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Schoolchildren write on small boards or tablets with ink that they wash off once the lesson is learned by heart. It also enhances new traces to be elaborated to create a sense of historical and cultural continuity. In this respect, El Maleh writes, Les enfants sont sortis Vogl The immaterial dimension of the word enhances our imagination to use differ- 33 Aïlen ou la nuit du récit, ent strategies to deal with reviving our past.

Writing in this respect can only p.


Ephémères [les mots] se sont posés, pour quelques jours, pour Seuil, These reflections hint at the extent to which deconstructionist debates on the 36 Parcours immobile, p. They emanate 37 ibid. Writing, for El Maleh, bears traces of both death and life: Ecriture, expérience de la mort!


One only has to recall the oxymoron of the title of his first novel, Parcours immobile, to recognize that he accepts and even embraces paradox and contradiction. Like writing, photography has also been used to capture a historical past.

An art critic himself, El Maleh is certainly aware of the importance of photog- raphy in the legitimation of a historical and cultural discourse. In contrast to verbal representations that are perceived to be at a remove from the original referent, photographs are often considered to be more closely con- nected to the object represented.

Physical presence is the foundation for the claim that a photograph can capture a moment in time. There is a superimposition here: of reality and of the past. The thing that is represented was there at one time, but is no longer.


We only see its trace. It is not a coin- cidence that photographs serve as memento mori, or reminders of the dead. On viewing the photograph of a condemned man, what strikes Barthes is the fact It was and it was not so El Maleh has also penned the Cherkaoui, Ahmed Cherkaoui, Edmond texts that accompany several collections of photographs, including a special Amran El Maleh et al.

In avril-mai , p. Essaouira, like a photograph, is at once ephemeral and eternal. Ecoute, écoute Double Page, 20 , pp. They photos Jean-Claude capture a moment in time of this city in constant flux, a version of a story that Forestier, preface et ed. But the images, like stories, are open to a myriad of interpreta- Françoise Gründ,. Noesis: Maison des tions.

Not mere reflections of a reality, the photographs call The photographer, 43 ibid. The first is the image of the tomb of the last Jew 80 Mary B.


Vogl to be buried in the Jewish cemetery in Asilah. The tomb of the last Jew presents an image that is both eternal and his autobiography Berliner Kindheit um ephemeral. The postcard collection of old postcards. They conjure up familiar yet distant voices that revive Flammarion, They remind him of stories that were lost but that keep return- jour shares a number of ing, memories of his community and his family that also make up his own the preoccupations and story.

They help preserve the past, and consequently, to maintain a collective some of the literary strategies of this book. The man in the sepia image was the first in the family to travel, to wear European clothing, to speak the foreign tongues of English and Spanish.


The image of the last Jew of Essaouira reflects back on Moroccan Jews who thrived in the past but are now a mere shadow of their former community.

The argument has been made that colonialism was a war fought through 54 Aïlen ou la nuit du récit, images as well as guns. Alloula argues that early twentieth-century postcards of Algerian women 55 ibid.

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Through his crit- baissés, Paris: Seuil, ical writing, Alloula tries to cleanse the collective memory about Algerian ; J. But their forgotten history includes the Rif war Jean-François Clément and the violent French colonial enterprise.

A number of contemporary writers have thematized the visual attraction of Western civilization for the North African. Vogl [E]ntre le rêve et le désir la fascination de visions invisibles Charme 58 ibid.

Fascination, séduction, charme pervers, miroitement: the vocabulary employed here has always been associated with the notion of the image as an attractive yet false copy of the real. The seductive images that France disseminates of itself are no truer than the stereotypical images it disseminates of North Africa through postcards. And yet both images wield powerful influence over viewers from both sides of the Mediterranean. In a reverse reflection of the ancestor who writes lines on the back of the picture postcard, El Maleh evokes photographs in his novels, which remain unillustrated.

In another passage in the novel, different views shown by colonial postcards are linked to different accounts of an incident told by various members of the family: a haughty French colonial officer humiliates the grand- father who has come to him to request a school for Jewish children. Images can fix negative stereotypes in the collective consciousness, but they can also document memories and tell the stories of tragic events.

Images of the Holocaust are a prime example. They play a crucial role in the preservation of Jewish historical memory. They inform us of the horrors associated with Nazism in its most tragic practices and urge us to denounce the atrocities of Hitlerian political philosophy. These images provide us with a historical per- spective that helps us understand the social dynamics of racial discrimination in its myriad forms.

For Susan Sontag, images of the Holocaust changed her life. She writes in a passage that has become famous, Nothing I have seen - in photographs or in real life - ever cut me as sharply, deeply, instantaneously. Indeed, it seems plausible to divide my life into two parts, before I saw those photographs [ The implicit message of activist photography is that its impact should motivate people not only to remember, but also to do something concrete.

The photograph appears on the front page of the news- paper, which encourages people to ask even more political involvement from It was and it was not so Nessim, the protagonist of Mille ans un jour, is so moved by a newspaper photograph of a Palestinian child mutilated by bombs during the Sabra and Shatila massacre that he decides to go to Palestine in search of the child.

Although El Maleh claims to have dropped out of polit- ical life, he is adamant in his fictional writing as well as in his public presenta- tions that stories must be told to educate people about their past so that they will not make the same mistakes again. Photographs help to tell these stories. With typical postmodern scepticism, he refrains from offering any one unequivocal solution for staving off the threat of silence, amnesia, and death.

He has seen governments and kings come and go. He has seen political parties wax and wane. He has observed linguistic policies fluctu- ate from the imposition of French to the trend of Arabization to the nod toward official recognition of Berber languages.

He still has faith in the idea that memory will somehow help us to become more civilized. Françoise Gründ, Noesis: Maison des cultures du monde, Khadda and Abdallah Mdarhri-Alaoui eds.

It was and it was not so However, users may print, download, or email articles for individual use.