Luke Leafgren Livres

One Hundred Years of Solitude meets The Kite Runner in Saddam Hussein's Iraq. "A contemporary tragedy of epic proportions. No author is better placed than Muhsin Al-Ramli, already a star in the Arabic literary scene, to tell this story. I read it in one sitting". Hassan Blasim, winner of the Independent Foreign Fiction Prize for The Iraqi Christ. On the third day of Ramadan, the village wakes to find the severed heads of nine of its sons stacked in banana crates by the bus stop. One of them belonged to one of the most wanted men in Iraq, known to his friends as Ibrahim the Fated. How did this good and humble man earn the enmity of so many? What did he do to deserve such a death? The answer lies in his lifelong friendship with Abdullah Kafka and Tariq the Befuddled, who each have their own remarkable stories to tell. It lies on the scarred, irradiated battlefields of the Gulf War and in the ashes of a revolution strangled in its cradle. It lies in the steadfast love of his wife and the festering scorn of his daughter. And, above all, it lies behind the locked gates of The President's Gardens, buried alongside the countless victims of a pitiless reign of terror. Translated from the Arabic by Luke Leafgren

Longlisted for the National Book Award A passionate prison memoir from a Palestinian man incarcerated for over 30 years in an Israeli prison—equal parts metaphysical love story and cry for justice “[A] kind of prose poem…that recalls the memoirs of the Palestinian poet Mahmoud Darwish”—New York Times “Fierce and lyrical . . . a devastating testament to the power of hope, and of its loss.”—Claire Messud One of more than 5,000 Palestinians held in Israeli prisons before October 7, 2023, Nasser Abu Srour was sentenced to life without parole in 1993 after a forced confession. His extraordinary writings delve into the history of the Nakba to the Intifada of the Stones, as he navigates life within the confines of an Israeli prison. But it is within the walls of his cell that this exceptional memoir takes an unexpected direction—Abu Srour turns the very Wall that has deprived him of freedom into his companion, his interlocutor. It becomes the source of stability that allows him to endure a chaotic, hopeless existence. The limitations of this survival strategy—and singular literary device—become painfully evident when falling in love causes Abu Srour to lose his grip on the Wall. Only by writing the story of his imprisonment and the story of his love does Abu Srour find his way back. In doing so, he has created a work of art that transcends his pain while shining a glaring light on the ongoing tragedy of the Palestinian situation.