writer, a newspaperman, and a communist activist.
Beginning with his arrival in Algiers in 1939, when he fell immediately in love with the vibrant city, to his departure in 1965, after Boumédienne seized power, this is a critical work of history made devastatingly personal. Algerian Memoirs recounts his experience under the Vichy regime and such watershed moments in colonial history as the infamous Battle of Algiers. In these pages, he relives the violence and the summary executions, the communist struggle, and his party’s strained relations with the National Liberation Front. And, of course, he revisits in stark detail his arrest and torture by the French, his years in prison, and eventual escape to Czechoslovakia.
In the telling of his own story, Alleg explores some of the key events in the history of Europe and North Africa and in the history of the radical press. This is an irreplaceable document of colonialism and its tragic aftermath.
Exploring how Algerian Jews responded to and appropriated France's newly conceived "civilizing mission" in the mid-nineteenth century, Arabs of the Jewish Faith shows that the ideology, while rooted in French Revolutionary ideals of regeneration, enlightenment, and emancipation, actually developed as a strategic response to the challenges of controlling the unruly and highly diverse populations of Algeria's coastal cities.
Between Sea and Sahara gives us Algeria in the third decade of colonization. Written in the 1850s by the gifted painter and extraordinary writer Eugene Fromentin, the many-faceted work is travelogue, fiction, stylized memoir, and essay on art. Fromentin paints a compelling word picture of Algeria and its people, questioning France’s—and his own—role there. He shows French dynamism tending to arrogance, tinged with malaise, as well as the complexity of the Algerians and their canny survival tactics. In his efforts to capture the non-Western world on paper as well as on canvas, Fromentin reveals much about the roots of a colonial relationship that continues to affect the Algeria of today. He also reveals his own development as painter, writer—and human being.
Now available for the first time in English, Between Sea and Sahara appeals to today’s reader on many levels—as a story of color, romance, and dramatic tension; as an eyewitness account of the colonial experience in Algeria; as a study in trans-genre text, foreshadowing Fromentin’s psychological masterpiece, the novel Dominique. And, as Valérie Orlando points out in her introduction, Fromentin opens a window on the ethos informing the fashion of Orientalism that flourished with colonialism.
The Blood of the Colony
Owen White Harvard University Press, 2020 Library of Congress HD9387.A4W55 2021 | Dewey Decimal 338.476632009651
The surprising story of the wine industry’s role in the rise of French Algeria and the fall of empire.
“We owe to wine a blessing far more precious than gold: the peopling of Algeria with Frenchmen,” stated agriculturist Pierre Berthault in the early 1930s. In the last decades of the nineteenth century, Europeans had displaced Algerians from the colony’s best agricultural land and planted grapevines. Soon enough, wine was the primary export of a region whose mostly Muslim inhabitants didn’t drink alcohol.
Settlers made fortunes while drawing large numbers of Algerians into salaried work for the first time. But the success of Algerian wine resulted in friction with French producers, challenging the traditional view that imperial possessions should complement, not compete with, the metropole. By the middle of the twentieth century, amid the fight for independence, Algerians had come to see the rows of vines as an especially hated symbol of French domination. After the war, Algerians had to decide how far they would go to undo the transformations the colonists had wrought—including the world’s fourth-biggest wine industry. Owen White examines Algeria’s experiment with nationalized wine production in worker-run vineyards, the pressures that resulted in the failure of that experiment, and the eventual uprooting of most of the country’s vines.
With a special focus on individual experiences of empire, from the wealthiest Europeans to the poorest laborers in the fields, The Blood of the Colony shows the central role of wine in the economic life of French Algeria and in its settler culture. White makes clear that the industry left a long-term mark on the development of the nation.
Malek Alloula University of Minnesota Press, 1986 Library of Congress HQ1791.5.A7613 1986 | Dewey Decimal 305.40965
A collection of picture postcards of Algerian women exploited by the French, this "album" illustrates a powerful analysis of the distorting, denigrating effects of their presence on Algerian Society.
"Imprisoned by the photographers eye these women reclaim their historicity through the pages of this powerful book. The Colonial Harem deserves a central place in the growing literature of decolonization." --Village Voice
"Alloula gathers up the impedimenta of empire in the form of (mainly) lewd French postcards of Algerian women which circulated between 1900 and 1930. By displaying and dissecting colonial pornography as an insider he brings into stark relief the violation of the patriarchal gaze at its harshest." --Women's Review of Books
"A shocking photographic excursion into the European fascination with the harem." --Whole Earth Review
Confessions is a spiritual autobiography of Augustine’s early life, family, associations, and explorations of alternative religious and theological viewpoints as he moved toward his conversion. Cast as a prayer addressed to God, it offers a gripping personal story and a philosophical exploration destined to have broad and lasting impact.
The magnitude of the legal violence exercised by the French to colonize and occupy Algeria (1830–1962) is such that only aesthetic works have been able to register its enduring effects. In Decolonizing Memory Jill Jarvis examines the power of literature to provide what demographic data, historical facts, and legal trials have not in terms of attesting to and accounting for this destruction. Taking up the unfinished work of decolonization since 1962, Algerian writers have played a crucial role in forging historical memory and nurturing political resistance—their work helps to make possible what state violence has rendered almost unthinkable. Drawing together readings of multilingual texts by Yamina Mechakra, Waciny Laredj, Zahia Rahmani, Fadhma Aïth Mansour Amrouche, Assia Djebar, and Samira Negrouche alongside theoretical, juridical, visual, and activist texts from both Algeria’s national liberation war (1954–1962) and war on civilians (1988–1999), this book challenges temporal and geographical frameworks that have implicitly organized studies of cultural memory around Euro-American reference points. Jarvis shows how this literature rewrites history, disputes state authority to arbitrate justice, and cultivates a multilingual archive for imagining decolonized futures.
In this haunting chronicle of betrayal and abandonment, ostracism and exile, racism and humiliation, Vincent Crapanzano examines the story of the Harkis, the quarter of a million Algerian auxiliary troops who fought for the French in Algeria’s war of independence. After tens of thousands of Harkis were massacred by other Algerians at the end of the war, the survivors fled to France where they were placed in camps, some for as long as sixteen years. Condemned as traitors by other Algerians and scorned by the French, the Harkis became a population apart, and their children still suffer from their parents’ wounds. Many have become activists, lobbying for recognition of their parents’ sacrifices, compensation, and an apology.
More than just a retelling of the Harkis’ grim past and troubling present, The Harkis is a resonant reflection on how children bear responsibility for the choices their parents make, how personal identity is shaped by the impersonal forces of history, and how violence insinuates itself into every facet of human life.
For more than a century, urban North Africans have sought to protect and revive Andalusi music, a prestigious Arabic-language performance tradition said to originate in the “lost paradise” of medieval Islamic Spain. Yet despite the Andalusi repertoire’s enshrinement as the national classical music of postcolonial North Africa, its devotees continue to describe it as being in danger of disappearance. In The Lost Paradise, Jonathan Glasser explores the close connection between the paradox of patrimony and the questions of embodiment, genealogy, secrecy, and social class that have long been central to Andalusi musical practice.
Through a historical and ethnographic account of the Andalusi music of Algiers, Tlemcen, and their Algerian and Moroccan borderlands since the end of the nineteenth century, Glasser shows how anxiety about Andalusi music’s disappearance has emerged from within the practice itself and come to be central to its ethos. The result is a sophisticated examination of musical survival and transformation that is also a meditation on temporality, labor, colonialism and nationalism, and the relationship of the living to the dead.
Redrawing French Empire in Comics by Mark McKinney investigates how comics have represented the colonization and liberation of Algeria and Indochina. It focuses on the conquest and colonization of Algeria (from 1830), the French war in Indochina (1946–1954), and the Algerian War (1954–1962). Imperialism and colonialism already featured prominently in nineteenth-century French-language comics and cartoons by Töpffer, Cham, and Petit. As society has evolved, so has the popular representation of those historical forces. French torture of Algerians during the Algerian War, once taboo, now features prominently in comics, especially since 2000, when debate on the subject was reignited in the media and the courts. The increasingly explicit and spectacular treatment in comics of the more violent and lurid aspects of colonial history and ideology is partly due to the post-1968 growth of an adult comics production and market. For example, the appearance of erotic and exotic, feminized images of Indochina in French comics in the 1980s indicated that colonial nostalgia for French Indochina had become fashionable in popular culture. Redrawing French Empire in Comics shows how contemporary cartoonists such as Alagbé, Baloup, Boudjellal, Ferrandez, and Sfar have staked out different, sometimes conflicting, positions on French colonial history.
All the time when I lived in Algeria, my native country, I dreamt of one day arriving in Algeria.
Born in Oran, Algeria, Hélène Cixous spent her childhood in France's former colony. Reveries of the Wild Woman is her visceral memoir of a preadolescence that shaped her with intense feelings of alienation, yet also contributed, in a paradoxically essential way, to her development as a writer and philosopher.
Born to a French father and an Austro-German mother, both Jews, Cixous experienced a childhood fraught with racial and gender crisis. In her moving story she recounts how small events--a new dog, the gift of a bicycle--reverberate decades later as symbols filled with social and psychological meaning. She and her family endure a double alienation, by Algerians for being French and by the French for being Jewish, and Cixous builds her story on the themes of isolation and exclusion she felt in particular under the Vichy government and during the Algerian Civil War. Yet she also concedes that memories of Algeria awaken in her a longing for her home country, and ponders how that stormy relationship has influenced her life and thought.
A meditation on postcolonial identity and gender, Reveries of the Wild Woman is also a poignant recollection of how a girl's childhood is, indeed, author to the woman.
The history of Algerian Jews has thus far been viewed from the perspective of communities on the northern coast, who became, to some extent, beneficiaries of colonialism. But to the south, in the Sahara, Jews faced a harsher colonial treatment. In Saharan Jews and the Fate of French Algeria, Sarah Abrevaya Stein asks why the Jews of Algeria’s south were marginalized by French authorities, how they negotiated the sometimes brutal results, and what the reverberations have been in the postcolonial era.
Drawing on materials from thirty archives across six countries, Stein tells the story of colonial imposition on a desert community that had lived and traveled in the Sahara for centuries. She paints an intriguing historical picture—of an ancient community, trans-Saharan commerce, desert labor camps during World War II, anthropologist spies, battles over oil, and the struggle for Algerian sovereignty. Writing colonialism and decolonization into Jewish history and Jews into the French Saharan one, Saharan Jews and the Fate of French Algeria is a fascinating exploration not of Jewish exceptionalism but of colonial power and its religious and cultural differentiations, which have indelibly shaped the modern world.
The aftermath of Algeria’s revolutionary war for independence coincided with the sexual revolution in France, and in this book Todd Shepard argues that these two movements are inextricably linked.
Sex, France, and Arab Men is a history of how and why—from the upheavals of French Algeria in 1962 through the 1970s—highly sexualized claims about Arabs were omnipresent in important public French discussions, both those that dealt with sex and those that spoke of Arabs. Shepard explores how the so-called sexual revolution took shape in a France profoundly influenced by the ongoing effects of the Algerian revolution. Shepard’s analysis of both events alongside one another provides a frame that renders visible the ways that the fight for sexual liberation, usually explained as an American and European invention, developed out of the worldwide anticolonial movement of the mid-twentieth century.