Documente Academic
Documente Profesional
Documente Cultură
To cite this article: Gonzalo Fernández Parrilla (2016) The Novel in Morocco as Mirror of
a Changing Society, Contemporary French and Francophone Studies, 20:1, 18-26, DOI:
10.1080/17409292.2016.1120547
ABSTRACT
The purpose of this article is to explore the possible meanings of the notion of
roman maghrebin in the Moroccan context. The phrase has been a dynamic
concept since it was coined by Khatibi in the 1960s, and has changed along
with transformations in Moroccan society and the development of the genre.
Since the 1980s the novel has become one of the most relevant phenomena in
the Moroccan cultural field. Already aware of the dynamic nature of literary
genres and “national” cultures, Khatibi’s visionary insights seem to contain all
the elements of the cultural future of Morocco. With this in mind, I will explore
how the novel and the critical debates around it reflect new perceptions of the
national sphere in the twenty-first century.
KEYWORDS Morocco; Moroccan literature; novel; Arabic literature; Amazigh; national identity
Introduction
It has been advocated in debates around Francophonie and Postcoloniality
that at a certain moment language (French) should start to free itself from
its exclusive pact with the nation. Inverting the terms, it could also be
argued that at a certain moment nations might start to free themselves
from their exclusive pact with a single language. At least this could be true
in the case of Morocco, which by expanding the boundaries of the national
has freed itself from its exclusive initial pact with Arabic. Although offi-
cially recognized as such only recently, Morocco is a multilingual society
where “language is at the centre of the current cultural and political
debates” (Ennaji xi) and where the perception of a “national” language has
changed drastically in the last few decades. In fact, one of the most crucial
issues that has dominated the intellectual scene has been that of “defining
a national entity […] which necessarily implies redefining the geolinguistic
space” (Bensma€ıa 103).
I argue that among the “symbolic architectures” that shape nations, the
relationship with languages and literature is especially relevant (Romero 9).
Moroccans this literature is “not Maghrebi at all because it’s written in a for-
eign language” (11).
At a time when the logic and idea of a monolingual (Arabic) nation was
still hegemonic, the existence of a literature written in French by Moroccans
was controversial. The ambiguities and dislocations of writing in French for
this first generation were difficult to overcome at the time (Laroussi). Being
Moroccan and writing in French was somehow contradictory. The debut of
the Moroccan novel written in French in 1954 with Driss Chra€ıbi’s Le Passe
simple and Ahmed Sefrioui’s La Bo^ıte a merveilles was contentious, even
“heretical” (Tenkoul 15), and these authors were seen with distrust by the
nationalist elite. In fact Khatibi, along with Albert Memmi, subscribed to the
idea of a “literature condemned to die young” (Mouzouni 26), while Tahar
Ben Jelloun thought his generation would be the last to write in French (Bratt
12). However, “contrary to pessimistic forecasts, Maghrebi literature has con-
tinued to be written in French” (Bensma€ıa 5). Furthermore, not only did it
not disappear, it became crucial in the development of intellectual, academic,
and cultural life in Morocco and the Maghreb.
Khatibi’s Le Roman maghrebin also introduced new coordinates of identity
and analysis, placing the Moroccan novel in a transnational space. For Kha-
tibi, “the roman maghrebin is mostly related to the writers of French lan-
guage, while those writing in Arabic have cultivated especially, poetry, essay
and short story” (Le Roman 112). Nonetheless aware of the strong interrela-
tion between the novel in Arabic and French since the beginning (Butayyib ̣
8), Khatibi included Arabic texts such as the foundational Fı
̣
al-tufula (In Childhood (1957)) by key Moroccan writer ʿAbd al-Majıd b.
Jallun in Le Roman maghrebin. This Arabic-French interrelation goes beyond
creative writing and also informs the critical discourse. Le Roman maghrebin
was not only a cornerstone for understanding the Francophone novel in the
Maghreb, but it was also decisive in stimulating debates on the novel genre in
Morocco. Prominent critic Muh ̣ammad Barrada (Mohammed Berrada)
quickly translated Khatibi’s book into Arabic (al-Riwaya al-maghribiyya,
1971). Berrada’s foundational essay “Al-Usus al-naz ̣ariyya li-l-riwaya al-
maghribiyya al-maktuba bi-l-‘arabiyya” (“The Theoretical Foundations of the
Moroccan Novel Written in Arabic”) already published in 1969, included
references to novelists writing in French, and served as the epilogue to his
Arabic translation of Le Roman maghrebin.
It is likely that Berrada had to specify “Moroccan novel written in Arabic”
due to Khatibi’s previous formulation. However, after this inaugural essay,
there was no longer a need to specify that the Moroccan novel was written in
Arabic (officially the national language) when writing in Arabic about the
Moroccan novel; and later critics dealing with French writing would resort
for decades to expressions such as roman marocain de langue/expression
française (Bachnou; Raj). Moreover, Yaqtın ̣ has explored how Moroccan
CONTEMPORARY FRENCH AND FRANCOPHONE STUDIES 21
Amazigh Culture in 2001). Critics attribute the honor of being the first Ama-
zigh novel to Asekkif n-inzaden (Hair Soup (1994)) by Ali Iken, followed by
the already mentioned Mohamed Chacha. Other key novelists are
Mohammed Bouzeggou, Lhoussain Azergui, and Mohamed Akounad, author
of novels such as Tawargit d imik (More Than a Dream (2002)), the story of
a village where the imam decides to preach in Amazigh. If the Moroccan
novel in Arabic and French has undergone profound aesthetic and thematic
ruptures in these decades, for the novel in Amazigh this is less the case; it is
still attached to Berber themes and straightforward narratives, understandable
since these writers are in the process of constituting a new literary field
(Pouessel).
Murad ʻAlamı, who often advocates for the recognition of Darija as the
Moroccan language, published the first novel in Moroccan Arabic, Al-Rah ̣ıl,
demʻa mesafera: OUT (Departure, a Traveling Tear: OUT) in 2005. He is not
alone in this struggle for the development of Darija in fiction, and other writ-
ers using it are ʻAzız Regragı, who has published four novellas, including Ḥay-
ah ̣at al-basha (The Pasha Campaigns (2007)), and Idrıs Misnawı
̣ (b. 1948), in
works such as Taʻirurut (Rose (2009)) (Elinson).
After initial debates concerning the problematic issue of writing in French
by the revolutionary elan of the Souffles group, Tahar Ben Jelloun’s Goncourt
prize for La Nuit sacree (The Sacred Night) in 1987 has to be taken into
account in the development of Francophone literature in Morocco. The Gon-
court was a decisive factor in enhancing the reputation of French writing in
Morocco, serving to overcome its original problematic status and to finally
nationalize (and coopt) French as a literary language. The prize also served to
internationalize Moroccan authors, since it gave momentum to the transla-
tion of those writing in French, especially Ben Jelloun, into the languages of
the world, Arabic included. If poetry was previously considered the most cul-
tivated genre, the 1980s inaugurated the decades of the Francophone novel,
with the rise of an incredible roster of women writers such as Bahaa Trabelsi
and Noufissa Sba€ı. The rise of women writers seems to be a distinguishing
feature of the apogee of Moroccan fiction in all languages in the twenty-first
century, as is the blurring of fiction, autobiography, and history that contin-
ues to dominate the Moroccan novel (Al-ʻAllam 101). In the twenty-first cen-
tury, names such as Fouad Laroui, Mohamed Nedali, and Abdellah Ta€ıa,
recognized beyond Morocco and the Francophone world, stand out.
The contemporary Arabophone cultural scene has also attained recogni-
tion at an international level through prizes (e.g., Mohammed Achaari, co-
winner of the 2011 International Prize for Arabic Fiction with Al-Qaws wa-l-
farasha (The Arch and the Butterfly (2011))), and translation (e.g., Bensalim
Himmich with titles such as Al-ʻAllama (The Polymath (1997))). However,
the first Moroccan novelist writing in Arabic to transcend Moroccan borders
was Mohamed Choukri, with probably the most popular and polemic text (it
CONTEMPORARY FRENCH AND FRANCOPHONE STUDIES 25
was censored for many years), together with Le Passe simple, of modern
Moroccan literature, al-Khubz al-h ̣afı (For Bread Alone (1982)) translated
into English by Paul Bowles and into French by none other than Ben Jelloun
as Le Pain nu. Nonetheless, since the 1970s there are other writers who have
contributed to the development of the novel, but with less recognition outside
Morocco, such as ʻAbd al-Karım Ghallab, Muh ̣ammad Zafzaf, Mubarak
Rabıʻ, Ah ̣mad al-Madını, Muh ̣ammad ‘Izz al-Dın al-Tazı, and
Al-Mıludı Shaghmum.
Concluding remarks
Even if the transnational dimension applies to all the languages of Morocco,
the national frame of reference remains of pivotal importance. In this contin-
uous and adaptive process of reinvention, where the national has taken differ-
ent forms—monolingual Morocco, bilingual Morocco, multilingual Morocco,
or Morocco beyond its borders—there is, nonetheless, a persistent and resil-
ient sense of “Moroccanness”. And, within this, novelists, no matter what lan-
guage they write in, articulate themes that demonstrate the diversity of
Moroccan society, as well as its multilingual and heteroglossic nature.
Notes on contributor
Gonzalo Fernandez Parrilla is the author of a history of modern Moroccan literature,
La literatura marroquı contemporanea (Ediciones de la Universidad de Castilla-La
Mancha, 2006), dealing with the rise of the novel genre. He teaches at Universidad
Autonoma de Madrid (Departamento de Estudios Arabes e Islamicos). His research
and articles revolve around Moroccan literature and culture, the Arabic novel, and
translation from Arabic.
Works Cited
Al-ʻAllam, ʻAbd al-Rah ̣ım, and Muh ̣ammad. Al-Riwaya al-maghribiyya al-maktuba
bi-al-‘arabiyya: 1942 2003. Rabat: Wizarat al-Thaqafa, 2003.
Bachnou, Ahmed. Bibliographie du roman marocain d’ecriture française, 1950 2005.
Fes: impr. Oumayma, 2007.
Barrada, Muh ̣ammad. “Al-Usus al-naz ̣ariyya li-l-riwaya al-maghribiyya al-maktuba
bi-l-‘arabiyya.” al-Riwaya al-maghribiyya. Ed. ‘Abd al-Kabır al-Khatıbı. ̣ Rabat:
Manshurat al-Markaz al-Jam‘ı’ li-al-Bah ̣th al-ʻIlmı, 1971.
Bensma€ıa, Reda. Experimental Nations. Or the Invention of the Maghreb. New Jersey:
Princeton UP, 2003.
Bratt, Kristin Ruth, ed. Vitality and Dynamism: Interstitial Dialogues of Language,
Politics, and Religion in Morocco’s Literary Tradition. Leiden: Leiden UP, 2015.
̣
Butayyib, ʻAbd al-ʻAlı. Al-Riwaya al-maghribiyya min al-ta’sıs ila-l-tajrıb. Meknes:
Kulliyat al-Adab wa-al-ʻUlum al-insaniyya, 2010.
26
G. FERNANDEZ PARRILLA