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

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 2

Using Cultural Understandings to Improve Teaching, part 1

Overview

All people have strong memories of their school days. Sometimes these memories become an inviolate template, so that teachers think “X was a great teacher and she did Y so I must do Y also” or “I was a good student and I did Z, so all of my students must also do Z.” Sometimes when teachers say “this is the ‘best’ way to do it,” they actually mean “this is the way my parents did it,” “this is what I am comfortable with,” “this is what is usual in my culture” or “this is what I learned from my teachers.” This might be useful if the teacher is working in their own culture, but such generalizations may not be helpful when working in a foreign country. Actions that might be seen as beneficial, such as using a student’s name in a sample grammar sentence, might be problematic in Oman where students might resist having their name used in public.

I will discuss five common cultural constructions within Oman which can affect student’s behavior. I am specifically not talking about any particular subject of study, but issues related to classroom management and creating a positive, pro-learning atmosphere.

Understanding Cultural Constructions within High Context Cultures

Oman is a high context culture meaning that most learning about proper social behavior is done by observation, not explicit instruction. When a teacher also comes from a high context culture that has different definitions of what good students do, this can lead to unintended confusion. It is much easier when teachers use low context techniques such as explaining all expectations clearly with written explanations and detailed rubrics.

The more organized and confident a teacher is at the start of the semester, the easier it is to create a positive learning environment. To use Krashen’s terms, when a teacher appears confused or uncertain in high context cultures, students’ affective filter is up, meaning that they students might be anxious to focus on learning.

Worrying about new concepts or new types of assignments can block students from being able to work effectively, so teachers should clarify exactly what is expected. For example, one teacher asked students to do presentations but did not specifically say that students would be interrupted with questions. When the first student was asked a question mid-presentation, they froze up and were unable to answer, nor could they finish the presentation. The rest of the class immediately developed sore throats with raging headaches and stated that they were not able to do their presentations.

Understanding Cultural Constructions of “Power” and “Authority”

Some teachers come from cultures in which teaching is very authoritarian. Teachers speak – students listen. Students do not have the right to question what a teacher is doing or why, much less complain about grades or that they have been treated unfairly. Also, some teachers have the idea that since many Omani cultures are based on tribes, that there are very top-down, repressive cultures, e.g. sheikhs speak and people obey.

This is not the case. Sheikhs might have the last word but it is their duty to listen as part of the understandings within tribes is that the person without power gets to state their case, sometimes emphatically and at length. Also, a good sheikh will not issue commands, but talk in an intelligent way so that the people will agree with him or at least agree to follow a specific course of action.  

Oman has many cultures which are oral-based, meaning people talk far more than they read or write. The powerplay of shutting people down without listening to them is rarely used. Further, refusing to discuss an issue can be perceived as being weak. The thinking is: if a person can’t listen and/or debate, maybe it’s because the person knows their case is not defendable. Someone who can’t support their position will try to run away from conversations. Thus a common model of a person in authority is a person who listens and explains their thinking. It is also necessary that their words and actions match each other.

Students expect that their reasons/ excuses will be listened to

Because of this cultural constructions, an Omani student might come to complain or plead for a change in the rule several times. This can frustrate teachers who come from backgrounds in which students should not repeatedly ask for something. In this case, the American communication strategy such as saying “I’m sorry” to defuse a tense situation is helpful, as is setting limits such as saying, “I’m sorry, I would love to discuss this with you but I have to go to class now, I will be back in 1 1 2/ hours and if you are busy then, I will be in my office tomorrow morning at 9am.”

If a student continues to speak, the teacher can restate with questions which will break up the flow of complaints and force students to refocus: “Did I tell you that I wanted to continue the conversation? Did I tell you that I had a class at that time? Did I tell you when I would be back in my office? Did I tell when I would be in my office tomorrow?” The problem is deferred and not escalated.

When a student comes during office hours, I usually write down the exact time they start to speak and let them talk for ten minutes. Then I interrupt and say, “I have listened for 10 minutes, now I would like you to listen for 1 minute.” If I am not going to grant the student’s request to change the rules, I will explain WHY I have that rule, then say, “if you would like to continue to talk, that’s fine, but unless you have NEW information, I need to do some work.” Then I will listen for a few moments, if the student is simply restating their objections, I will start doing desk work such as e-mail and entering attendance without asking the student to leave my office.

Teachers need to explain their reasoning

In some cultures, teachers can make blanket declarations, but it’s easier for students in Oman to have foreign teachers explain the class rules in a clear manner both orally and in writing on the syllabus and on-line teaching program.

One example is that I carefully describe how I grade tests. I turn the cover page over so I don’t see the student’s name. Then I grade all of the first pages together so I can see if students are having any particular problems with one question or if several students have answers that are too similar. Then I re-shuffle the papers and grade all of the 2nd pages, without looking at how a student did on their first page. When I have finished all the pages, I add up the scores and record the grade. I believe the reason I receive very few complaints or petitions about final grades is that I take the time to make sure students know exactly what I am doing with their tests. This allows them to feel more confident that I am being as fair as I can.

A second example happened one semester in which I was given a class to teach and I planned the syllabus alone, thinking I was the only one doing that class. During the add-and-drop period, a second section needed to be opened, but I didn’t know that had happened, nor did the other teacher know I was also teaching the same course. A few weeks into the semester, the fact that the two sections had different assignments became clear and there was some worry that students would complain that my class would be perceived as being more difficult. I said that I felt there would not be any problems because I had spent a lot of time explaining what work I was assigning and why I chose to ask for that work. By taking the time to say why I felt the homework was helpful, students did not feel that they were being treated unfairly.

Do not make false threats

When talking to new teachers, I often give the example of a child crying for a sweet while a parent says no. After a few moments, the parent gives in and hands over the sweet so the child stops crying. The parent has now taught the child to cry. My point is: don’t teach your students to create problems.

Think through realistic assessments and policies for your classes which you can defend. If you need to change something, do it explicitly in front of the whole class, write it on your on-line teaching program and make sure you have a built-in support ready to go. For example, “I was not marking who came to class without the course book but this is turning out to be a problem as many students are coming unprepared, and then bothering other students to share books. This means it’s harder to some students to take notes. So, now I will be checking to see if you have your book and marking that as part of your class participation grade. If you forget your book at home, please come to my office before class and I can lend you a photocopy to use.”

A related topic is that making broad threats only shows students that you cannot be trusted and invites students to attempt to change your mind on ALL aspects of your class. Saying “if you talk during the exam, I will take off 5 points” is not helpful. A teacher who tells students to come to class on time, but then arrives late is teaching students not to trust their words. Some teachers come from cultures in which older people are not expected to always follow their advice, but in Oman the idea of “do as I say, not as I do” can lead to classroom difficulties.

Understanding Cultural Constructions of “Magic Words”

Tied to the above discussion about power, some cultures work with what I term “magic words,” meaning that a teacher can simply say “this will not happen” and (like magic) it does not happen in a manner reminiscent of Gandalf blocking the Balrog by saying, “You cannot pass.” This construction does not work in Oman.

Simply telling students “do not…” will not work effectively. Words have to be connected to specific actions. For example, for a midterm exam, stating “do not cheat” is not useful. A teacher needs to think through the problem and create concrete steps to prevent cheating such as making sure students are seated apart from one another, writing tests with essays questions or having different versions of the test.

Another example is that many students like to solve exam questions in pencil, then go over their answers in pen. This creates a whole series of problems. First, to do this, students will need a pencil, easer and pen. First year students often forget one of those three things, then create havoc by asking loudly to borrow an eraser, etc. Also, some students will not start re-writing until the very end of the exam time, so that you are trying to take exams as students are trying to erase and re-write. If you take the exam still written in pencil, the students are upset and if you give them extra time to re-write, then the other students are upset because they feel that the pencil-using students got extra time.

The way to deal with this is not to say “don’t use pencils” but to be very clear: “If I see a pencil in your hand, I will take it out of your hand.” I also make sure there is blank space on the exam. Once the exam starts, I walk around and take pencils away from students but at the same time, point out the blank space and say, “if you don’t like your answer, cross it out and write a new answer here.” Or if students complain that they circled the wrong answer on a multiple-choice question, I suggest that they draw an arrow to point to the correct answer.

The combination of words, actions and making sure that students know you have thought through the ramifications creates a quiet exam.

Understanding Cultural Constructions of “Patience”

There is a strong Omani emphasis on covering/ hiding feelings and emotions. I believe this is connected to the fact that most Omanis live in multi-generational family homes with 20 or more people. Living in close quarters with so many relatives, creating a peaceful environment is important. This is on contrast to other cultures in which living in nuclear families or alone is common.

Living with so many people requires high levels of patience. For example, if several people want to go on a picnic but one child is sick, the family may delay plans so as not to leave two or three members at home.

Further, in many Omani cultures, getting angry is seen as something that children, not adults, do. A proper adult will not lose their temper but always stay in control of their emotions. Other conceptions of “patience” include not rushing to judge behavior. This means it is usual in Omani cultures to give people second chances and to look at their intentions, not only their actions.

Self-control

Sometimes when I explain the values of patience to teachers, I am told, “But students yell at me! They are not patient” There are a couple of issues at play. One is that the belief that the older the person, the better they should behave, so that a student who loses his temper might think, “I am yelling because I am young, but this teacher is older than me and should not yell at me.”

Perhaps a student is mad because of perceived unfairness, a teacher is requiring something that other students have not done or that other teachers do not ask for (such as coming to class on time). Or a student might be testing the teacher to try to get the teacher annoyed enough to say something wrong, which the student can then use as against the teacher.

So staying calm is absolutely vital. Sometimes the best choice is to explain that you cannot continue the conversation now for X reason, but that you are available to talk at Y time, giving you both some breathing room.

Sometimes you can plan ahead for how to avoid tense situations. You will know that X type of event might induce panic (and hence anger), so you can figure out how to keep a calm atmosphere. For example, the end of exams can be a difficult time for students who do not know the answers. Perhaps, they have been sitting and starting at the exam for over an hour, but when the times comes to give in the paper, they can get upset, try to quickly write something and yell if a teacher tries to take their exam paper. Handled wrongly, the situation can end in tears and/or fury.

Therefore, I make plans to ensure a smooth ending without me having to raise my voice, much less grab a paper away from a student. First, I give verbal warnings about the time such as “you have one hour.” I make those as clear and short as possible, not: “now dear students I want you to know that we have finished half the time and you have one hour remaining.” Simple, short statements are best.

When there is 10 minutes left, I say “you have to finish now, there are ten minutes.” And then when the time is finished, I don’t say, “the time is over, give me your papers.” I say, “time to finish” and then give a count-backwards from 10: 10 – pause – 9 – pause – 8 – pause, etc. When I get to “zero,” I start talking (sometimes singing) very loudly, “let’s go home – let’s go have ice cream – time for tea,” etc. It’s silly and distracting. If someone refuses to hand over their exam, I stand next to them and talk very loudly about how I really want to leave and go have an ice cream. The fact that I am talking loudly means they can’t concentrate; they quickly give up and hand over the paper. The students might be unhappy with how they did on the test, but they do not feel attacked or antagonized.

Believing the Best of a Person

A second issue related to patience is that Omanis often believe a person, especially a younger person, should be forgiven the first time they make a mistake, even if it was a deliberate transgression. Thus Omani students might breezily say “first time/ last time” when, for example, they have cheated on an assignment. A teacher from a culture which believes “do it right the first time” might feel insulted by a student who is not taking a problem seriously. One way to handle these situations is to make a great show of writing down the student’s name and what happened, then saying, “this was your ONE chance to make a mistake. And I have noted it, so if it happens again, then the consequences are…”

Judging on intentions not actions

 Something that has really helped me as a teacher in Oman is that I spent two summers learning Arabic from Omani teachers. Being a student in an Omani-led classroom gave me a lot of insights into how teaching and learning is conceived of in Oman.

I was once, painfully slowly, trying to say a sentence in my Arabic grammar class but the Omani grammar teacher kept trying to help by interrupting me with hints. I got really frustrated and yelled “STOP!” He walked to the corner, turned his back to the class and raised his hands over his head (punishment for misbehaving school kids). The other American and European students were appalled but the Omani teacher was not angry with me because he perceived my intention in yelling was to express my exasperation with myself, not an attempt to be rude to him. The action of yelling was rude, but there was no intention to be rude so we kept a good relationship.

From his comments in class it was clear that, to him, it was less rude to shout from frustration than to play with a cell phone in class or sit silently seething. I was making mistakes and inappropriately yelling, but at least I was trying to speak and learn so I was judged positively.

Some students might work out of the same framework. For example, students might whisper questions to each other while a teacher is talking. If a teacher assumes the talking is social (not class-related), the teacher might become angry, making the students also angry as their intention was not to disrupt the class but to understand something. As always, staying calm is the best idea. A teacher can stop talking, look at the students and ask quietly, “is something not clear?”

Understanding Cultural Constructions of “Shame”

In some cultures, involving students in the lessons is seen as a method of improving learning, thus teachers might ask students to write something on the board or use a student’s name in a sample sentence. This can create issues because Omani students are often uneasy when they are singled out, especially in first year university classes. Having special attention paid to one student can also be problematic as many Omanis have very strong memories.

One former student told me how a teacher had made a comment to her about her new purse, then a few days later used that student’s name in a sample sentence about someone who likes to go shopping. That student assumed the teacher was making fun of her and felt unhappy in the class for the rest of the semester. I am sure that the teacher never connected a compliment about a purse to a grammar example but the former student believed that the teacher remembered every comment made to every student and had used her name on purpose.

This is why I suggest that teachers never use their students’ names in example sentences (you can ask your students for a name of someone not in the class) and be careful about personal comments, even if they are compliments.

 Further, if a teacher wants students to write on the board, bring six white board markers and have six students (same gender) write at one time for the first few days, then have four write, then two, then it’s fine to ask one student to write.

Or if a teacher wants to have students do presentations, first ask all students to stand in the front of the class and say one simple sentence. The next day ask them to say two simple sentences on an easy topic such “your favorite food.” In this way, you can gradually get the students accustomed to talking in front of the class so that presentations will go smoothly.

One teacher asked students at the end of presentation to evaluate their own work. When another student gave a positive evaluation of their work, the teacher said that they were wrong and the presentation was not well done. Then all the other students refused to do any kind of evaluation of their work. A simple way around this is to ask students to write a short response to their presentations listing one aspect that they think they did well and one aspect that that they could improve on.

Using Cultural Understandings to Improve Teaching, part 3

Using Cultural Understandings to Improve Teaching, part 4

Using Cultural Understandings to Improve Teaching, part 1

first of a series of essays about teaching in Oman

Overview

The idea that the “right way” to teach is the way one was taught is very deeply ingrained. When I do orientation sessions for new teachers, I am sometimes surprised that, while teachers know that there will be many cultural differences when they move to a new country, they occasionally expect that students will behave exactly as in their home culture.

The result is that teachers can get caught in tough binary of thinking: either I have to accept this unwanted behavior or the students have to change. This might lead to misunderstandings, then escalate to anger on both sides. When I suggest that teachers make small adjustments, the response is often, “so I have to let students get away with this wrong behavior?”

No, I think teachers should have control of their classrooms, but insisting on creating your own (foreign) culture in an Omani classroom is not possible. Small adjustments can create a positive classroom atmosphere by taking in account local understandings.

For example, when students come late to class in some cultures, they should knock on the door and ask permission to enter. In other cultures, students should apologize and explain why they are late; another scenario is that students enter quietly without speaking to or looking at the teacher. When a teacher from a culture in which apologies are expected is confronted with Omani students who simply walk in and sit down, they can become annoyed and call out to the student.

This may create a problem as the student might feel unfairly persecuted for being made the center of attention. As students have explained to me many times, “students feel shy if the teacher makes all the students look at them.”

In talking about situations like this, I recommend teachers write their late policy on the syllabus, on-line teaching program and announce it in class, then talk to the student after class about the penalties for coming late. In one conversation with a teacher who was confronting this issue, they said, “But the student needs to apologize to me! You are telling me that I should allow them to be disrespectful!”

This reminds me of the Rita Mae Brown quote, “The definition of insanity is doing the same thing over and over and expecting different results.” Asking for student apologies for weeks on end and getting angry when an apology is not forthcoming doesn’t help the teacher, the students or the classroom atmosphere.

Allowing students to come in late without noticing them, then enforcing a specific penalty saves time and prevents frustration. Talking to a student at the end of class permits the teacher to continue the forward momentum of the lesson. And if the student starts to dispute about the penalty, the fact that it is time to leave the classroom gives a natural break to the argument. A teacher can say, “I am happy to discuss this more but now I have to teach another class. I will be in my office at 1pm.”

Culture and Pedagogy

When thinking about education I consider the most helpful definition of culture is that it encompasses the objects, actions and beliefs of a set of people who are grouped together by both themselves and others. When I teach classes specifically on culture, I always emphasize to students that they belong to many sets, hence many cultures. For example, a woman might be within the categories of student, sister, Muslim, Omani, artist, daughter, member of her tribe, resident of her neighborhood and that each set carries within in emic and etic expectations of actions (behaviors), objects (for example, clothing) and beliefs.

I have lived in five different countries and what often happens is that locals consider that manifestations of their culture, both simple (what’s the usual time to eat lunch) and complex (what are the steps to getting married) are lucid and natural. On the other hand, a newcomer might be bewildered and confused about how to navigate even easy tasks such as giving a proper greeting or writing a memo.

In Oman, foreign teachers need to both try to understand Omani cultures and be clear about the implicit and explicit effect of their background, experiences and education. It might be self-evident to a teacher that of course work can be turned in up to a week late, but students might believe that work might be submitted weeks or month late. Hence the articulation of expectations is vital when trying to minimize misunderstandings.

The “Third” Option

What I call the “third” option means finding a middle way between a teacher acting exactly as if they were teaching in their home country and allowing students to make all the classroom decisions, which might be antithetical to good learning practices.

The comment I hear often is that “students need to change” but often the issue is cultural perceptions. Sometimes when I suggest that teachers need to adjust I hear comments such as “So I should let students be rude?” or “I should let them do what they want?”

The answer to those questions is “no” but, to me, the most important issue is creating an effective learning environment, not recreating the exact behavior that teachers are accustomed to at home. Attempting to reconstruct another culture inside an Omani classroom will probably leave teachers and students equally frustrated.

Another way to look at this is to remember that that your decisions are in your hands; what is not in your hands is other people’s perceptions and reactions to your choices. You can say I am doing X action for Y reason and this choice means that I am Z. But that might only work among people from your culture; there is no validity in saying that all people must understand that X action means Z. In another culture, X might give a meaning of A.

In one teacher’s culture, a student talking back is seen as rude; but in another culture it can mean the student is positively, actively participating in creating meaning. In one culture, students not looking teachers in the eye is considered polite, in another culture it is rude.

For example, Omani students might ask for a mock exam. In some classes that is a good idea but in other classes, perhaps the teacher doesn’t think it’s necessary which makes students upset. This can lead to situations in which the teacher doesn’t think a practice exam is useful, but gives one to keep students quiet. Or the teacher refuses and the students complain later that their low score was the result of not having a practice exam.

The solution is teachers can make a few, small changes by addressing the root of the problem, thus restoring classroom balance and positivity. Students often ask for a mock exam because they are scared about exams, especially if it is the first class with that teacher. Students may have had teachers who changed the date of the exam, put a new style of question on the exam or asked about topics that hadn’t been covered in class. If teachers look at the issue in terms of ‘my students are fearful’ instead of ‘my students are rude,’ solving the dilemma becomes easy.

When I am getting students ready for my poetry midterm, I literally draw a rectangle on the whiteboard with a series of 10 squiggly lines, one underneath each other. Then I say, “This is what your test page will look like, these lines are a poem, one of the poems we studied in class, but you won’t know which poem.” Then I draw a few more lines underneath spaced a little apart and say, “These are the questions. they will not be true/ false or multiple choice. You have to answer in a complete sentence. You won’t know which vocabulary words will go with which poem. For example, for ‘Skylark’ the questions might be about the narrator, setting atmosphere and finding a metaphor. Or the questions might be about the characters, exposition, rhyme scheme and diction.”

Then I say, “I don’t know how many pages there will be but this is what the vocabulary question pages look like. At the end of the exam there will be questions to compare and the poems to compare will be in the text will be included. And there one or two questions of analysis, for example I will give you two poems and ask you which one is better and why.” If a student again asks for a mock exam, I go through the entire small speech again.

I am not advising to give or not give mock exams. My advice is that when students start to clamor and insist that they don’t understand, explaining something clearly, then repeating the exact same words is often effective. Omani students may show fear in ways that can be read as anger or disrespect; when teachers respond with annoyance, the classroom atmosphere can deteriorate. When teachers show that everything is in hand, for example that they know exactly how the exam will be set up and are willing to share that information, students can stay calm.

Using Cultural Understandings to Improve Teaching, part 2

Using Cultural Understandings to Improve Teaching, part 3

Using Cultural Understandings to Improve Teaching, part 4

A beautiful poem for the beginning of Ramadan

“Red Brocade,” Naomi Shihab Nye

The Arabs used to say,
When a stranger appears at your door,
feed him for three days
before asking who he is,
where he’s come from,
where he’s headed.
That way, he’ll have strength
enough to answer.
Or, by then you’ll be
such good friends
you don’t care.

Let’s go back to that.
Rice? Pine nuts?
Here, take the red brocade pillow.
My child will serve water
to your horse.

No, I was not busy when you came!
I was not preparing to be busy.
That’s the armor everyone put on
to pretend they had a purpose
in the world.

I refuse to be claimed.
Your plate is waiting.
We will snip fresh mint
into your tea.

Conference presentation: Bringing Language Teaching into Literature Classrooms

Bringing Language Teaching into Literature Classrooms, Dr. Marielle Risse

English Scholars Beyond Borders International Conference, Dec. 4, 2021

Outline of ‘Bringing Language Teaching into Literature Classrooms’

1 – Introduction

2 – Choosing texts

3 – Teaching strategies

4 – Short lessons

5 – Assignments

6 – Examples: “July” by John Clare and Philoketes by Sophocles

Introduction

The title of this conference is crossing borders and that is a good metaphor for discussing literature and language teaching because it’s easy for a language teacher to cross the border between disciplines and become a literature teacher. Language teachers read books, poems and dramas and understand the concepts of genre, narrator, metaphor, connotations, etc.

But for a literature teacher to cross the border in the opposite direction and become language teacher is much more difficult. I can tell you from first-hand experience that a literature teacher in a language classroom is a miserable and lost creature.

I studied German and French at university so I am well acquainted with the grammar of those two languages, but in English – explaining the difference between when to use the present simple and present continuous? Rules for doubling consonants when making a present participle? Forming nouns off of verbs by adding ‘y’? Conditional clauses? When I have to teach a grammar class and explain ‘count’ vs. ‘non-count’ nouns or the present perfect or when to use ‘for instance’ instead of ‘for example’ – painful!

But I need to do some language teaching in all my literature class. When I walked into my first Middle Eastern literature classroom at the American University of Sharjah more than 20 years ago, I had students from 15 countries with varying levels of English. I had to blend some language information into my discussion of texts so I made a series of changes in my teaching.

In this presentation I want to explain how I teach literature differently with English major students than with literature majors, concentrating on four main areas: choosing texts, teaching strategies, short lessons and assignments.

Choosing texts

I have several publications on how to choose appropriate texts for literature classes and my main point is that it is vital to pick a text that students can connect to in some way as they are already fighting language and sometimes cultural difficulties and differences.

Dickens has written many classics, but his diction is difficult and the recurrent theme of a child cast out from the family, in novels such as Oliver Twist, Great Expectations and David Copperfield, create hurdles for understanding and appreciation.  

Whereas, my students have really enjoyed Beowulf’s and Sir Gawain’s lessons about protecting one’s leader and staying loyal to one’s family.

For Shakespeare, I choose the accessible plays such as Much Ado about Nothing, The Tempest, A Midsummer Night’s Dream, As You Like It, Romeo and Juliet, and Henry V with selections from King Lear and Macbeth. Not Julius Caesar or Merchant of Venice.

As 99% of my students are female, for other dramas, I often pick ones with interesting heroines caught between conflicting duties such as:

  • Alcestis, Euripides
  • Deanira, Sophocles
  • Antigone, Sophocles
  • The Importance of Being Earnest, Oscar Wilde
  • Lady Windemere’s Fan, Oscar Wilde
  • Arms and the Man, Shaw
  • Quality Street, J.M. Barrie
  • Our Town, Thornton Wilder
  • Princess Sunshine, Tawfiq Al Hakim

In terms of fiction, I use Jane Austen, Edith Wharton’s Age of Innocence and Rebecca West’s The Return of the Soldier to spark class discussion.

Teaching strategies – using scaffolding to create a strong foundation

reading aloud – every class, every student reads to improve pronunciation and enunciation

  • poem – one line
  • fiction – one sentence
  • drama – one character’s words

comparing narrative structures

For example, I give students the first page of an autobiography from an Omani writer and from an English writer and ask them to work in groups to figure out what is similar and what is different. English writers usually have exact dates, list full names of family members, give specific place names etc., while local writers give more general impressions. This leads to a discussion of how cultures tell stories and give opinions differently

comparisons with Arabic

  • using the evocative O = ya
  • starting sentences with verb, often used in Arabic but in English = command or question

Short lessons

word attack/ word meanings

  • homonyms – prey / pray – bear / bare
  • teach prefix/ suffix/ root – Latin and Greek – like: auto-bio-graphy

explicit grammar

e’en – ‘Tis – apostrophe for missing letter

explicit teaching of archaic speech

  • thou, thee, thy, thine
  • ye, yon, yonder, yore
  • -th ending for verbs like thinketh

explicit metaphor teaching

  • color metaphors – I’m blue, he’s yellow, I’m green
  • animals – monkey, positive and negative
  • objects – the moon (positive in Arab cultures, negative in North America/ Europe)

Assignments

recitation

helps with pronunciation, enunciation and emotion

acting

helps students use the language in a natural way

with so many essays on the internet, make assignments which check for understanding and are personal

  • compare character to someone you know
  • have a conversation with a character
  • explain the drama or novel with a friend, your mom, your husband and write a short paper explaining what you agree and disagree on – my mom thought…

supporting opinions with proof/ evidence to help get ready for IELTS and standardized English exams

‘Some people’ or ‘everyone’ vs. I think Alcestis made the right choice because I think…

Two examples

1 -teaching grammar, vocabulary and literary terminology through poetry

“July” by John Clare

Loud is the Summer’s busy song,

The smallest breeze can find a tongue,

While insects of each tiny size

Grow teasing with their melodies,

Till noon burns with its blistering breath

Around, and day lies still as death

The cricket on its bank is dumb;

The very flies forget to hum;

And, save the wagon rocking round,

The landscape sleeps without a sound.

The breeze is stopped, the lazy bough

Hath not a leaf that danceth now;

  • topic students can relate to – hot weather, sleeping in the middle of the day
  • metaphors and simile – Summer’s busy song, day lies still as death
  • alliterations – sleeps without a sound
  • expand vocabulary – breeze, tiny, melodies
  • double meanings – bank and dumb 
  • grammar – hath, danceth

2 – picking an interesting text so that students want to read and discuss

Philoketes by Sophocles        

This drama is based on one of the stories from the siege of Troy. On the way to Troy, the soldier Philoketes is hurt and his wound does not heal, so he is left on a desert island by Odysseus. After ten years of fighting against Troy, Odysseus is told that the Greeks will never win Troy without Philoketes and his magic bow so Odysseus goes back to the island,

Odysseus tries to play a trick, he stays hidden and tells a young soldier, Neoptolemus, to find Philoketes, become friends with him, and then convince Philoketes to allow Neoptolemus to hold the bow – then Neoptolemus will run to the boat with the bow and they will sail away, leaving Philoketes stranded.

The play works well because:

1) a lot of suspense – Will Odysseus’ trick work? it seems to, but at the last minute, Neoptolemus tells Philoketes the truth

2) themes of forgiveness and trust – Should Philoketes forgive Odysseus for leaving him on the island for 10 years? Should he trust that Odysseus will bring him back to his country?

3) connection to Omani society – The dilemma is solved when Hercules appears and tells Philoketes to get on the boat, that he will be safe. This highlights the importance of mediators, a very important part of Omani cultures; when two people are at an impasse, they should look for someone older/ wiser to both give advice and guarantee correct behavior.

(photo by S. B.)

Related publications

Risse, M. “Teaching Paired Middle Eastern and Western Literary Texts,” in Advancing English Language Education. Wafa Zoghbor and Thomaï Alexiou, eds.. Dubai: Zayed University Press, 2020. 221-223.

Risse, M. “Ok Kilito, I Won’t Speak Your Language: Reflections after Reading Thou Shalt Not Speak My Language,” in Octo-Emanations. Carter Kaplan, ed. Brookline, MA: International Authors, 2020: 233-236.

Risse, M. “Teaching Literature on the Arabian Peninsula,” Anthropology News website, October 7 2019. http://www.anthropology-news.org/index.php/2019/10/07/teaching-literature-on-the-arabian-peninsula/

 Risse, M. and Miriam Al Sabbah. “Don’t Be Afraid of the Novel: Austen for ESL Students,” Proceedings of the 16th Oman International ELT Conference. Muscat: Sultan Qaboos University Press, 2017: 28-35.

Risse, M. “Writing Prompts to Facilitate Creativity and Interesting Texts,” Proceedings of the 15th Oman International ELT Conferences. Muscat: Sultan Qaboos University Press, 2016: 46-52.

Risse, M. “Selecting the Right Literary Texts for Middle Eastern Students: Challenges and Reactions,” in Focusing on EFL Reading: Theory and Practice. Rahma Al-Mahrooqi, ed. Muscat: Sultan Qaboos University Press, 2014: 165-188.

Risse, M.  “Frosty Cliffs, Frosty Aunt and Sandy Beaches: Teaching Aurora Leigh in Oman,” Ariel: A Review of International English Literature 43.4, 2013: 123-145.

Risse, M. “Who Are You Calling ‘Coddled’?: ‘Cloistered Virtue’ and Choosing Literary Texts in a Middle Eastern University,” Pedagogy 13.3, 2013: 415-427.

Risse, M. “Do You know a Creon?: Making Literature Relevant in an Omani University,” in Literature Teaching in EFL/ESL: New Perspectives. Rahma Al-Mahrooqi, ed. Muscat: Sultan Qaboos University Press, 2012: 302-314.

Risse, M.  “Using Local Voices in Literature Classrooms,” Learning and Teaching in Higher Education: Gulf Perspectives 9.1, 2012. http://lthe.zu.ac.ae/index.php/lthehome/article/view/71

Risse, M.  “John Clare Looks Good in a Dishdash: Linking John Clare to Middle Eastern Poetry,” John Clare Society Journal 30, 2011: 53-63.

Risse, M. “An Open Letter to Alice Walker,” The Chronicle of Higher Education. Feb. 20, 2009: B11. http://chronicle.texterity.com/chronicle/20090220b/?pg=11#pg11

New essay: ‘Zhe is for Bijan’ on the Arabic alphabet website

New essay: ‘Zhe is for Bijan’ on the Arabic alphabet website

by Michael Beard, illustrated by Houman Mortazavi

http://alifbatourguide.com/the-arabic-alphabet/zhe/

http://alifbatourguide.com/

excerpt of ‘Zhe is for Bijan’

Zhe is the third of the four Persian letters that have been added to deal with sounds you won’t hear in Arabic. The sound of Zhe is the S of “measure,” the J of French (jupe, jour, bijou, jus), or the common mispronunciation of the hard J in “Beijing.” It is for indigenous Persian words still in use after the arrival of the Arabic alphabet, a glimpse of an earlier language. Today it also allows for proper transcriptions of words borrowed from European languages. Zhânvieh (through French) for January, Zhâpon for Japan. Dehkhoda’s massive Loghat-nâmeh, the OED of Persian, includes Zhen for Genoa, Zhâmâ’îk for Jamaica, Zhakobît for Jacobite. The last example may be a key to his political affinities.

The letter J is used for Zhe words in contemporary Turkish, though there aren’t many of them. There is less than a page of J words in Redhouse’s 1,292-page dictionary, most of them loans from French. Nine of them are on loan from Persian.

Household Words

Before Zhe was devised, you would just use Ze (Arabic Za’) and assume the reader would recognize the word from context, spoken but not visible on the page. And then sometimes pronunciation of Zh words would adjust to what the Arabic alphabet was able to express. Zhang, “rust,” became zang. Zhang still exists, with the same meaning, but you won’t see it often. If you look up zhang in a Persian/Persian dictionary the definition is likely to be zang.

Sometimes a Zhe word will evoke the substantial, resonant or sublime, as with the word zharf, “deep, profound.”  It’s a respected Zhe word, the only Zhe entry in A.K.S. Lambton’s shorter Persian Vocabulary. And sometimes a Zhe word will send us back to the heroic world of pre-Islamic chivalry, as in Ferdowsi, like zhubin, a spear.’ More frequently, though, the Zhe words which persisted over the evolution of New Persian, the ones that slipped through the 28-letter Arabic mesh, are the words closest to home, the intimate ones: household words, words for the ordinary, humble and non-heroic. Often you have to dig through those dictionaries which include the obscure and forgotten to find them. Zhakfar means patient, meek, mild. Zhakâreh is quarrelsome, squabbling. Zhan means deformed. (A cultured Iranian friend has never heard of the last three. It’s a good thing we have dictionaries.) Zhulideh, definitely still in use, is to be disheveled, tousled, scattered in the wind. Zhendeh, also a linguistic survivor, means old, worn out, frayed, or a patched garment. Imperfect things can be a source of praise too. Hair which is zhulideh is a source of fascination. Patches or patched clothes can be the clothes of someone who has taken a vow of poverty, a mystic. Zhendeh is a positive image, as you can see in a couplet of Hafez:

Chandân bemân ke kharqeh-ye azraq konad qabûl
bakht-e javân-at az falak-e pir-e zhendeh-push

[Stay as you are (or perhaps “be patient . . .”) until the sky’s patched blue (azraq) coat grants to you, though you are young, a spiritual elder’s patched robe (zhendeh).]