Bibliography – Arabian Peninsula Literature: Fiction, Drama, Poetry and Secondary Sources

This is a selected bibliography of texts related to Arabian Peninsula/ Middle Eastern literature.

[writers who are underlined are major authors with many other publications]

Arabian Peninsula Writing

general

Akers, Deborah and Abubaker Bagader, eds. and trans. 2008. Oranges in the Sun: Short Stories from the Arabian Gulf. London: Lynne Rienner.

Alshammari, Shahd. 2017. Notes on the Flesh. Malta: Faraxa Publishing.

Jayyusi, Salma Khadra, ed. 1988. The Literature of Modern Arabia: An Anthology. London: Kegan Paul International.

Michalak-Pikulska, Barbara. 2016. Modern Literature of the Gulf. Bern: Peter Lang GmbH.

Meguid, Ibrahim Abdel. 2006. The Other Place. Farouk Abdel Wahab, trans. Cairo: The American University in Cairo Press.

Wilson, G. Willow. 2012. Alif the Unseen. New York, Grove Press.

also note:

The Saif Ghobash Banipal Prize for Arabic Literary Translation [https://www.banipaltrust.org.uk/prize/

Banipal Magazine [ https://www.banipal.co.uk/ ] which has special issues on specific countries, for example: Yemen [ https://www.banipal.co.uk/back_issues/73/issue-36/ ]

Emirates

Al Murr, Mohammad. 2008. Dubai Tales. Peter Clark and Jack Briggs, trans. Dubai: Motivate Publishing.

—. 1998. “The Wink of the Mona Lisa” and Other Stories from the Gulf. Jack Briggs, trans. Dubai: Motivate Publishing.

Al-Suwaidi, Thani. The Diesel.

Johnson-Davies, Denys, ed. 2009. In a Fertile Desert: Modern Writing from the United Arab Emirates. Cairo: American University in Cairo Press.

Krishnadas. 2007. Dubai Puzha: When Seagulls Fly Over Dubai Creek. ‎Thrissur, Kerala: Green Books.

Michalak-Pikulska, Barbara. 2012. Modern Literature of the United Arab Emirates. Krakow: Jagiellonian University Press.

Unnikrishnan, Deepak. Temporary People.

Kuwait

Abulhawa, Susan. 2020. Against the Loveless World.

Al Nakib, Mai. 2023. An Unlasting Home. Mariner Books: New York.

Alsanousi, Saud. The Bamboo Stalk.

Oman

Al Farsi, Abdulaziz. 2013. Earth Weeps, Saturn Laughs: A Modern Omani Novel. Nancy Roberts, trans. Cairo: American University of Cairo Press.

Alharthi, Jokha. 2019. Celestial Bodies. Marilyn Booth, trans. New York: Catapult.

Hamed, Huda. I Saw Her in my Dreams.

Ibrahim, Sonallah. 2001. Warda. Hosam Aboul-Ela, trans. Yale University Press: New Haven.

Michalak-Pikulska, Barbara. 2002. Modern Poetry and Prose of Oman. Krakow: The Enigma Press.

Saudi

Al-Khamis, Omaima Abdullah. Al-Bahriyat.

Alireza, Marianne. 2002. At the Drop of a Veil.

Alsanea, Rajaa. 2007. Girls of Riyadh. London: Penguin.

Benyamin. 2021. Goat Days. Joseph Koyippally, trans. Efinito.

Ferraris, Zoe. 2008. Finding Noof. Houghton Mifflin Harcourt: New York.

—. 2010.  City of Veils. New York: Little Brown.

—. 2012. Kingdom of Strangers. New York: Little Brown.

Munif, ‘Abd al-Rahman. 1989. Cities of Salt. Peter Theroux, trans. Random House: New York.

Yemen

‘Abd al-Wali, Mohammad. They Die Strangers.

Ba-Amer, Salih. 1988. “Dancing by the Light of the Moon,” in The Literature of Modern Arabia: An Anthology. S. K. Jayyusi, ed. London: Kegan Paul International. 318-22.

Bajaber, Khadija Abdalla. 2021. House of Rust.

Dammaj, Zayd Mutee. 1994. The Hostage. Interlink Books: Northampton, MA.

Hunter, Barry Stewart. 2017. Aden.

Classical/ Pre-Modern Fiction and Poetry

Allen, Roger. 2005. The Arabic Literary Heritage: The Development of its Genres and Criticism. Cambridge: Cambridge University Press.

Arberry, A.J. 1965. Arabic Poetry: A Primer for Students. Cambridge: Cambridge University Press.

Farrin, Raymond. 2011. Abundance from the Desert: Classical Arabic Poetry. Syracuse: Syracuse University Press.

Irwin, R. 2002. Night and Horses and the Desert: An Anthology of Classical Arabic Literature. New York: Anchor.

Sells, M., trans. 1989. Desert Tracings: Six Classic Arabian Odes by Alqama, Shanfara, Labid, Antara, Al-Asha and Dhu al-Rumma. Middleton, CT: Wesleyan University Press.

Folk/fairy tales

Al Taie, Hatim and Joan Pickersgill. 2008. Omani Folk Tales. Muscat, Oman: Al Roya Press and Publishing House.

al-Thahab, Khadija bint Alawi. 2012/ Stories of My Grandmother. W. Scott Chahanovich, ed. Washington, D.C:  Sultan Qaboos Cultural Center.

Behnam, Mariam. 2001. Heirloom: Evening Tales from the East. Oxford: Oxford University Press.

ElMahi, Ali Tigani and Ahmed Mohamed al Khatheri. 2015. “A Folk Story from Dhofar: A Pathway to Indigenous Knowledge.” Journal of Arts and Social Sciences 6.2: 5-12. DOI:10.24200/jass.vol6iss2

Hamad, Abdulsalam. 2006. Omani Folk Tales. Seeb: Al-Dhamri Bookshop.

Johnstone, T.M. 1974. “Folklore and Folk Literature in Oman and Socotra.” Arabian Studies 1: 7-24.

Johnstone, T.M. 1983. “Folk-Tales and Folk-lore of Dhofar.” Journal of Oman Studies 6.1: 123-127.

—. 1978. “A St. George of Dhofar.” Arabian Studies 4: 59-65.

—. 1974. “Folklore and Folk Literature in Oman and Socotra.” Arabian Studies 1: 7-24.

Kamal, M. 1999. Juha: Last of the Errant Knights. J. Briggs, trans. Dubai: Motivate Publishing.

Mershen, Birgit. 2004. “Ibn Muqaarab and Naynuh: A Folk-tale from Tiwi.” Journal of Oman Studies 13: 91-97.

Paine, Patty, Jesse Ulmer and Michael Hersrud, eds. 2013. The Donkey Lady and Other Tales from the Arabian Gulf.  Highclere, Berkshire: Berkshire Academic Press.

Tales of the Marvelous and News of the Strange. 2014. Malcome Lyons, trans. London: Penguin.

Todino-Gonguet, Grace. Halimah and the Snake, and other Omani Folk Tales. 2008. London: Stacey International.

Wilson, G. Willow. 2012. Alif the Unseen. New York, Grove Press.

Poetry

al Hajri, Hilal. 2014. The Night is Mine. Khalid al Balushi. trans. Muscat: Ministry of Heritage and Culture.

Al Balushi, Khalid, ed. and trans. 2016. Contemporary Omani Poetry in English. Muscat: Ministry of Heritage and Culture.

Handal, N., ed. 2001. The Poetry of Arab Women: A Contemporary Anthology. New York: Interlink.

Johnstone, T. M. 1972. “The Language of Poetry in Dhofar.” The Bulletin of the School of Oriental and African Studies 35.1: 1-17.

Morris, Miranda. 1985. “A Poem in Jibbali.” Journal of Oman Studies 7: 121-30.

Arabic/ Islamic Drama, Fiction and Poetry

Al Aswany, Alaa. 2006. The Yacoubian Building (Egypt). Harper: New York.

Alghosaibi, Ghazi. 1996. An Apartment Called Freedom (Egypt). Leslie McLoughlin, trans. Kegan Paul.

Al-Hakim, T. 1981. Plays, Prefaces and Postscripts of Tawfiq Al-Hakim, Volume One. W. M. Hutchins, trans. Washington D.C.: Three Continents Press.

Carlson, M, ed. 2005. The Arab Oedipus: Four plays. New York: Martin E. Segal Theater Center Publications.

Charara, H, ed. 2008. Inclined to Speak: An Anthology of Contemporary Arab-American Poetry. Fayetteville, AK: The University of Arkansas Press.

Elmusa, S. 2008. Flawed Landscape: Poems 1987-2008. Northhampton, MA: Interlink.

Husni, R. and Newman, D., eds. 2008. Modern Arabic Short Stories: A Bilingual Reader. London: Saqi.

Johnson-Davies, Denys. ed. 2006. The Anchor Book of Modern Arabic Fiction. New York: Anchor Books/ Random House.

Johnson-Davies, Denys, ed. 1994. Arabic Short Stories. Berkeley: University of CA Press.

Kabbani, Nizar. 1999. Arabian Love Poems. B. K. Franieh and C. R. Brown, trans. London: Lynne Rienner.

Kahf, M. 2003. E-mails from Scheherazade. Gainesville, FL: University Press of Florida.

Kaldas, P. and Mattawa, K, eds. 2009. Dinarzad’s Children: An Anthology of Contemporary Arab American Fiction. Fayetteville, AK: The University of Arkansas Press.

Kamal, M. 1999. Juha: Last of the Errant Knights. J. Briggs, trans. Dubai: Motivate Publishing.

Kanafani, Ghassan. 1998. Men in the Sun and Other Palestinian Stories. Hilary Kilpatrick, trans. Boulder: ‎Lynne Rienner Publishers.

Mahfouz, Naguib. 1990. The Cairo Trilogy. Doubleday: New York.

Mersal, I. 2008. These are not Oranges, My Love. Riverdale, NY: Sheep Meadow Press.

Nye, N. S. 2002. 19 Varieties of Gazelle: Poems of the Middle East. New York: Greenwillow.

—., ed. 1996. This Same Sky: A Collection of Poems from Around the World. New York: Aladdin.

Qabbani, Nizar. 2006. On Entering the Sea: The Erotic and Other Poetry of Nizar Qabbani. Lena Jayyusi and Sharif Elmusa. trans. Northampton, MA: Interlink Publishing.

Salih, Tayeb. 1995. “The Doum Tree of Wad Hamid,” in Global Voices: Contemporary Literature from the Non-Western World. Arthur Biddle, ed. Eaglewood Cliffs, NJ: Blair Press. 512-522.

Washburn, K. and Major, J, eds. 1998. World Poetry. New York, W.W. Norton.

Williams, D. 1993. Traveling Mercies. Cambridge, MA: Alice James Books.

Literature/ language/ multi-cultural learning

Al Harthi, A. 2005. “Distance Higher Education Experiences of Arab Gulf Students in the United States: A Cultural Perspective.”  International Review of Research in Open and Distance Learning 6.3: 1-14.

Amin-Zaki, Amel. 1996. “Religious and Cultural Considerations in Translating Shakespeare into Arabic,” in Between Language and Cultures: Translation and Cross-Cultural Texts. Anuradha Dingwaney and Carol Maier, eds. Pittsburgh: University of Pittsburgh Press. 223-44.

Baer, Brian James. 2020. “From Cultural Translation to Untranslatability – من الترجمة الثقافية إلى استحالة الترجمة: Theorizing Translation outside Translation Studies.” Alif: Journal of Comparative Poetics 40: 139-63.

Bell, Duncan. 2003. “Mythscapes: Memory, Mythology, and National Identity.” The British Journal of Sociology 54.1: 63-81.

Booth, Marilyn. 2010. “‘The Muslim Woman’ as Celebrity Author and the Politics of Translating Arabic: Girls of Riyadh Go on the Road.” Journal of Middle East Women’s Studies 6.3: 149-82.

Boyd, F. 2002. “Conditions, Concessions, and the Many Tender Mercies of Learning through Multicultural Literature.” Reading Research and Instruction 42.1: 58-92.

Brooks, W. 2006. “Reading Representation of Themselves.” Reading Research Quarterly, 41, 372-392.

Gatling, Benjamin. 2020, Summer. “There Isn’t Belief, Just Believing: Rethinking Belief as a Keyword of Folklore Studies.” The Journal of American Folklore 133.529: 307-28.

Grosjean, François. 2015. “Bicultural Bilinguals.” International Journal of Bilingualism 19.5: 572–86.

Halstead, J. M. 2004. “An Islamic Concept of Education.” Comparative Education 40: 517-29.

Heble, Ayesha. 2007. “Teaching Literature On-line to Arab students: Using Technology to Overcome Cultural Restrictions.” Arts and Humanities in Higher Education 6.2: 219-226.

Jabra, Jabra. 1980. “Modern Arabic Literature and the West,” in Critical Perspectives on Modern Arabic Literature. Issa Boullata, ed. Washington, D.C.: Three Continents Press. 8-20.

Mazawi, Andreas. 2010. “Naming the Imaginary: ‘Building an Arab Knowledge Society’ and the Contested Terrain of Educational Reform for Development,” in Trajectories of Education in the Arab World: Legacies and Challenges. Osama Abin-Mershed, ed. London: Center for Contemporary Arab Studies and Routledge.

McDermott, Ray and Varenne, Herve. 2007. “Reconstructing Culture in Educational Research,” in Innovations in Educational Ethnography, G. Spindler and L. Hammond, eds. Mahwah, NJ: Lawrence Erlbaum Associates. 3-31.

Michalak-Pikulska, Barbara. 2006. “The Mosaic of Quotations and the Labyrinth of Interpretations: The Problems of Intertextuality in the Modern Literature of the Gulf.” Intertextuality in Modern Arabic Literature since 1967. 187-200.

Ogulnick, K. 2005. “Learning Language/ Learning Self,” in Intercultural Discourse and Communication: The Essential Readings. S. Kiesling and C. Bratt Paulston, eds. Oxford: Blackwell. 250-4.

Ramsey, Gail. 2006. “The Past in the Present: Aspects of Intertextuality in Modern Literature in the Gulf.” Intertextuality in Modern Arabic Literature since 1967. 161-86.

—. 2004. “Confining the Guest Labourers to the Realm of the Subaltern in Modern Literature from the Gulf. Orientalia Succana, 53: 133-42.

Stadnicki, Roman. 2023. “Branding Backlash: The Erring of Urban Advertising in Gulf Cities,” in Branding the Middle East: Communication Strategies and Image Building from Qom to Casablanca. Steffen Wippel, ed. Berlin: De Gruyter. 497-516.

Zemrani, Aziza, Deborah L. Trent and Sawsan Abutabenjeh. 2020, Dec. “Cultural Competency Teaching and Practice in the MENA.” AlMuntaqa 3.2: 64-7.

Webb, Allen. 2012. Teaching the Literature of Today’s Middle East. London: Routledge.

Using Creative Writing Prompts in Foreign Language Learning

Teaching: Reflections on Culture Shocks

Teaching Literature and Staying au courant – The Man from Nowhere and the Ancient Greeks

Navigating without Language

Poems

Poem: “For a Student Who Used AI to Write a Paper,” Joesph Fasano

“For a Student Who Used AI to Write a Paper,” Joseph Fasano

Now I let it fall back
in the grasses.
I hear you. I know
this life is hard now.
I know your days are precious
on this earth.
But what are you trying
to be free of?
The living? The miraculous
task of it?
Love is for the ones who love the work.

****

“Sudden Hymn in Winter,” Joseph Fasano

What if, after years
of trial,
a love should come
and lay a hand upon you
and say,
this late,
your life is not a crime

Two poems for courage: “Against Hesitation” by Charles Rafferty and “Thalassa” by Louis MacNeice

A good poem for hard times – “Atlas” by U. A. Fanthorpe

Poems – “Finding Poems for my Students” by Mohja Kahf

Poems

New book – Researching and Working on the Arabian Peninsula: Creating Effective Interactions

I am happy to announce that my 4th book, Researching and Working on the Arabian Peninsula: Creating Effective Interactions, has been accepted for publication at Palgrave Macmillan. I am very grateful to the two anonymous reviewers who gave positive and helpful comments.

This book outlines strategies for current or soon-to-be business professionals, government employees, anthropologists, researchers and teachers to communicate, study and work effectively on the Arabian Peninsula. Using first-person accounts, as well as scholarly research from the fields of anthropology, history, literature, political science and travel writing, this text gives clear advice so long- and short-term visitors can create successful interactions with people from Arabian Peninsula societies. By discussing how the practicalities of work and research intersect with cultural norms, this book fills the gap between guides aimed at the casual tourists and academic texts on narrowly defined topics.

Reflections on Ethnographic Work: Leaving and Learning

Presentation – “Windguru and Other Gurus: Fishing off the Coast of Dhofar, Oman”

Culture Shock – (Not) Being Under Observation

Predator Anthropologists, Anthropologist Predators: Anthropological Metaphors in Popular Movies

 

Teaching: Reflections on Culture Shocks

I had a wonderful time teaching for 21 years on the Arabian Peninsula; I wish I could have stayed longer. My students were smart, funny, creative and kind. Yet, coming from a different culture, I had some assumptions which I needed to unlearn. I realize the following might sound negative so I want to be clear: there are difficult students no matter where you teach. My students in the Emirates and Oman were 99% lovely and 1% challenging.

teachers control all areas of a school

This was the first assumption I had to unlearn. On the Arabian Peninsula, teachers are in control of only their students only in the classroom only during class time; any other attempts to correct behavior can be seen as an unwarranted invasion of privacy. Asking a student who is leaning against a “no smoking” sign in a hallway to stop smoking was met with a furious denunciation most of the time. Asking students to stop screaming in the hallway was likewise often met with contempt, in addition to louder screaming, hysterical giggles and rude words.

The first few times this happened, I thought I was dealing with unusually difficult students but I soon realized this was the norm. It didn’t matter if I asked politely, merely gestured or evoked my status; very few students would willingly put out the cigarette or stop yelling. I did not have the right to police hallways.

if students make mistakes, they will be polite

On the Arabian Peninsula, the older you are, the more self-control you are expected to have. This can set up a kind of get-out-of-jail-free card for students in that if they are rude, they believe that the elder teacher must keep their temper. A common tactic was for a student do something wrong, act rudely, elicit anger from teacher, then claim victim status, thus shifting the conversation from the student’s mistake to the teacher’s anger.

Nothing was more infuriating for a student than a composed teacher, such as my saying sadly and slowly, “I am so sorry, this paper is more than a week late so I can’t give you a grade. I will review it for mistakes so you are ready for the midterm, but your grade is zero.” My staying calm meant they could not get traction to change the focus from their not doing the work to my being “angry.” My expressing sorrow and speaking quietly meant the discussion centered on them, not me.

students with a low level of English will be the hardest to teach

This seemed to me quite straightforward, the less I could communicate with a student, the less I would be able to teach them. But the opposite was true. Students with low language skills would either make an effort by focusing in class, getting help from friends, coming to see me in my office or signing up for tutoring. A few tried to cheat, but if I caught them, they would either give up and drop the class or settle down to work honestly.

The worst difficulties were always with the students who had a high level of English. There was often a terribly dynamic in which they felt that, since they had always received straight As, high grades were their right. Other teachers had feted their ability to speak fluently, so they felt they had mastered all the necessary skills.

The most grueling conversations I had were with students who expected a perfect grade for perfect English combined with problematic elements such as giving a presentation while twisting their body, clutching their clothing and reading long paragraphs off PowerPoint slides or someone who wrote an essay without any grammar mistakes which was a hodge-podge of ideas in no discernable order.

Trying to explain that there was a difference between writing correct sentences and having well-organized essays was futile. Trying to explain that even good writers revised and reorganized their work was futile. It was also futile to explain that shorter sentences and essays divided into paragraphs are expected in English essays. Some students had gone through high school and some university-level classes with non-native speakers of English who allowed 60-word sentences and two-page essays which were all one paragraph. My saying that this was not usual in academic English was viewed as an attempt to steal their well-deserved marks.

It was frustrating for both me and the student to have these kinds of conversations. My point was, “you have the basics down, now let’s get you to the next level of writing with stronger openings, more fluid transitions between topics, better quotes, more interesting endings, etc.” Their point was, “I am getting 100/ 100 in my other classes, I know everything I need to know.”

teachers’ interactions with students are based on professional considerations

The most common metaphor for teachers is that they should be like a “mom,” i.e. endlessly forgiving and accepting. And like any situation with one mom and several children, students were always on the lookout for any signs of partiality.

Over the years, I tried to refine my teaching to eliminate any chance of being accused of favoritism. Instead of asking “who wants to read” or picking a random student, I would always start with the student who was sitting to the far right in the semi-circle. I used rubrics with highlighters to grade papers. For example, if a student lost points because of grammar issues, I would highlight the word “grammar” on the rubric in yellow and then highlight the paper’s grammar mistakes in yellow so they could easily see the correlation between their paper and their grade.

When they handed in an exam, I would immediately flip over the cover page with their name and I graded exams by going through everyone’s first page, then everyone’s second page (without looking back to see how a student did on page 1), etc.

All this effort mitigated some of the complaints but there was no way to make all the grades unbiased in their opinion. For example, I based the portion of the grade for “class participation” on three types of grades: 1) homework and recitations, 2) if they participated in group work and 3) reading checks, when I would walk around the room at the start of class to see if they had written notes/ definitions for the text we would read that day.

I picked which days I would check for reading at random and would write them in my planner ahead of time so I would not base my decision given who was present or whether I could see writing in their texts as I walked into class. But students would still complain, “She KNEW I didn’t do the reading, that’s why she checked today.”

One semester, as I walked out of the last class, one student was telling the others (in English, i.e., wanting to make sure I understood) “She ONLY checked readings on the days I didn’t prepare for class.” I know this was a self-preservation tactic (related to the next point) but the ones who practiced it created an unhealthy atmosphere of distrust towards teachers.

you make your choices and you live with the consequences

I went through my education with the idea that my grades were under my control. However, some students held the view that their grades were concocted from mysterious forces beyond their ken. Bad grades were not a result of them deciding not to do homework, come to class, ask questions or study; bad grades were the result of bad teaching and “circumstances.”

Being caught cheating on an exam or copying from the internet produced anger at me for not telling them that they were not allowed to copy paragraphs verbatim from other sources. When I printed out and highlighted the sections of the syllabus and assignment which explained that copying was not allowed, they said that they had not read that and hence didn’t know, so I did not have the right to lower their grade.

Some students had what I call the “two-world theory”; if they were late to class, they have a good reason but there was no acceptable excuse if another person (such as a food delivery person) was late. This odd dichotomy played out often. Students who missed 25% of my class complained viciously if a teacher missed their office hours. Students who turned in papers late complained about unorganized teachers. Students who broke rules such as using their phones in class, talking incessantly and copying homework from their friends complained if someone in administration did not do their job properly.

I never quite saw the contours of this problem – was it that the students were so endlessly coddled at home that they truly believed nothing could ever be their fault, or they felt so endlessly put upon that they were going to fight for whatever advantage they could get, or they felt everything was unfair and everyone was behaving badly so it didn’t matter if they did as well?

Of course, not all students acted like this, but the ones who did held on to the two-world theory so tightly that pointing out their hypocrisy (“yesterday you complained to me about how that person did not organize their time well and today you were 15 mintues late to class”) effected no change in attitude.

communal cultures means students will work well in groups

This is another issue that I don’t see all the contours of. I assumed that given the students were from tribe-based cultures and often spoke of the Omani dedication to peaceful coexistence, that group work would be a breeze. I quickly learned that a tribal upbringing meant that students would never rat out the students who did no work. It got to the point that a student wrote me an anonymous note asking me to stop doing group work as she had to do all the assignments; the other students in her group did nothing but she couldn’t say that publicly.

So I reworked groups as just discussion-based and told them that I would pick one student from the group at random to explain what the group had decided. This solved the issue of some students not participating.

But another problem remained: some students refused to speak to other students. I would set students in groups, then sit at my desk and pretend I was busy with paperwork. After a few minutes, I would look up and try to asses what was going on. Often if they were in groups of three, two students would talk and ignore the third one. So I learned to put students in pairs or groups of five. And I would always decide on the groups (deliberately splitting up any pairs of friends) as, the few times I let them choose, they would either pick their one friend, sit by the person they thought was the smartest person in the class or sit silently alone, making no effort to create an alliance, which is related to my next point.

try the new

When I was an undergraduate at University of Wisconsin-Madison, I signed up for a class on Northern European history on a whim because I didn’t know anything about that topic. On the first day we were given a list of possible topics for a presentation which would involve us teaching an entire class on the subject we picked. I choose the Finnish Civil War as I knew nothing about it.

When I went to the library to find some books on my topic, I discovered that my professor had written the definitive three volume history of the Finnish Civil War. I researched and cobbled a draft together, then went to his office to ask some questions and ended up sobbing as I was overwhelmed by having to explain this war to all my classmates in front of a Finnish professor. The poor man calmed me down and I managed to pull through.

I continued on this path of picking classes that were way beyond my knowledge base with similar consequences. When I studied at a German university, I took a class on Russian drama because I had never read one. German universities give collective exams after 3 years of study, but since I was transferring back to Wisconsin, I had to go to the professor’s office and have an oral exam at the end of the semester. One of his questions was “What is distinctive about Chekhov’s dramas?” I answered the best I could but I could not get the right answer which was the pauses between when actors speak. I had no idea about this feature as I had only read the plays; I had never seen one performed.

When I was accepted into my Masters of Education program for foreign language and social studies, the university required that I take two American History classes. I picked one on the 1600s and 1700s and one on the civil war. The Early American class had Masters and PhD in American History students and was based on class discussions. In the Civil War class, my classmates were two American History PhD students and we three traded off presenting books we had read. I was in way over my head all semester. I also moved overseas three times without knowing anyone in the country and traveled solo through Europe and several Asian countries.

I am laying this all out to explain why I was surprised that students generally refused to take any new class, even when they had lobbied for the class to be added to the plan of study. The first time a course was offered, so few students would sign up that it was closed or run with only a handful of students. Sometimes a new class was offered for 2 or 3 semesters before it was finally had enough participants. And the first semester of teaching a new class was misery as students dealt with their anxiety by skipping class.

Even a new type of assignment (such as writing a shape poem or a dialog with a character) was met with steep resistance. There would be endless questions and if I said “just go ahead and try, just write something, there’s no grade for this, dive in” inevitably several students would simply stare at the paper until I came and reexplained what to do to them personally. It was never a language issue; they understood what I was asking them to do, they were simply paralyzed at the thought of trying a new style of writing.

Reflections on Ethnographic Work: Ending and Beginning

Teaching Metaphors: Conducting a Jazz Symphony

Teaching: Reflective Teaching and Motivation

Teaching Paired Literary Texts

Reflections/ Research on Teaching Cultural Studies and Literature

Reflections on Ethnographic Work: Ending and Beginning

Now that my time in Oman is ending, I am thinking about when I first came here. My friendships began in the usual ways: meeting colleagues, accepting an invitation to dinner, deciding to take an evening class, accepting a lunch invitation, deciding to teach a summer class and deciding to take language lessons. These small decisions had many consequences, but not life-changing consequences. If I had not accepted that dinner invitation, there would have been another one, or if I had not met that person, I would have met someone else.

Starting my unexpected foray into ethnography was quite different; my academic work hinged on two insignificant, random acts: reading a footnote and cutting vegetables. Thanks to those two actions, I published three books and several articles, gave many presentations and tried to help newcomers with orientation sessions. I also have a whole set of life skills I will probably never use again from making a fire with damp wood to driving up steep inclines to sitting patiently for hours to speaking colloquial Arabic.

The story of the footnote starts on the first day of khareef (the monsoon season) in June 2006. A few Omani men (who were part of a larger group of Omanis and expats that I was part of) sent me a message saying they were in town and wanted to meet. I invited them to my house, sad that the heavy mist would mean that we would have to sit indoors instead of enjoying my nice garden.

But when they arrived, they picked up the trays of water, soda, chips and cookies and brought everything outside. “Khareef!” they proclaimed joyfully as we sat amidst the mosquitos and drizzle. “This is not fun” I thought, but their enjoyment of the humidity and light rain made me realize that there was a lot about them I did not understand. And what field of study helps people comprehend foreign behavior? Anthropology.

So I asked my dissertation professor, Michael Beard, if he had any recommendations for basic anthropology texts to help understand the cultures I was now living amongst. By chance he had a friend and colleague who taught anthropology and was retiring; Gretchen Lang kindly boxed up 20 texts and sent them to me.

I read the books throughout the fall. They were interesting but so few of the texts’ examples dealt with the Arabian Peninsula, I felt that they didn’t pertain to my life. Then I read a footnote that referenced Wikan’s work in Oman as an example of a particular phenomenon. And it was off to the races.

I read all of Wikan, then started reading the works in her bibliographies, leaving my home provinces of literature, pedagogy and travel writing for archeology, architecture, cultural studies, folklore, history, Islamic studies, political science and tourism, then farther afield to animal husbandry, city planning, house construction, fishing, ornithology, use of public spaces and zoology. I ended up writing about Dhofar/ Oman in terms architecture, comparative literature, cultural acquisition, ethnography, fairytales, foodways, gift/ gift theory, houseways and urban studies.

The second act happened in August, 2013. By this time I was part of two research groups with Dhofai men, which were centered around A and B (see note). B’s group included C and some of his friends. In August, C invited me for a picnic dinner with only his friends. We all had a good time and one week later, C invited me again. As we settled down on the mat, he handed me a plate of vegetables and said, “cut these.” I took the metal plate and knife and got to work. From that night until covid hit and we stopped meeting, cutting vegetables was my job. After the covid restrictions waned, the guys started to bring prepared food from home and my job changed to bringing the soda and water.

Years later, when we were talking about how we all met and how long we had all known each other, I mentioned those first beach picnics and C said that his asking me to cut vegetables was a test as he wanted to understand my personality. If I had refused, then he never would have invited me again.

His words were not surprising because by then I knew how the men always teased and tested friends, but it struck me that so much had rested on one small act.

All the men in A’s group spoke at least some English and had traveled; most of the men in B’s group spoke some English and had met other Western people. Also, when I hung out with A’s and B’s groups, we usually met in spaces where they would not see anyone they knew.

But in his group, C was the only one who spoke English so I generally spoke only Arabic. In over 300 picnics with C’s groups I had the chance to improve my Arabic, meet dozens of men, go camping and ask endless research questions. We celebrated weddings and births, mourned deaths, ate a lot of (too spicy!) meals and discussed all sorts of geo-political upheavals.

And, since none of the men had ever socialized/ eaten a meal with a Western, female Christian we went through a lot of steep learning curves together. This June I handed a package of cookies to one man and he replied by saying “Duck?” in Arabic. I thought that was odd, so I repeated “Duck?” then thought, he is making a joke by asking if I am giving him duck food! So I said, “Duck” again and began to quack.

C, who was scrolling through his phone, said, “Open” in English. Oops! I misunderstood; the man said “Open?” in the local slang of Hindi, not “Duck?” in Arabic – two words which sound somewhat similar. And by “Open?” he meant: should I open the cookies now or save them for my children? So I said, “for your children” in Arabic. No one commented on the fact that I had enthusiastically quacked for 10 seconds. This is what you have to put up with when you have friends from different cultures.

Reflecting on over eleven years of meetings, I brought up the subject of how we started to work together with C a few weeks ago. I asked him if he remembered the first time he invited me to a picnic, then the second invitation and “did you ask me to cut vegetables?”

He said, “yes,” then asked me why I was thinking of that subject.

The conversation in Arabic went something like this:

me: Now that I am going, I am thinking of the beginning, and I remember you told me once that when you asked me to cut vegetables it was a test. And I am thinking that it was a chance, an important chance, and if I had said no, then we would not be friends.

C: It is important to test people you don’t know. If they will just sit and never work, there will be trouble later. So it is better to see how a person is at the beginning.

me: I understand, but I am thinking if I was in a bad mood or sick and said “no,” maybe I would have missed knowing you and these men. It was just that one chance. You said you would have not invited me again.

C: I would have invited you once or twice more. You have to give space for a person, maybe they are tired or maybe they are saying “no” because they don’t know what to do. If you had said, “no” I would have given you another chance, because maybe you would have said, “I don’t know how.”

I nodded and we changed the subject. The next day I decided to check my recollections by looking at my excel spreadsheet where I have information (date, place, names, what we ate, what we talked about etc.) on all picnics and camping. For August 11, 2013 I have an entry about meeting at ‘the place’ with C and four of his (now my) friends. For August 17, there is another entry about meeting at the same place with the same people and after the summary for what we had for dinner is the note “me cutting vegetables.”

It’s nice to see my research life validates two of my constant talking points with other researchers: document everything and you may never know the good thing you do that will open doors for you.

Note: For the research guys, their friend groups are never conceived of as being “centered” on one person. I use this terminology as it reflects my reality. In each group there was one man I met first, who introduced me to the other men and ran interference in terms of me asking questions (what should I wear?) and other men asking questions about me.

Antigone and Ismene – Making Difficult Choices

Conference presentation about conducting research on the Arabian Peninsula

Reflections on Ethnographic Work: The Grasshopper

Reflections on Ethnographic Research: Claiming Knowledge and Shifting Perceptions

Reflections on Ethnographic Research: What is Missing and What Changes

Two poems for courage: “Against Hesitation” by Charles Rafferty and “Thalassa” by Louis MacNeice

“Against Hesitation,” by Charles Rafferty

If you stare at it long enough

the mountain becomes unclimbable.

Tally it up. How much time have you spent

waiting for the soup to cool?

Icicles hang from January gutters

only as long as they can. Fingers pause

above piano keys for the chord

that will not form. Slam them down

I say. Make music of what you can.

Some people stop at the wrong corner

and waste a dozen years hoping

for directions. I can’t be them.

Tell every girl I’ve ever known

I’m coming to break her door down,

that my teeth will clench

the simple flower I only knew

not to give … Ah, how long did I stand

beneath the eaves believing the storm

would stop? It never did.

And there is lightning in me still

“Thalassa,” Louis MacNeice

Run out the boat, my broken comrades;

Let the old seaweed crack, the surge

Burgeon oblivious of the last

Embarkation of feckless men,

Let every adverse force converge–

Here we must needs embark again.

Run up the sail, my heartsick comrades;

Let each horizon tilt and lurch–

You know the worst: your wills are fickle,

Your values blurred, your hearts impure

And your past life a ruined church–

But let your poison be your cure.

Put out to sea, ignoble comrades,

Whose record shall be noble yet;

Butting through scarps of moving marble

The narwhal dares us to be free;

By a high star our course is set,

Our end is Life. Put out to sea.

My Job

Reflections on Ethnographic Research in Dhofar Oman

A good poem for hard times – “Atlas” by U. A. Fanthorpe

Antigone and Ismene – Making Difficult Choices

Two poems about nature and rest: “The Peace of Wild Things” by Wendell Berry and “Sleeping in The Forest,” Mary Oliver

Two poems about nature and rest: “The Peace of Wild Things” by Wendell Berry and “Sleeping in The Forest,” Mary Oliver

“Sleeping in The Forest,” Mary Oliver

I thought the earth remembered me,

she took me back so tenderly,

arranging her dark skirts, her pockets

full of lichens and seeds.

I slept as never before, a stone on the river bed,

nothing between me and the white fire of the stars

but my thoughts, and they floated light as moths

among the branches of the perfect trees.

All night I heard the small kingdoms

breathing around me, the insects,

and the birds who do their work in the darkness.

All night I rose and fell, as if in water,

grappling with a luminous doom. By morning

I had vanished at least a dozen times

into something better.

“The Peace of Wild Things,” Wendell Berry

When despair for the world grows in me

and I wake in the night at the least sound

in fear of what my life and my children’s lives may be,

I go and lie down where the wood drake

rests in his beauty on the water, and the great heron feeds.

I come into the peace of wild things

who do not tax their lives with forethought

of grief. I come into the presence of still water.

And I feel above me the day-blind stars

waiting with their light. For a time

I rest in the grace of the world, and am free

Reflections/ Research on Teaching Cultural Studies and Literature

Selected Bibliography: Primary and Secondary Texts for Literature Teachers on the Arabian Peninsula

Suggestions for Literature Teachers in the Middle East

Two poems for spring: “Dear March – Come in” by Emily Dickinson and “March” by Goethe

“March,” Goethe

 

Look, it’s snowed for hours,

The time is not yet right,

For all the little flowers,

For all the little flowers,

To fill our hearts with light.

The sunlight is deceiving,

Mild but false it shone,

Even the swallow’s cheating,

Even the swallow’s cheating,

Why? He comes alone!

Alone, could I be happy

Even though spring is near?

But if you were with me,

But if you were with me,

Suddenly summer’s there.

“Dear March – Come in,” Emily Dickinson

Dear March – Come in –

How glad I am –

I hoped for you before –

Put down your Hat –

You must have walked –

How out of Breath you are –

Dear March, how are you, and the Rest –

Did you leave Nature well –

Oh March, Come right upstairs with me –

I have so much to tell –

I got your Letter, and the Birds –

The Maples never knew that you were coming –

I declare – how Red their Faces grew –

But March, forgive me –

And all those Hills you left for me to Hue –

There was no Purple suitable –

You took it all with you –

Who knocks? That April –

Lock the Door –

A good poem for hard times – “Atlas” by U. A. Fanthorpe

Foodways and Literature – Animal Poems

Foodways and Literature – Food Stories and Poems

Literature and Ethnography

A good poem for hard times – “Atlas” by U. A. Fanthorpe

“Atlas,” by U. A. Fanthorpe, from Safe as Houses

 

[Atlas is the Greek God who holds up the sky]

 

There is a kind of love called maintenance

Which stores the WD40 and knows when to use it;

 

Which checks the insurance, and doesn’t forget

The milkman; which remembers to plant bulbs;

 

Which answers letters; which knows the way

The money goes; which deals with dentists

 

And Road Fund Tax and meeting trains,

And postcards to the lonely; which upholds

 

The permanently rickety elaborate

Structures of living, which is Atlas.

 

And maintenance is the sensible side of love,

Which knows what time and weather are doing

To my brickwork; insulates my faulty wiring;

Laughs at my dry rotten jokes; remembers

My need for gloss and grouting; which keeps

My suspect edifice upright in air,

As Atlas did the sky.

 

“The Function of Poetry” by Billy Collins

Reflections/ Research on Teaching Cultural Studies and Literature

Teaching Literature and Staying au courant – The Man from Nowhere and the Ancient Greeks

Using Cultural Understandings to Improve Teaching, part 1

 

U.A. Fanthorpe

https://www.poetryfoundation.org/poets/ua-fanthorpe

U A Fanthorpe

Using Cultural Understandings to Improve Teaching, part 4

(photo by S. B.)

Using Cultural Understandings to Improve Teaching, part 1

Using Cultural Understandings to Improve Teaching, part 2

Using Cultural Understandings to Improve Teaching, part 3

I hope that my previous essays on teaching might help all teachers, but this essay is focused on teaching writing to students who can put together a few paragraphs in English by explaining the benefits of doing daily in-class writing. I also discuss the benefits of having students use rubrics, come up with their own topics and share papers.

In-class Writing – for classes such as Introduction to Creative Writing and Writing Workshop, just telling students HOW to do something is not effective unless students have a text to work off of, so I ask that every student brings a large notebook to class every day. They write the date at the top of page, I give a prompt to help them get started, then let them write for 10-15 minutes.

For creative writing class, I might ask them to write a poem about the weather, then the next day, ask them to take that poem and change it so the weather itself is the narrator, i.e. the “rain” or the “sun” speaks and explains their feelings. If we are doing drama, I might ask for a dialog between two people who are very different ages or a dialog in which someone is trying to get something in a sneaky way.

For a writing workshop class, I might ask them to explain something they want to change about our university. Then I ask them to take that topic and change their writing so they are talking to other students, then change it again so they are talking to administration. This kind of practice allows them to get a handle on “audience” and how to craft arguments depending on who you are writing for.

Writing daily means that when it is time to think of topics for their main papers, they have pages of writing to look through to help them come up with ideas. Also, as the semester goes on, students are able to write more quickly so that a student who managed a few sentences in 10 minutes during the first class might be able to write two paragraphs after two months. When I ask them to review their journals and they can see their progress, it improves their writing confidence for doing midterms and papers in other classes.

A really important part of doing daily journals is that I do not comment when a student does not write in class one day. From friendships with Omanis who are not connected to the university, I can see how students are sometimes subject to enormous pressures at home. For most North American/ UK/ EU students, college is seen as the most significant factor and while some students might have a job, there is a general understanding that school work comes first.

In Oman, if older relatives come to visit on the night before an exam, students might be expected to sit in the salle or majlis with them. Sometimes a family decides that a student will be married in the middle of the semester, or a beloved sister is married so a student is busy for weeks with the preparations, then has to cope with the sadness that the sister is no longer living in the house. There might be a death in the family or sometimes a student has to sit up all night with a sick child. And sometimes a student is simply out of ideas.

At the start of the semester I say, “you need to write at least half a page every class period, but if you can’t write in class a few times during the semester, that’s fine. Sit quietly and take care of yourself. But you will have to do the writing at some point. I will put the prompt on Moodle (the on-line teaching program) in case you miss class, you still have to do the writing.”

Knowing they have to do the work, but they can take a break if they are having a bad day, eliminates scolding, arguments and unhappiness. When I am walking around the room to check progress and I see a blank page, I quietly say, “do it later tonight with a cup of tea” and walk on. I have never had a student abuse this by not writing for several days in a row, but every semester I have students who simply can’t focus. Sometimes they look at me and shake their heads, and I whisper, “it’s ok.” Sometimes they will try to explain what’s wrong and I say, “you don’t need to tell me the reason. No phone, don’t talk to anyone, draw a picture if you want. Make up the work later.” Of course for tests, students need to do the work at the correct time, but I don’t think it’s helpful to force students by pretending there is something magically useful about writing EVERY day.

The journal work is usually worth 10 points (from a class total of 100). I collect the journals three times during the semester without advance notice and skim though them. If the students’ journals are organized and have 1/2 page of writing for each class period, they get full credit. If not, I write what the issue is and give a lower grade. Then I hand them back at the start of the next class period.

Writing papers

Some people advise giving out sample papers and students usually want a sample but I don’t think it’s a good idea for students who are at the level of being able to write 3 or 4 connected paragraphs. A sample is too easy to copy. On the other hand, it’s never helpful to give vague assignments such as “give me a 5-paragraph argument essay.”

The happy middle ground is a three-step process: create and discuss a rubric, have students hand in topic choices and do an in-class workshop day. This drastically cuts down on the chances to cheat/ plagiarize and improves students ability to think and write from themselves.

using rubrics – Three weeks before a major paper is due, I always give out a detailed rubric (see example below) which gives all the relevant dates and explains the sections of the paper. Using a table format means I can write the points the students earn next to the explanation, so they can see where they have made a mistake. I also add examples of quotes because some students have not used quotes before and having the sample sentences right on the rubric means they don’t have to look elsewhere for help. Lastly, I put the late-paper policy so, again, students have all the information they need in one paper.

choosing topics – On the day I hand out the rubric, I tell students that they need to think of at least three topics, and write them out on a paper with a few bullet points and hand it on by the due date. I review the topics and put a check next to the topics which are ok for them to use. This cuts down on over-used topics (on-line teaching!) and allows me to make sure no two students are doing the same idea.

sharing writing  – A week before the paper is due, I set up a “workshop” day in which students read each other’s writing. The two most important aspects are to start small and provide a framework. Nothing could be less helpful than simply giving a student’s paper to another student.

In classes in which I use peer groups, I always try to put students in groups with a task to work on several times at the start of the semester so they can start to get to know each other. If we are doing daily in-class writing, I will announce (BEFORE THEY START TO WRITE!) that they are going to share that day’s work with another student. I let them write, then assign everyone a pair and they switch notebooks and talk about what they wrote. Doing this a few times allows students to get to work together and feel more comfortable about sharing papers.

The second step is to give students a review sheet to fill in (see sample below) instead of simply asking students to read or “comment.” Having a worksheet allows them to read with a purpose and check that the student has done all the assigned parts, which makes them reflect on their own writing.

I explain to students that another student in the class (they will not know which one) will read their paper and if they don’t want to use their real name, that’s fine. They need to make sure that there is either a name or title on the paper. When I walk around the room to pick up the drafts, I can verify that each student handed in a draft, then I mix up the papers and hand them back with the peer review sheet.

As students finish reading and filling out a sheet, I give them a second paper to work on which helps stop the “do the worksheet in a hurry and then just sit” syndrome. They know if they finish one paper, they will get another one to work on.

And I make sure to explain that students who do not come with a draft will be given the chance to work on their assignment on their own. If a student comes in without a paper, I don’t ask, “Why didn’t you do the work?” I ask them to sit at the back of the class, make sure they have paper and a pen and ask them to start writing. After I have distributed papers to the rest of the class, I will sit next to every student who did not come prepared and ask if they have any questions. Then I will give them a peer-review sheet and remind them that they have to have someone else read their paper and they need to turn in their drafts and peer-review sheet with their final paper.

example rubric for writing class:

Assessment 3 –  May 14  – 10 points – due in class

 

topics due April 30, counts as a homework grade

peer review May 9, counts as class participation grade

 

  Explanation possible score student score
   Essay ·         a complete, realistic, original, thought-provoking argument paper on a topic that PERSONALLY impacts the author·         must have clear AUDIENCEtopics NOT allowed:·         not smoking

·         not cheating

·         driving (too fast or who drives)

·         on-line teaching

·         cell phones/ social media

·         where to take a vacation

·         correct grammar and spelling

·         at least 4 pages long

·         creative, interesting argument explained in introduction – 1·         compelling conclusion (restatement, positive or negative if this doesn’t happen, story, expand topic, etc.) – 1·         at least 2 points supporting the argument based on author’s reasoning – 2·         at least 2 points supporting the argument based on interviews/ external sources with quotes – 2

·         at least 1 rebuttal (anticipating counter-argument) – 1

·         1

points deducted if not long enough

 Draftsand documents ·         at least THREE drafts with evidence of substantial revision ·         at least one peer review sheet·         topic sheet with teacher approval ·         2
  Format  Paper should be:·         neatly handwritten in blue or black ink on plain white, large, lined paper·         each paragraph indented with between 3 and 6 sentences unless it is dialog points deducted if not done correctly
total score

Quotes are:

  • approximately 10 words or less
  • within a sentence:
  • My father agreed that, “There should be more hotels in Nizwa.”
  • “I think Dhofar should have more libraries,” said Dr. Risse.

Please note

  • 1 point taken off for lateness
  • last time to turn in an assignment is exactly ONE WEEK after due date

**********************************************

example peer review sheet for above assignment in writing class (the original has spaces for writing between the questions)

ENGL 285 – assignment 3 – peer review – May 9

Name of author or title of paper __________________________

* Is the paper divided into paragraphs?                                                          yes / no

* Are all the paragraphs indented?                                                                 yes / no

* Does each paragraph have 3, 4, 5 or 6 sentences?                                  yes / no

* What is the main argument of the paper?

* Who is the audience?

*Sections of the paper – for each section write the main idea/ argument

 

Introduction – is there a ‘hook’/ does the paper have an interesting opening?

Authors reasons

1)

2)

Outside reasons – either interview or website

1)

2)

Rebuttal

Conclusion

*What do you not understand? What questions do you have?

* What information should the author add to the paper?

* Circle all misspelled words or grammar problems.