It’s been a while: world on fire, creative work, and upcoming comic

Hi friends. It’s been a while.

Honestly, I haven’t had much energy lately to post much of anything, not the least of which a well-thought out blog post that’s worth sending out. Arguably, I don’t have the energy to write this one, but I’ll try to put down my thoughts regardless.

It’s been a horrible year. The world seems on fire, in some places, quite literally, including in Palestine/Israel, Syria, Turkey, California, Oregon, and other places. It seems the entire world is ablaze literally, and certainly, figuratively.

Palestine is under 22 months of siege, genocide, Israeli-engineered famine, and, as scholars are saying, a holocaust. Syria is under attack by Israel, including in Damascus and in southern Syria, where Druze populations are. Lebanon is precarious, with ongoing threats of attacks from Israel. Never mind our perilous situation in the United States, with Trump’s orders to send in the National Guard into DC, of which I saw groups of 3 or 5 roaming the National Mall and metro stations just two weekends ago.

It’s a scary time, and that’s not even going into the assaults on women, queer, Indigenous, Black, and other lives in America alone.

(BTW, there’s a bookish auction ongoing to raise funds for immigrant and trans rights, through August 27th).

With everything going on, I’ve continued to write, but I feel a bit…dead…inside, like I’m mostly a shell of a person right now. Creatively, I’m still doing work, but I can feel both body and mind slowing down, grieving, and, frankly, retracting, even as I try to reach out to people more. It’s a fine line between staying informed, trying to do work that can contribute to a healthy society, and protecting myself from the constant onslaught of horrible events. No wonder my recent Youtube watches have been on nomading through the US in a car, finding a couple acres to build a homestead on, and relaxing book recommendations coupled with homemade pastries and teas.

I have a few projects I’ve been working on, including a few novels, and one semi-memoir/social commentary on Arab-American discrimination and racism. They’re in different stages of creation, some I’m in the throes of edits for, others I’m still doing research for.

However, a short spread in a comic issue is coming out, a story on imperialism’s actions on collective memory and the rewriting of history. The story comes out in Planet Comics: Book Six, which you can back on Kickstarter. The work has hit full funding, but if you’d like a copy, feel free to back the project. It should come out in November-ish of this year.

Here’s a bit on my piece:

Rania Hanna (author of The Jinn Daughter), Erin Dodge and Ari Pluchinsky bring us the single-issue story, “The Archivist of Al-Azrakh”!

Sample page from “The Archivist of Al-Azrakh”

Signing off for now, and maybe for a while,
Rania

The Jinn Daughter has been receiving attention!

The Jinn Daughter has been positively received by critics and readers alike the last few weeks since its release, in paperback, hardcover, and ebook formats.

Here’s what reviewers have been saying:

  • Elle Magazine: Best Fantasy of 2024, so far
  • BookRiot: 10 exciting books to read this summer
  • DC Trending: Best new books of summer 2024
  • Literary Liberation podcast: Read this if you need a mother’s love
  • Arab News: A hauntingly inimitable debut
  • The New Arab: “The fairytale-like and bizarre scenes elevate the story’s mystique and are reminiscent of a mature and Middle Eastern Grim[m] Brothers tale”
  • Starry mag: “Just know that tissues will be needed”

Favorite Arab-inspired fantasy I’ve read

We Hunt the Flame

I love the Arabic words woven into the story and the main character being a huntress. The story feels like a fable, like oral tradition, passed down generations about a fabled woman who hunted in the dark woods, the Arz, and who went on a quest to save her village.

This Woven Kingdom

Beautifully wrought, a retelling of the Persia epic, Shanameh, it brings in jinns (my favorite) in a magical and fabled way. Another book that reads like oral tradition, it calls to mind the stories of lore that are both dreamy and instructive.

The Golem and the Jinni

One of my absolute favorites, the story takes place in the Arab Quarters of New York City in the 1800s. In weaves Arab and Jewish mythology, and brings to life a sector of history often overlooked. I felt as if I were there with Syrians, drinking kahwa in the coffeehouse and trading gossip. One of the best written books I’ve read.

An Ember in the Ashes series

Another beautifully written story, including jinns later in the series. The story is part mythology, part dystopian, all bite, and all emotion. I devoured this series, and couldn’t wait to get my hands on subsequent books when I first started reading it.

Ancient Sumerian retelling of “The Secret Garden”

Well, I’m finally doing it. The idea for a jinn retelling of The Secret Garden has been brewing in my thoughts for a while now. There aren’t many The Secret Garden retellings out there, and there are fewer Middle Eastern retellings of most of classic Western literature.

After thinking about it, and really wanting to use the Hanging Gardens of Babylon as a starting point for the garden aspect of the retelling, I started reading the Epic of Gilgamesh. The story speaks of the city of Uruk, which was an ancient city of Sumer situated east of the Euphrates River.

This seemed like a great city to include in the retelling, so all in all, this new manuscript I’m working on will feature ancient Sumerian history and culture, some mythology, and of course, my favorites, jinns.

I plan to include Sumerian words in there, too, even though it may not be fully accurate the way I use the terms, but I will try my best to be. And, of course, the Hanging Gardens of Babylon will feature in the story.

Here is the first working chapter:

Chapter One

Sixteen and straight as a river reed, Maryam hid under the low metal-and-wood bed in the assassin’s private quarters. She held her breath, listening to the screaming coming from beyond the door. 

She tried curling and uncurling her toes, just to keep the blood flowing. Her legs were cramping from tucking them in tight, and her arms were growing numb from keeping still for so long. 

There was a heavy thud and the sound of metal scraping against stone. Maryam froze. She could smell wood burning, and taste the ash in the air. Maryam bit her fist to keep from crying out. 

Footsteps sounded down the hall before the bedroom door swung open. The footsteps take on a  softer edge now, and Maryam noticed its owner pausing, as if listening. Biting her lower lip so hard, Maryam tasted blood, as the assassin paced the room. 

She wanted to run out from under the bed and stab the assassin with the copper blade Hasha, her guard, gave her, right before the attack. But Maryam knew she was the only left to take the throne. Duty over pride, her baba always told her. Throne above self.  

She could tell it was a man by the size of his boots and the way his steps came down strong and even, as sure of himself as the blood running through his veins. She wondered if this was the assassin who sliced her mother’s throat with a single swipe of his sickle sword. 

“Not here!” she heard the assassin’s gruff voice yell. “Continue searching the palace! A slip of a girl couldn’t have gotten far. We are hashashins!” Assassins. 

Maryam lay still as a stone, even when the assassin left. Blood was pooling under her from her torn lip, but she didn’t dare budge from her hiding spot. 

Not until her personal guard, and closest friend, Hasha, told her to. Unless Hasha’s dead, too. 

No, they wouldn’t kill their own kind. 

But Hasha left the Hashashins’ Order a long time go, would they consider her one of their own anymore?

She heard more screaming as the servants were cut down. Her umma’s pale, lifeless face flashed in her mind, wide dark eyes shot with blood, an angry gash across her throat. Her mother fought, wielding blade and shield, screaming at Maryam to run. But Maryam stood there, frozen in fear, watching as her mother fought two assassins before any of the crown’s guards could reach her. 

But even two assassins to four guard meant nothing: the assassins cut down the guard and slit her umma’s throat. It was only then that Maryam ran, slipping and skidding on her mother’s blood, leaving blood footings for the assassins to follow. 

She ran past the throne room, where she found her baba, riddled through with arrows and slumped on the very throne he sat on as malek. 

His eyes were closed and a long black curl hung down the side of his head, matted in blood and curling at the end like a noose. 

Maryam started choking, and she covered her mouth with her fist to keep from making a sound. 

Maryam swallowed the memories down and wriggled just a bit so she could peer from under the bed. Two eyes peered down at her. 

“Found her!” the assassin said. 

Maryam screamed and kicked as the man dragged her from her neck and shoulders. She arced her arm wide and swung the blade she was still gripping. The blade’s tip just grazed the man’s thigh. He didn’t seem to notice. 

“Found the rabatu!” he shouted. 

“Let me go!” Maryam yelled.

“Hasha!” Maryam screamed. “Hasha!”

“She’s dead, rabatu,” the assassin said. “Dead for her betrayal of the hashashins.” Assassins. 

“Why did you kill my family!” Maryam screamed, her throat going raw. “They were your malek and maleaka!” She held the blade before her, as if the thin blade was a wall between them. 

The assassin eyed the blade and sighed. “I am truly sorry, rabatu.” He leaned his face in close to Maryam’s, so close she could count the lines across his nose. “But I have no king or queen other than the order of the hashashins,” the assassin said. “I follow no code of conduct but those set by the Order.”

“You attacked the crown!” Maryam said, crying now. She aimed the blade but the man slapped it out of her grip, sending it skidding across the floor. 

“Stupid girl!” he said as he threw her to the ground. 

Maryam scrambled back, slipping on blood. “Who sent you? Tell me who ordered you to kill!” 

“Does it matter?” the assassin said. “You will die this night and be forgotten alongside that malek father of yours. No jinn should have taken the crown.”

“We’ve been the royal family for generations. Jinn were the first royals–” Maryam started saying, but the assassin swung his hand and slammed it into the side of her jaw. Maryam’s head swung to the side, and she felt a trickle of warm blood trail down her chin. 

“Please,” she said breathlessly. “Please. Don’t kill me. Whatever you have been paid, I will pay you far more than you can imagine.” You are cowering like a dog, get up, Maryam, get up! Get to your feet and die a dignified death. 

But she couldn’t get up, her legs refused to obey. 

The assassin smiled. “I’m sorry, rabatu, this is such a waste. You truly are a beauty as everyone says. But I have my ord–”

The man’s eyes widened and he stumbled forward, clutching at his neck. 

Maryam noticed the blade sticking out from the side of his neck just as he dropped to the ground, head smacking the tile. 

“Maryam,” Hasha said, pulling her by her feet. “We have to go, now!”

The two ran, Hasha cutting down the assassins who stood in their way. Maryam paused just once to grab a blade from a dead assassin. It was a short blade, strong and sturdy and enough to slip in between ribs. 

Her steps faltered, and Hasha grabbed at her, pulling her ahead. “No stopping. We have to hurry.”

“We need to go out through the tunnels,” Maryam said, just as Hasha said, “This way,” and turned a corner before pushing Maryam into a room. Hasha kicked away a heavy shield that hung decoratively on the wall, wide enough to carry three women. The shield clashed  to the tiled floor with such a loud clang that Maryam winced in pain. But behind the shield was a narrow tunnel, just a step or two fup from the ground. 

“Go, rabatu, go,” Hasha said, grabbing Maryam by the arm and shoving her into the tunnel. Hasha followed, and tugged on the side of the tunnel, slamming a metal grate into place. 

The two crawled forward a few paces, then stood in a small cavern, their arms skimming its stone walls. 

“Go, go, Maryam, go!” Hasha said, already running past Maryam. 

Their footsteps pounded against the stone, the smell of dirt clinging heavy in the air. 

“What is this place?” Maryam said. “I knew there were escape tunnels, but not this one.”

“I found it some months ago, on an old map,” Hasha said. She paused, her breathing raspy. “I-I-”

“Hasha?” Maryam said, only now realizing her old friend was hunching over. 

“Hasha!”

Maryam clutched at her friend, her hands pulling away warm and slick. Hasha was bleeding from her abdomen, a deep wound that soaked the front of her tunic with blood. 

“Please,” the guard said, “Please, go. Straight. I left a bag at the end of the tunnel, with some coin. Take it, and flee. Don’t return to this kingdom unless it is with an army.”

“Hasha, no,” Maryam said, her chin trembling. But Hasha was sliding to the ground, her skin pale even in the darkness. “Hasha, please, don’t leave me. I’ve–everyone’s gone.”

“I have protected you, rabatu,” Hasha said, her voice wavering. “I did not protect the malek and malaeka, but I did protect you.”

“Hasha. Hasha, no,” Maryam cried. “Please, not you, too.”

But Hasha was dead, and Maryam was alone in the world. 

I’ll find out who did this, and make them suffer. 

Dystopian, but make it Arab

Arab authors have long found a place in dystopian literature, though not with mainstream success with Western audiences, for the most part.

However, some Arab authors have had success in writing dystopian novels set in Middle Eastern cultures and countries, and have been delivering on that front. As Kuwait-born novelist Saleem Haddad said, “There’s a shift away from realism, which has dominated Arabic literature.”

Here’s a list of dystopian novels written by Arab authors.

Set against the backdrop of a failed political uprising, The Queue is a chilling debut that evokes Orwellian dystopia, Kafkaesque surrealism, and a very real vision of life after the Arab Spring.

In a surreal, but familiar, vision of modern day Egypt, a centralized authority known as ‘the Gate’ has risen to power in the aftermath of the ‘Disgraceful Events,’ a failed popular uprising. Citizens are required to obtain permission from the Gate in order to take care of even the most basic of their daily affairs, yet the Gate never opens, and the queue in front of it grows longer…

Palestine + 100 poses a question to twelve Palestinian writers: what might your country look like in the year 2048 – a century after the tragedies and trauma of what has come to be called the Nakba? How might this event – which, in 1948, saw the expulsion of over 700,000 Palestinian Arabs from their homes – reach across a century of occupation, oppression, and political isolation, to shape the country and its people? Will a lasting peace finally have been reached, or will future technology only amplify the suffering and mistreatment of Palestinians?

Iraq + 100 poses a question to contemporary Iraqi writers: what might your home city look like in the year 2103 – exactly 100 years after the disastrous American and British-led invasion of Iraq? How might that war reach across a century of repair and rebirth, and affect the state of the country – its politics, its religion, its language, its culture – and how might Iraq have finally escaped its chaos, and found its own peace, a hundred years down the line? As well as being an exercise in escaping the politics of the present, this anthology is also an opportunity for a hotbed of contemporary Arabic writers to offer its own spin on science fiction and fantasy.

In this pithy, powerful parable, the masterly Naguib Mahfouz explores life’s secrets and the mysterious maze of the human heart–a mystical and lyrical Pilgrim’s Progress set in a mythical, timeless Middle East.

2025: fourteen years after the failed revolution, Egypt is invaded once more. As traumatized Egyptians eke out a feral existence in Cairo’s dusty downtown, former cop Ahmed Otared joins a group of fellow officers seeking Egypt’s liberation through the barrel of a gun.

As Cairo becomes a foul cauldron of drugs, sex, and senseless violence, Otared finally understands his country’s fate.

In this unflinching and grisly novel, Mohammad Rabie envisages a grim future for Egypt, where death is the only certainty.

Aber scrapes a living in a Beirut hospital morgue by night, stealing from both the bodies he tends and his bosses. But he has a dark history that continues to haunt him. During the civil war, he fled his village for Beirut and, lost in the big city, joined a political party to survive. When he is kidnapped from the hospital, he knows he has not escaped his past and the many crimes he witnessed. But what or who is still chasing him?

Khaled Mamoun works at the Palace of Confessions, a mysterious state-run security agency located in middle-class Cairo, transcribing the testimonies of criminals. At one interrogation, he encounters Mustafa Ismail: a university professor turned master thief, who breaks into the homes of the great and the good and then blackmails them into silence.
Mustafa has dedicated his existence to the perfection of his trade and authored a book titled The Book of Safety, the ultimate guide to successful thievery, containing everything from philosophical principles to the best way to open a door.
Yasser Abdel Hafiz’s beautiful and deceptively effortless novel tracks Khaled’s descent into obsession with this mysterious book and its author, in a narrative that holds us spellbound.