“Arabic Coffee,” a poem by Naomi Shihab Nye

A lovely poem by a wonderful poet.   (complete image is below)


It was never too strong for us:

make it blacker, Papa,

thick in the bottom,

tell again how the years will gather

in small white cups,

how luck lives in a spot of grounds.


Leaning over the stove, he let it

boil to the top, and down again.

Two times. No sugar in his pot.

And the place where men and women

break off from one another

was not present in that room.

The hundred disappointments,

fire swallowing olive-wood beads

at the warehouse, and the dreams

tucked like pocket handkerchiefs

into each day, took their places

on the table, near the half-empty

dish of corn. And none was

more important than the others,

and all were guests. When

he carried the tray into the room,

high and balanced in his hands,

it was an offering to all of them,

stay, be seated, follow the talk

wherever it goes. The coffee was

the center of the flower.

Like clothes on a line saying

You will live long enough to wear me,

a motion of faith. There is this,

and there is more.

Nye, Naomi Shihab. (2002). Arabic Coffee. Poems by Naomi Shihab Nye. Now Classroom. http://www.pbs.org/now/arts/nyepoems2.html


gm - coffee 2

I am happy to announce that my article “مناقشة إثنوغرافية للحكايات الشعبية من جنوب عمان” [An Ethnographic Discussion of Folk Tales from Southern Oman] has been published in the journal Al Sha’ar (Alaan Publishers, Amman).

(photo by M. A. Al Awaid)

This paper examines the cultural markers within a set of folk tales recorded in southern Oman. In the 1970s Dr. Tom Johnstone documented the un-written, Modern South Arabian languages of Gibali (also known as Jibbali and Shehri) and Mehri in the Dhofar region of Oman. In 2014, Dr. Aaron Rubin’s published a book on Gibali grammar based on his own research, Johnstone’s notes and data from Gibali speakers living in America; the book includes 70 texts of taped speech transliterated into Gibali with an accompanying English translation which cover a variety of genres including folk tales, autobiography, grammar exercises, and fairy tales.

The paper explains how the folk tales texts are representative of southern Omani culture by analyzing the various textual elements such as characters, setting, plot events and theme, as well as physical markers such as landscape and animals. These texts are among the very few documents written in Gibali and help illustrate ways in which the Dhofari culture has, and has not changed, since the rapid modernization after the 1970s. I will also compare the elements from the Johnston/ Ali Al Mahri/ Rubin texts with folk tales from other texts Khadija bint Alawi al-Thahab’s Stories of My Grandmother: Folk Tales from Dhofar, Hatim Al Taie and Joan Pickersgill’s Omani Folk Tales, and Grace Todino-Gonguet’s Halimah and the Snake, and other Omani Folk Tales.



My article “An Ethnographic Discussion of Fairy Tales and Folktales from Southern Oman” will be published in Fabula

I am pleased to announce that my article “An Ethnographic Discussion of Fairy Tales and Folktales from Southern Oman” will be published in Fabula [https://www.degruyter.com/view/j/fabl]

This article discusses a collection of fairy and folktales from southern Oman to explain how some of the physical and cultural markers described in the texts which are still extant today. The tales, most of which were recorded in the 1970s, were originally spoken in Gibali (also known as Jibbali or Shahri, a non-written, Modern South Arabian language) and are published in Rubin’s The Jibbali Language of Oman: Grammar and Texts (2014). This paper does not place these texts within established codices; rather, the exegesis turns inward, examining how these stories, recorded at the beginning of modernization in the Dhofar region, reflect many traditional elements of Gibali cultures. Further, the article compares the texts to other Dhofari/ Omani fairy and folktales from Al Thahab’s Stories of My Grandmother: Folk Tales from Dhofar (2012), Al Taie and Pickersgill’s Omani Folk Tales (2008), and Todino-Gonguet’s Halimah and the Snake and other Omani Folk Tales (2008) to highlight how the Johnstone/ Al Mahri/ Rubin texts show Dhofari beliefs about oath-taking and the importance of teaching morality in written, but not oral, texts.



Bibliographies: Research on Dhofar, Food & Anthropology, and Teaching Literature

(photo by M. A. Al Awaid)

Bibliography of Works Consulted for Research on Dhofar, Oman

Annotated Bibliography of Texts Pertaining to the Dhofar Region of Oman

Selected References for Research on Foodways and Society in Dhofar, Oman  – primarily texts relating to food/ cooking/ cuisine and anthropology

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


quote on entertaining from Elizabeth Gaskell’s Cranford (1853)

The Cranfordians had that kindly esprit de corps which made them overlook all deficiencies in success when some among them tried to conceal their poverty. When Mrs. Forrester, for instance, gave a party in her baby-house of a dwelling, and the little maiden disturbed the ladies on the sofa by a request that she might get the tea-tray out from underneath, everyone took this novel proceeding as the most natural thing in the world, and talked on about household forms and ceremonies as if we all believed that our hostess had a regular servants’ hall, second table, with housekeeper and steward, instead of the one little charity-school maiden, [and]… who now sat in state, pretending not to know what cakes were sent up, though she knew, and we knew, and she knew that we knew, and we knew that she knew that we knew, she had been busy all the morning making tea-bread and sponge-cakes.


The Beauty of Beau Geste

My first semester in Oman I didn’t read anything except texts for classes. I simply couldn’t get ahead of class preparations as there was so much to learn, process, translate and understand. When I lived in Boston I always had a book to read on the T (metro) so I started to carry Gulliver’s Travels with me when I left the house in Salalah. I finished it piece-meal: working through it while waiting at the phone or electric company, standing in line to pay a bill or at the grocery store or waiting for meetings to start.

Gradually, as I settled, I started back in on fiction only to find, somewhat to my horror, that there was a reverse correlation to what I was teaching. In Boston, I belonged to two book clubs at the Boston Athenaeum: Arcadia, Pale Fire, Invisible Cities, Passage to India, Trollope, Lolita, Racine’s Phaedra, Flaubert’s Parrot, The Movie-goer, etc.

Two different long-distance friends and I set up mini-book clubs; we would read the same book then make a phone-call date to thrash it out: The Forsyth Saga, Anna Karenina, Tristram Shandy, Herodotus, Brothers Karamazov, Reservation Blues, Tuchman, Tolkien, Wharton, various Greek and Latin dramas. On my own, I read all of Proust, most of Stendhal, Flaubert’s letters, The Decline and Fall of the Roman Empire, and the first part of Autonomy of Melancholy. There were a few mysteries mixed in (Ian Rankin, Charles Todd, Barry Maitland and Julia Spencer-Fleming) and some Robertson Davies, but I reading mainly hard-core.

Then came Oman. The first non-class text I managed was Island of Sheep by John Buchan. Talk about a come-down. And worse: I really liked it. Restful. I remembered what I had tried to long suppress, that when I was teaching in the Emirates, I read all sorts of that type of late 1800s, early 1900s adventure books. Wordsworth Classics publishes “classics” for $3 each and living in Sharjah I read my way through most of Kipling, Beau Geste, H. Ridder Haggard, Treasure Island, The Count of Monte Cristo, The Last of the Mohicans, Prisoner of Zenda, Hound of the Baskervilles. Feeling guilty, I read the Post-Colonial Reader and Candide to make up for novelistic slumming. I tried to up-grade to C.S. Forester and The Three Musketeers but my heart was with Ivanhoe, The Scarlet Pimpernel and Lady Audley’s Secret.

In Boston, when I wasn’t teaching, I needed the intellectual challenge of good writing, but in Oman, teaching the “greats,” I drifted back into literary la-la land. After Island of Sheep, it was on to Greenmantle, The Children of New Forest, and Louisa May Alcott . I dabbled with a few travel writers (J. Maarten Troost, Chris Stewart, George Courtauld, and the always marvelous Mark Salzman) but my heart went back to the fluff: Beverly Nichols! The Green Archer! The Black Arrow! Swallows and Amazons! The Coral Island!

I have read almost every canonical book in English literature (Middlemarch is still out there), representative works from all stages of American, French and German literature, a sprinkling of translated works written in Spanish, Scandinavian langauges, and Russian. I am working my way through classical and modern literature written by Arab writers. Every semester I read several hundred pages of English and Arabic poetry and short stories looking for texts to teach, but after a nice dose of Persuasion, I sneak off with Gerald Durrell.

One summer, in the time before Kindles, I ran out of books a few weeks before the end of the semester. I couldn’t get out of town to the capital to restock and found nothing at the small English language bookstore in town but Clive Cussler. So I jumped, making it through three Cusslers and then several Douglas Preston/ Lincoln Child books.

Most modern literature leaves me cold. Everyone is suppressed and unable to be themselves. How damaging it all is. And everyone has a miserable childhood. Sigh. Of course you have a miserable childhood. That is the point. Either your childhood is miserable, or you think it is wonderful and realize later it was horrible, or it truly was wonderful but you later become miserable because nothing is as nice as your childhood. All three choices result in desolation; let’s not dwell on that.

And all these serious novels about people who lost themselves. Well really, how does one do that? You are there – there you are. How can you get lost? Modern novels always seem to be set in living rooms, airports, cafes, bars and uninteresting offices, grey carpeting, anguish, but no one is actually doing anything. Give me a sword-fight, tundra, cannons, water-falls, honor, wolf packs, revenge, frantic horse rides across the moors, palm trees, a leaky boat, pirates, tigers, someone mysterious and threatening in the hedgerows, snipers, tea thermoses, terror, floods, breaking the square, hip flasks. Let’s get to the 2-seater running out of fuel over the desert, let’s get to the polar bear attack.