By Mustapha Marrouchi
Exhibits the entire breadth and scope of Edward Said's paintings and of his function as a public highbrow.
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Additional resources for Edward Said at the Limits
The fourth chapter examines Said’s meditation on what Pierre Nora has aptly called “milieux” and “lieux de mémoire,” which exist in an odd tension with the nostalgic celebrations of place ( Jerusalem, Cairo, Alexandria, and Dhour), which in turn exert too great an influence over the shape of identity. The chapter attempts to recover the author’s act of reinvention, a disobedient labor of remembrance. In creating this remembrance across time, it is place again that reveals the struggle to relocate the past.
I then tried to persuade him that it was indeed me, changed by illness and age, after thirty-eight years of absence. Suddenly we fell into each other’s arms, sobbing with the tears of happy reunion and a mourned, irrecoverable time. He talked about how he had carried me on his shoulders, how he had chatted in the kitchen, how the family celebrated Christmas and New Year’s, and so on. Said concludes: And then, as the past poured out of him, an old man retired to the distant town of Edfu near Aswan, I knew again how fragile, precious, and fleeting were the history and circumstances not only gone forever, but basically unrecalled and unrecorded except as occasional reminiscence or intermittent conversation (Out of Place, 1999: xiii).
Sartre’s notion of the dissident as someone whose learning and achievement in one field is applied elsewhere may be said to describe Said himself. An accomplished professional in the tenured academy, Said exults in the role of humanist gadfly, challenging the experts in their carefully guarded territories. Like C. L. R. James, the founder of the counternarrative, he is an independent and controversial critic, a prolific writer with broad intellectual interests in numerous cultures. Above all, he is a romantic nationalist and political maximalist.