Mojeb Al Adwani: Art is the product of a collaborative society

One of Saudi Arabia’s leading voices in literary criticism and theory thinks the discipline is ‘rich and dynamic’ in the Arab World—and that influence from the West has its benefits

Al Majalla

Mojeb Al Adwani: Art is the product of a collaborative society

Jaber Muhammad Madkhali

last update on 06 Nov 2024

A seasoned scholar, Dr Mojeb Saeed Al Adwani is one of Saudi Arabia’s leading voices in literary criticism and theory. At the College of Arts at King Saud University, he has made an impact, enriching the field with a prolific body of work, analysing the connections between Arab and Western literature. His books include Rewriting the Arab City in Western Novels and his most recent work, Modernity in Saudi Literature: Questions and Paradoxes.

Al Adwani is an active and regular participant in cultural and literary forums and holds leadership roles in prestigious academic institutions. He spoke to Al Majalla, arguing that Arabic criticism was well-positioned for the next phase in its rich history.

Your latest book is Modernity in Saudi Literature: Questions and Paradoxes. How would you summarise these paradoxes, and can they help in understanding the current state of modernity in Saudi Arabia?

The significance of this book lies in its objective approach, relying on academic research and scientific articles, rather than subjective influences, which can often impact reviews and discussions. It engages modernity as a movement and a representation of some creative works that emerged during the 1980s and 90s.

One of the key paradoxes in the book is its analysis of modernity from a perspective that diverges from the mainstream, revealing critical issues tied to genres in Saudi literature. It explores specific modernist phenomena in criticism, poetry, and prose. At times, it focuses on a single work by a specific writer, delving from a particular phenomenon into the story, the novel, and the critical analysis.

This approach, in my view, offers detailed insights that combine the study of individual and collective works. Modernity has undeniably played a pivotal role in shaping Saudi literature, helping it break free from traditional constraints and enabling a re-evaluation through a scientific lens.

This shift has guided literature toward clarity and eloquence, enriching the creative writing experience and steering it away from obscurities often fuelled by biased critiques or misinterpretations of modernity itself. This lends it credibility. It also resonates with creators and scholars, illuminating the most remarkable aspects within it.

How can Arabic literature be presented to Western audiences today? Can translation alone accomplish this?

This question suggests a significant difference between Western literature and other literary traditions. While distinctions may arise due to environmental diversity, literary prominence, and cultural influence, this is not always the case, especially with some Western literature written in languages other than English and French.

The distances between cultures are diminishing. Art is not solely the product of isolated genius but rather of a collaborative society

Mojeb Al Adwani, Saudi literary critic

Existential inquiries and grand philosophical themes remain universal across nations. Some literature has achieved profound depth by drawing on deep-rooted heritage; other literature has expanded broadly through extensive publishing, translation support, and active cultural engagement.

Today, the distances between cultures are diminishing. Art is not solely the product of isolated genius but rather of a collaborative society. Non-Western societies have increasingly recognised this and have begun to embrace it.

Ashes of Books: Hidden Patterns in Our Culture explored the challenges of suppressed books and underscored the importance of engaging with texts that have faced historical erasure. How can we safely overcome this cultural 'burning' and protect literature from destruction?

Ashes of Books studies the phenomenon of book destruction, specifically within Arab culture. The destruction or concealment of Arabic books is not merely an attack on writing, and it reflects a cultural framework that accommodates a degree of pluralism.

This study delves into both the apparent and latent causes behind this phenomenon. Given the varied motives for obscuring or destroying Arab books, we aim here to investigate other, less visible causes, encompassing documented cultural events, alongside deeper causes rooted within the structure of Arab discourse, which stems from the cultural mindset of the Arab individual before and after Islam.

What are the main challenges facing Saudi literary criticism today? Have critics been successful in thoroughly examining the Saudi novelistic project?

Criticism is a fundamental pillar of the cultural movement, valuing and illuminating literary works, ultimately helping them reach a wider readership. Like other Arabic literature, Saudi literature attracts distinguished scholars producing notable studies.

This does not imply, however, that local critical engagement has been weak. Saudi and broader Arab criticism have their own strengths and weaknesses. Yet Saudi academic studies have generally advanced further than those conducted abroad.

One of the primary challenges in criticism today is the gap between seasoned critics and the growing number of those with limited expertise in text analysis. Novel criticism appears in university studies, articles, and on social media.

I have contributed to the study of Saudi literature with books, each addressing distinct themes, such as Place Formation and Shadows of Thresholds, Writing and Erasure, Heritage and the Making of the Novel, and Modernity in Saudi Literature.

Since leading the Narratives Unit at King Saud University, have you observed further developments in critical trends within Arabic narratives?

The Unit is a scholarly group, now nearly a decade old. It unites its members through shared interests in both theoretical and practical approaches to Arabic narratives. It has published critical books, participated in events within and beyond the Kingdom, established academic partnerships, and helped researchers develop their dissertations.

There is a strong alignment with emerging critical trends in Arabic narratives, such as narrative identity, ecological criticism, and counter-narratives.

In 2019, philosophy became part of the Saudi high school curriculum. How significant is this, and can we expect to see its effects soon?

It is a significant acknowledgement of the subject's value and its role in enabling students to cultivate critical thinking, engage with profound questions, and tackle fundamental issues concerning human existence and aspirations.

It encourages students to seek deeper understanding of texts and phenomena, analyse ideas, and develop hypotheses, all while fostering an appreciation for thoughtful criticism and its foundational principles, which carry enduring philosophical resonance.

Ideally, philosophy's inclusion will help students produce rigorous academic works, moving beyond mere collection and simplification.

What methods are essential for Saudi literature to keep pace with future developments?

Perhaps the most prominent involves nurturing Saudi creativity and sustaining support. This is a promising era. A growing number of researchers are interested in Saudi literature, both within and beyond the Kingdom. We must continue facilitating care, guidance, training, and support to aid in the publication of Saudi literature, which will ultimately benefit both writers and critics alike.

In their nascent stages, many Arab novels focused on the past and were entangled with nostalgia. This constrains rather than enriches.

Mojeb Al Adwani, Saudi literary critic

In Heritage and the Making of the Novel: Influences and Representations, you provided multiple analyses of literary heritage and innovation in contemporary Arabic novels. Is there a need to reinterpret ancient Arabic heritage to resonate with the modern generation?

This book stands among the earliest works that captured my admiration, as it delves into the study of Saudi and Arab novelists, to deepen our understanding of narrative discourse and its nuanced interplay with Arab heritage.

As to your question, in their nascent stages, many local and Arab novels tended towards immersion in the past and were entangled with nostalgia. This constrains rather than enriches. It saturates literary themes. Yet the book is optimistic, not pessimistic, when contemplating our cultural identity, urging its use in shaping both individual and collective identities and in fortifying their role and voice in the world.

Viewed from this lens, historical novels unfold across multiple layers. At its least impactful level, a work merely revisits the past without transcending it. At the higher level, it draws on the past to serve the present.

The former approach bends under the weight of ancient texts, confining the novelist's role in reviving the past with emotional fidelity. The latter treats the past as dynamic fuel, a guiding presence occasionally consulted but never granted full dominion.

Between the two lies a vast spectrum. It can be called the 'poetics of distance,' situating our experience and vantage within it. A truly exceptional novel may unlock the horizons of history, but it does not let history overshadow its own inner compositions.

Modern Arabic literary criticism remains influenced by Western critical approaches. When might this connection ease, and what is needed for the Arab literary scene to cultivate its own distinctive identity?

Influence from the global literary community is not a weakness. Critical knowledge has circulated around the world for thousands of years. Ignoring it would limit our role within this exchange as we would not benefit from it.

Arabic criticism is rich, dynamic, and well-positioned to adapt, owing to its historical depth and expertise, and a creative heritage that resonates globally. The essence of distinction, perhaps, lies in our successful engagement with modern ideas, crafting elements that set us apart from both past and contemporary approaches, rather than retreating to the traditional or conventional.

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