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Arak and Other Stories Fatima Sausan Masoud University of Texas at El Paso, [email protected]

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Arak and Other Stories Fatima Sausan Masoud University of Texas at El Paso, Fsmasoud@Miners.Utep.Edu University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2017-01-01 Arak and Other Stories Fatima Sausan Masoud University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Creative Writing Commons, and the English Language and Literature Commons Recommended Citation Masoud, Fatima Sausan, "Arak and Other Stories" (2017). Open Access Theses & Dissertations. 498. https://digitalcommons.utep.edu/open_etd/498 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. ARAK AND OTHER STORIES FATIMA SAUSAN MASOUD Master’s Program in Creative Writing APPROVED: Lex Williford, Chair José de Piérola, Ph.D. Marion Rohrleitner, Ph.D. Charles Ambler, Ph.D. Dean of the Graduate School Copyright © by Fatima Sausan Masoud 2017 For Temple June ARAK AND OTHER STORIES by FATIMA SAUSAN MASOUD, B.A. THESIS Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF FINE ARTS Department of Creative Writing THE UNIVERSITY OF TEXAS AT EL PASO May 2017 Acknowledgements I owe a great deal of thanks to many people for their continuous support, patience, encouragement and kindness throughout this writing process, who I will list in no particular order: Jecoa Ross, Sara Masoud, Andrea Castillo, Katy Seltzer, Justin Magee, Lex Williford, Maissa Khatib, Marion Rohrleitner, my parents, my grandparents, my (many) siblings, aunts, uncles, and my cousins. To begin, I owe the most special thanks to Lex Williford, my thesis director. Throughout this process, you have provided unparalleled encouragement, patience and kindness. For your sound advice and suggestions, I will always be extremely grateful. Andi, thank you for always being so forward and generous with your comments and suggestions. Thank you for being who you are. Katy, thank you for the unwavering support and thoughtful comments. They mean more to me than I can express. Justin, thank you for being a forever friend. Marion, thank you for your knowledge and for your thoughtfulness. Maissa, thank you for always being like family and for listening. Sara, my best friend, my sister, I don’t even know how to thank you for all you have done to support and hold me up during this process. I am always in awe of what you manage to achieve. The world is yours. Thank you for letting me be a part of it. Thank you to my professors: Lex, Sasha Pimentel, Jeffery Sirkin, Rosa Alcala, Jose de Pierola, Andrea Cote-Botero, and Marion Rohrleitner. Without your guidance, I would be lost. To my family, a list too long to name individually, thank you for always being there. You are my reason for living. I love you all. Finally, I owe the greatest gratitude and appreciation to my husband, Jecoa. Thank you for your constant, insistent, unwavering support, love and friendship. Thank you for our daughter, without whom life would be an empty shell. Thank you for the hours spent with Temple while I worked. Thank you, thank you, thank you. v Table of Contents Acknowledgements ..........................................................................................................................v Table of Contents ........................................................................................................................... vi Al-Hakim Family Tree .................................................................................................................. vii Geographical Map of Stories ....................................................................................................... viii Preface..............................................................................................................................................1 Fetat Hummus ................................................................................................................................21 June 1, 2014 ...................................................................................................................................40 Daud and the Muskrat ....................................................................................................................42 The Tonsil Stone ............................................................................................................................44 June 5, 2014 ...................................................................................................................................65 Arak ...............................................................................................................................................67 June 10, 2014 ...............................................................................................................................103 The Chameleon ............................................................................................................................105 June 20, 2014 ...............................................................................................................................114 The Stranger .................................................................................................................................116 One Day .......................................................................................................................................123 Suleiman the Saracen ...................................................................................................................128 Bedtime Stories for the Night of June 29, 2014 ...........................................................................139 Bibliography ................................................................................................................................154 Vita .............................................................................................................................................157 vi Al-Hakim Family Tree Basima Fakhoury ( b. 1935, married Nabeel Al- Hakim) Ibraheem Al-Hakim Widad Al-Hakim Yahya Al-Hakim Fatin Al-Hakim Huda Al-Hakim (b. 1952, married (b. 1956, married (b. 1958, married Cynthia (b. 1960, married Tareq Al- (b. 1962, Nasser Al-Ali) Noor Hammad) Mason) Omar) unmarried) Saif Al-Omar Hamzeh Al-Ali Layla Al-Hakim (b. 1971-1986) Daud Al-Hakim (b. 1985) (b. 1987) (b. 1989) Mazen Al-Ali Haroun Al-Hakim Saeed Al-Omar (b. 1988) (b. 1993) (b. 1987) Dalia Al-Ali (b. 1989) Saher Al-Omar (b. 1991) vii Geographical Map of Stories viii Preface When I began writing Arak and Other Stories, I had only one major concern: I did not want to write about politics. Like many Arab-Americans living in the United States post-9/11, I often defer political discussion in favor of less polarizing conversation. As Gregory Orfalea points out in his book The Arab-Americans: A History, discussion of Palestine is often criticized when it gets to be “too political.” This is what spurred my initial idea to explore, through stories, the daily lives of Palestinians living in the West Bank and Gaza. I discovered, however, that it is next to impossible to discuss Palestinian daily life without getting “too political.” Political discussion rules the conversations among Palestinians: the unwanted guest at the dinner table, the coffee shop, the bedroom. Politics, as poet and novelist Mourid Barghouti, writes, “is nothing and it is everything” (44). Although I abandoned the naïve attempt to write Palestinian stories divorced from politics, I still had many questions: How could I discuss Palestinian daily life, politics, and Israeli relations while living in the United States? As a Palestinian-American, how could I avoid feeling like an imposter while writing about times and places that I only barely remember? How can I write fiction and still communicate the realities of daily life for Palestinians living in the West Bank and Gaza? Why do these stories need to exist? These questions, and many others, guided me throughout the writing process of this collection. I don’t believe I’ve answered them fully – I doubt they’ll ever be fully “closed” or neatly answered – but I do believe these stories make an earnest attempt to investigate the issues these questions raise. This preface will examine a few of those issues, addressing narration and narrative authority, the notion of cultural identity, the creation of the narrative universe, and the ethical issues of accurate historical representation in fiction. This preface will also address the questions 1 raised by the narrator Layla’s position as the writer of these stories, to speak to her status as a privileged and cursed “insider-outsider” who bears the burden of the storytelling responsibility. Narrative Authority All the stories in this collection, to some extent, grapple with narrative authority. I struggled during many moments in the writing process, unsure of the authority that I possessed as writer: How could I, a Palestinian-American living in the United States, give myself permission to write these stories? This uncertainty paradoxically propelled and stifled my writing. I felt unsatisfied with the omniscient third-person narrators I often chose for the stories. I questioned who the narrator was in relation to the characters and what gave the narrator the right to reveal intimate moments in the character’s lives?
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