"A refreshing, brave, and insightful reading outside of the traditional meta-narratives, which Rastegar call the "nationalist-novelist paradigm". The vast majority of analyses of 19th century Arabic literature either look for (1) some form of proto-nationalism to establish a pedigree for the modern nations, or (2) some form of proto-novel, as if the novelistic form was always the end goal. These Eurocentric and teleological readings obscure what writers were actually attempting to do, which Rastegar respects. In addition, most histories of 19th century Arabic literature are limited to European exchanges with the so-called "East", while Rastegar looks at transactions within Arabic- and Persian-speaking societies, which decentres Europe and treats these areas of the world on their own terms. Highly recommended!"

"I am currently working on a digital edition of this Arabic novel-length social romance from 1870, which has never been published except in bi-weekly installments in the journal al-Jinan. I am digitizing the original print as part of a project on early nahda literature. More details to come, but I have finished the most important step; I have actually finished reading it :)

The narrative is told by a friend of the main character. This protagonist is a rich, intelligent and virtuous young man who loves exploring the lands and seas. He returns to Beirut after travels in Europe, gets tired of the city and continues across the mountains to Damascus where he sees and falls in love with Warda, a young girl of exceeding intelligence, goodness and beauty. Their adventures take them to Palmyra and the Mediterranean, in melodramatic waves of anguish and joy, where separation drives them into the deepest despair while the reunions are ecstatic. The plot serves partly as entertainment but perhaps more importantly as an excuse for the author, Salim al-Bustani, to lecture the reader on courage, morals and love. He argues for female education, condemns arranged marriages, urges his home city of Beirut to move past sectarianism and outdated practices to embrace what he calls the "Spirit of the Time". The text has many downsides. The story is often repetitive and the writing is not always the most engaging. The excessive melodrama where the characters faint, wail, weep and bemoan their mortal lot can be grating. The protagonists are beacons of virtue while the antagonists are one-dimensional evil-doers, ruled by base desires. It is clear that the protagonists are an extension of the author, a young man of the new bourgeoisie, who considers himself an enlightened urban champion of progress in a sea of rural backwardness. However, the text serves as a highly interesting snapshot of the views of a nahda efendi, trying to reason his way into a new future for his people and country, one that avoids both excessive westernization and traditionalism. The format is also highly experimental, starting in traditional saj' rhymes, moving into a style of prose that was certainly novel in its time, then becoming epistolary with the author writing himself into the story. There is a lot to learn from this text, both as a step in the direction of contemporary Arabic literature, but also as an intellectual and emotional time capsule from 1870s Beirut."

"While bogged down by very specific theories informed by poststructuralist psychoanalysis, and with some strange philosophical claims, this is meticulously researched and offers many great insights."

"الرواية العربية �� روجر ألان

روجر ألان هو ناقد إنجليزي أمريكي من مواليد 1942 وهو حالياً أستاذ الأدب العربي في جامعة بنسيلفانيا الأمريكية.. وقد نشر ما يقارب الـ 30 بحثاً في الأدب العربي.

حين يدخل نوعٌ جديدٌ من الأدب إلى ثقافة جديدة، يدخل في عملية هضم تمر في ثلاث مراحل؛ ترجمة، تقليد ومن ثم؛ إبداع ! وهذه المراحل الثلاث تلخص تاريخ تطور الرواية العربية كما هي في هذا الكتاب. فالكتاب يبدأ مع الإرهاصات الأولى للرواية العربية كمحاولات ترجمة روايات أجنبية ونسبها للمترجم كما فعل المنفلوطي مع مجدولين. إلى محاولات التقليد التي جاءت أفضلها لهيكل. وأخيراً، جاء على الإبداع في الرواية العربية. حيث قام على تقديم رؤية نقدية لـ 12 عشرة رواية عربية وذلك في الفصل الأخير.

تسلسل الكتاب بدا منطقياً للغاية؛ فكانت البداية مع محاولة تعريف ماهية الرواية. ثم انتقل إلى التاريخ السياسي للأقطار العربية المختلفة وكان ذلك ضرورياً في رأيه لتفهم الخلفية السياسية والإجتماعية التي ولدت فيها الروايات العربية المذكورة. ثم انتقل إلى المحاولات الروائية الأولى في كل قطر منها. ثم جاءت مناقشة المحاولات العربية الجادة في الرواية.. ومنها ولربما أهمها تجربة نجيب محفوظ، غسان كنفاني، إبراهيم الكوني، عبد الرحمن منيف، إميل حبيبي، عبد الحكيم قاسم، حنان الشيخ، الطيب صالح، الغيطاني، جبرا إبراهيم جبرا وغيرهم.. وقد تناولتُ قراءاتي لبعض هؤلاء في مراجعتي لرواياتهم.

باختصار، الكتاب جميل.. وقد أعطاني فكرة جيدة عن الرواية العربية حتى أوائل التسعينات. قد يكون مثيراً للإهتمام للمهتمين في هذا الموضوع.
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