{"id":36534,"date":"2025-03-21T09:53:30","date_gmt":"2025-03-21T07:53:30","guid":{"rendered":"https:\/\/themarkaz.org\/oldsite\/?p=36534"},"modified":"2025-03-24T12:56:27","modified_gmt":"2025-03-24T10:56:27","slug":"insurrection-of-the-spirit-algerias-resistance-poet-anna-greki","status":"publish","type":"post","link":"https:\/\/themarkaz.org\/oldsite\/insurrection-of-the-spirit-algerias-resistance-poet-anna-greki\/","title":{"rendered":"Insurrection of the Spirit: Algeria’s Resistance Poet Anna Gr\u00e9ki"},"content":{"rendered":"
Activist and patriot Anna <\/span>Gr\u00e9ki\u2019s poetry shows all that it is not only possible but necessary to fight against colonization in all its forms and for the dignity of all.<\/span><\/h5>\n

 <\/p>\n

Algeria, Capital: Algiers<\/span><\/i>, poems of Anna Gr\u00e9ki, a bilingual edition<\/span>
\n<\/span>Translated by Marine Cornuet, with an introduction by Ammiel Alcalay<\/span>
\n<\/span>Pinsapo Press\/Lost & Found<\/span><\/a> 2024<\/span>
\n<\/span>ISBN 9781958675021<\/span><\/p>\n

 <\/p>\n

Jordan Elgrably<\/span><\/h4>\n

 <\/p>\n

Upon receiving\u00a0an ARC <\/span>of Algeria, Capital: Algiers<\/span><\/i>, by Anna Gr\u00e9ki, I asked myself how many Algerian poets had previously crossed my desk. Like many young writers, I started out writing poetry as well as prose, and I got the standard US college inculcation, ranging from Byron, Yeats and T.S. Eliot to Wallace Stevens, and Emily Dickinson. Later, while studying in Paris, I became familiar with the work of Rimbaud, Cocteau, and my personal favorites to this day, Rainer Maria Rilke and Federico Garc\u00eda Lorca. Still no Algerian poets, although the work of Kateb Yacine and Assia Djebar came to my attention (more about Kateb Yacine shortly). Later still, I got to know some of the Moroccan writers and poets, many of whom are introduced to the western reader in English translation in Deborah Kapchan’s 2019 volume, <\/span>Poetic Justice: An Anthology of Contemporary Moroccan Poetry<\/span><\/i><\/a>. Still no Algerian poets, other than a vague familiarity with the late Jean S\u00e9nac, who was assassinated in Algiers in 1973, a story we\u2019ll save for another day.<\/span><\/p>\n

\"Algeria<\/a>
Algeria, Capital: Algiers<\/em> is published by Pinsapo Press\/Lost & Found<\/a>.<\/figcaption><\/figure>\n

<\/i>Algeria, Capital: Algiers<\/span><\/i> was originally published in French in 1963, and all of the poems in the book were written while Gr\u00e9ki was in a French prison in Algeria, for supporting her native country\u2019s fight for independence. Described in the original preface to the book by Mostefa Lacheraf as an activist and a patriot, as a member of the resistance, Gr\u00e9ki was bound to displease her French occupiers. But perhaps what makes her case most fascinating is the fact that she was born in Batna, Algeria as Colette Anna Gr\u00e9goire, daughter of a family of French settlers. Both of her parents were teachers, and after obtaining her high school diploma from a lyc\u00e9e in B\u00f4ne, Algeria, she went to study at the Sorbonne in Paris. Despite her French roots, Collette Anna Gr\u00e9goire always felt herself to be Algerian, born and raised.<\/span><\/p>\n

Anna Gr\u00e9ki is now most often described as a French-speaking Algerian writer and poet, ignoring her settler family\u2019s background. You could think of her as an insider-outsider, Algerian by birth, but of French heritage. I asked her translator, Marine Cornuet, whether it wouldn\u2019t be fair to call Anna Gr\u00e9ki a pied-noir, even though she fought for Algerian independence (unlike her more famous compeer, Albert Camus).<\/span><\/p>\n

\u201cFor me, the fact that Colette Gr\u00e9goire came from a family of settlers (in the original sense, not in the sense of large landowners or industrialists) was one of the first elements that caught my attention and magnetized me to her poetry \u2026 And I completely agree with you, her particular position as a pied-noir who fought for the independence of Algeria gives her a status that is both relatively protected within the system and in transgression of it. For me, Gr\u00e9ki\u2019s poetry shows all those who might find themselves in this position today that it is not only possible but necessary to fight against colonization in all its forms and for the dignity of all.\u201d<\/span><\/p>\n

Cornuet, who became a veritable student of Gr\u00e9ki\u2019s work and life, explains, \u201cI was able to read letters and notes that Gr\u00e9goire\/Gr\u00e9ki wrote about her identity, and she rejected the term pied-noir to describe herself. She called herself an \u2018Algerian of French descent.\u2019 And as the term pied-noir was mainly used from 1954 (I believe) to refer to the French settlers in Algeria who went to live in France during and after the revolution, and as Gr\u00e9ki, on the contrary, returned to live in Algeria, we did not insist on using this term.\u201d<\/span><\/p>\n

To judge from her poetry, Anna Gr\u00e9ki \u2014 who came by her pen name when she combined her last name with that of her husband, Jean-Claude Melki \u2014 was a lover and a fighter. As she writes in \u201cWith Rage in My Heart\u201d:<\/span><\/p>\n

I can no longer love but with rage in my heart<\/span>
\n<\/span>It\u2019s my way of having a heart of plenty<\/span>
\n<\/span>It\u2019s my way of defeating pain<\/span>
\n<\/span>It\u2019s my way of setting ashes ablaze<\/span>
\n<\/span>Through sheer heart crushes and rage<\/span>
\n<\/span>[\u2026|<\/span>
\n<\/span>I can no longer love but with rage in my heart
\nWith fire in my blood, love like combat<\/span>
\n<\/span>I am as merciless as a brand-new brain<\/span>
\n<\/span>That knows satisfaction from its certainty<\/span>
\n<\/span>[\u2026]<\/span>
\n<\/span>A defused grenade the heavy night rolls<\/span>
\n<\/span>Beneath its pink oleanders where the sea ferments<\/span>
\n<\/span>With the smell of warm tar in the waves<\/span>
\n<\/span>I think of friends who died before they could be loved<\/span>
\n<\/span>Of those who were judged before they could be heard<\/span>
\n<\/span>I think of friends who were murdered<\/span>
\n<\/span>Because of the love they knew how to give<\/span><\/p>\n

Gr\u00e9ki\u2019s poetry is beautiful in the original and in Cornuet’s sensitive translation. It is as much about her love for Algeria as it is an ode to resistance to colonization. In the book\u2019s introduction, Ammiel Alcalay points out that her work, \u201chas never, as far as I know, been put in the larger context of Arab prison literature. And yet, the poems in <\/span>Algeria, Capital: Algiers<\/span><\/i> were all written during Gr\u00e9ki\u2019s incarceration, following interrogation under torture.\u201d\u00a0<\/span><\/p>\n

He urges the reader \u201cto understand the radical nature\u201d of Gr\u00e9ki\u2019s \u201cformal innovations, despite her writing in French. The decades following Algerian independence, so full of hope, make evident that writing and form in what we generally refer to as the Middle East \u2014 with its own archipelagos of incarceration and repression, from the years of lead in Morocco to Saddam\u2019s Iraq, from Saudi Arabia and the Gulf to occupied Palestine and Syria \u2014 would be profoundly affected by the fundamental problems of representing the extreme experiences undergone by individuals in such situations and the further repercussions on a society as a whole.\u201d<\/span><\/p>\n

After her Sorbonne studies, Gr\u00e9ki returned to teach in Algeria in 1955. A militant and Algerian Communist Party sympathizer, inspired by her friend Ahmed Inal (who would be killed by the French army in 1956), in March 1957 Gr\u00e9ki was arrested and interrogated in the midst of the Bataille d’Alger (Battle for Algiers) by French paratroopers. Following weeks of torture, she was interned in the Berberousse prison in Algiers, where she wrote her first poems. The following year Gr\u00e9ki was expelled from Algeria and found work teaching in Avignon from 1959 to 1961. She married Jean-Claude Melki in 1960 and then went to Tunis where she worked for Algeria\u2019s National Liberation Front, better known as the FLN.<\/span><\/p>\n

A fellow traveler, Jean S\u00e9nac was an early booster of Gr\u00e9ki\u2019s poetry. In 1971, he wrote that from 1945 to 1962, Algerian poetry in the French language presented itself \u201cas a fresco of misfortune and tenacious experience.\u201d He suggested that Algerian poetry and Anna Gr\u00e9ki \u201cbraced against the mass graves, taking its breath and its face from 1954 onwards, it would for a few years put words at the service of the liberation of the territory. During this period, she was, like our struggle, an insurrection of the spirit.\u201d<\/span><\/p>\n

\n
\"Imagine
Image of the original 1963 French edition of Alg\u00e9rie, Capitale Algers<\/em>, with an Arabic translation by Tahar Cheriaa, published in Tunis, Tunisia.<\/figcaption><\/figure>\n
\n

Gr\u00e9ki is seen today by Algerian literati as a major world poet, yet rarely have you seen her name in the canon that includes her generation’s best-known poets, including Sylvia Plath and Forugh Farrokhzad, much less male greats of the 20th century, such as Rilke and Lorca \u2014 not just because she was less prolific and died young, but because we are far less accustomed to finding Algerian or Moroccan or Tunisian poets in our libraries and bookstores.<\/p>\n

As it happens, S\u00e9nac and Gr\u00e9ki were not the only Algerian poets to write in French. Renowned the world over for his novel <\/span>Nedjma<\/span><\/i> (first published in France in 1956, in the midst of Algeria\u2019s war for independence),\u00a0 <\/span>Kateb Yacine was also a poet. He considered French to be the language of the colonizer, but also the Algerians\u2019 \u201cspoils of war.\u201d\u00a0<\/span><\/p>\n

\u201cFrancophonie is a neocolonial political machine that only perpetuates our alienation,\u201d he declared in 1966, \u201cbut the use of the French language does not mean that one is the agent of a foreign power, and I write in French to tell the French that I am not French.\u201d Yacine would later add, \u201cA language belongs to the one who violates it, not to the one who cherishes it.\u201d\u00a0<\/span><\/p>\n

For Anna Gr\u00e9ki, as well as for S\u00e9nac and Yacine, French was both friend and foe. Quoting \u00c9douard Glissant in his introduction, Alcalay reminds us that, \u201cTranslation is a weapon against imperialism and the domination that takes place between languages \u2026 To translate, means finding a way to give Anna Gr\u00e9ki back to Algerians whose only language is Arabic. It becomes a way for the two languages to cohabit, to show that the \u2018target\u2019 language doesn\u2019t always have to be dominant.\u201d<\/span><\/p>\n

Although she didn\u2019t write in Arabic, Anna Gr\u00e9ki was as Algerian as the \u201coued,\u201d a river or stream, and \u201cgandoura,\u201d a tunic, thawb or galabeya. She often included these elements in her poems. In fighting against the racism inherent in her colonial French roots, Gr\u00e9goire\/Gr\u00e9ki is in the tradition of all poets who turn on their own identities and geographies to embrace the larger brotherhood of man.\u00a0<\/span><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Gr\u00e9ki\u2019s poetry expresses her deep love for Algeria while also serving as a powerful tribute to resistance against colonialism.<\/p>\n","protected":false},"author":331,"featured_media":36540,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"footnotes":""},"categories":[6,2656,34,51],"tags":[3479,4321,159,3718,983,3585,1464],"coauthors":[2196],"class_list":["post-36534","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-book-review","category-books","category-poetry","category-tmr-weekly","tag-algerian-artist","tag-algerian-poets","tag-algiers","tag-jean-senac","tag-kateb-yacine","tag-pieds-noirs","tag-resistance","entry"],"acf":[],"yoast_head":"\nInsurrection of the Spirit: Algeria's Resistance Poet Anna Gr\u00e9ki - The Markaz Review<\/title>\n<meta name=\"description\" content=\"Gr\u00e9ki\u2019s poetry expresses her deep love 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