orientalizing america: beginnings and middle...

Orientalizing America: Beginnings and Middle PassagesAuthor(s): Michael M. J. FischerSource: Middle East Report, No. 178, 1492+500 (Sep. - Oct., 1992), pp. 32-37Published by: Middle East Research and Information Project (MERIP)Stable URL: http://www.jstor.org/stable/3012986 .

Accessed: 18/10/2014 17:25

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

Middle East Research and Information Project (MERIP) is collaborating with JSTOR to digitize, preserve andextend access to Middle East Report.

http://www.jstor.org

This content downloaded from 128.103.149.52 on Sat, 18 Oct 2014 17:25:13 PMAll use subject to JSTOR Terms and Conditions

http://www.jstor.org/action/showPublisher?publisherCode=merip

http://www.jstor.org/stable/3012986?origin=JSTOR-pdf

http://www.jstor.org/page/info/about/policies/terms.jsp


In the quincentennial year of 1992, critical Middle East

studies can and should play a powerful, constructive role in the battles against rightwing efforts to deny the multicultural strands of American and Western identity. The usual reaction is to attack ethnocentrism, stereotyp? ing and the Orientalism of establishment culture. But such attacks, often defensive, do not go very far, and can even reinforce the categories and stereotypes they mean to deny. A stronger response would be to introduce alter? native perspectives. This means not just different ways of looking at the "non-West," nor just historical remind? ers about 1492's legacies of monocultural intolerance? the expulsion of the Muslims and Jews from Spain, the

collapse of cultures of learning that painstakingly needed to be rebuilt; the "just wars" against the Amerindians? but using encounters, influences and mixings between East and West, past and present, to undermine the false

assumptions behind that intolerance. This article sug? gests some of the ways to reconfigure American and West? ern identities in multicultural forms.

it is the writers, poets and filmmakers who articulate the emergent forms, the special skills of ear and pen and

eye of the expositors and translators, too often underval?

ued, are vital to understanding and creative analysis. I seek the filaments of alternative, more cosmopoli?

tan, and more historically accurate visions of the mosa? ics that have entered into and will continue to shape the construction of the idea of America. How resonant "Rain

Song," Badr Shakir al-Sayyab's 1953 exile song in Ku?

wait, has become:

I roar at the Gulf: 'Gulf, Giver of pearls, shells and death!' And the echo rings back In sobs: 'Gulf, Giver of shells and death...'

I can almost hear Iraq collecting and storing Thunders and lightenings on plains and mountains, And when the men snap their seal The winds leave no trace Of Thamud in the wadi*

Orientalizing America: Beginnings and Middle

Preludes

As the great Duke Ellington observed, "We are all be?

coming a little Oriental." The Duke would have smiled at the Five Percent Nation of Islam remapping Mecca in

Harlem, Brooklyn as Medina, and New Jersey as the New Jerusalem. It is certainly no more odd than Shriners

parading as pashas and mamluks on their little petro? leum-driven go-carts. And there is the fused image of Malcolm X and Bilal, the first muezzin?a postage stamp of the Islamic Republic of Iran, not the wild imagining of Salman Rushdie.

I want to explore through a kind of ethnographic lis?

tening. For guidance I am indebted to translators across

linguistic and cultural strata, people who tunnel inside

monolingual or monoperspectival assumptions, reveal?

ing and amplifying hidden multicultural traces, and who take the time to explain, to show connections, to tell sto?

ries, to borrow images and reinvent them with other cul? tural content, to root around in history rather than ar?

resting or sentencing it, to search for the immemorials that keep both memory and hope vibrant, to write out and perform the sonic and visual codes of the present tense. These include bilingual poets and writers, but es?

pecially such expository writers as Abdullah al-Udhari, Adonis (Ali Ahmad Said), Fatima Mernissi, Boutheina

Shabaan, Miryam Layoun, Miriam Cooke, Abdullah

Laroui, Ross Brann, Dan Pagis, and the Edward Said of the images of body builders in After the Last Sky. While

Michael M.J. Fischer teaches anthropology at Rice University in Houston, Texas.

32

I can almost hear the palm trees drinking rain, Villages crying, emigrants Struggling with oars and sails Against Gulf storms and thunders and singing: 'Rain... Rain... Rain...'

The devastations of this century out of which we build our lives are not isolatable events: Auschwitz; Hiroshima; the Siberian gulag; partition in India and Beirut; indus? trial accident in Bhopal; Kuwait; Argentina; Cambodia. But there is also hope, dignity and example. In the lovely poem "Eurydice," Agha Shahid Ali reminds us of the ways in which so many different identities suffer in a family of resemblance that makes of us all family, however

woundedly antagonistic:

I am a woman brought limping to Hell... But they've let him come here to Belsen, rare passenger...

and his "Nostalgist's Map of America":

When on Route 80 in Ohio I came across an exit to Calcutta the temptation to write a poem led me past the exit so I could say India always exists off the turnpikes of America

*The Thamudis, Abdullah al-Udhari reminds us, are the worshipers of 70 gods in North Arabia. The Thamudis mocked the prophet Salih. Salih prayed to God. God shook the mountain, giving birth to a red, pregnant she-camel. The Thamudis killed the she-camel, and as Salih warned, the people's faces turned yellow, red, then black before they died; Gabriel screamed, ripping their hearts, bursting their ears, killing them, and a fire came down from heaven and burned them.

Middle East Report ? September-October 1992



so I could say I did take the exit and crossed Howrah and even mention the Ganges as it continued its sobbing under the bridge

The warm rains have left many dead on the pavements The signs to Route 80 all have disappeared And now the road is a river polished silver by cars The cars are urns carrying ashes to the sea

The Maghrib as Mediator

Three primary registers make North Africa a particu? larly resonant interlocutor for the construction of

(post)modern America: historical registers from the Middle Ages and Renaissance that helped shape modern

Passages Michael M. J. Fischer

consciousness; contemporary historical grounds, espe? cially via Algeria, for the theories of postmodernity; and

projective screens for the translations of the psyche as the Middle East and North Africa become continuous with

Europe and America, by immigration to the latter and by sociocultural change in the former, as well as by the pas? sage back and forth by artists, from impressionist paint? ers to contemporary filmmakers.

First there are the historical registers of the literary and scientific matrix of Islamic Andalusia, a land of cos?

mopolitan multiculturalism including at least six major ethnic-religious communities (Arabs, Berbers, Jews, muwalladun [native Iberian converts to Islam], musta'ribun [Arabicized Christians] and saqaliba [Euro? pean slave soldiers]). Andalusia was the center of Euro?

pean high culture in the 11th to 15th centuries, to which

Europe looked for rational philosophy that challenged faith (Aristotle via Ibn Rushd [Averroes]), for science and math (our numeral system, algebra, geometry, astronomy, the medicine of Ibn Sina [Avicenna]), for the arts (the sic et non dialectical disputation method, epistolary forms of

fiction, dialogic forms of philosophy that became popular in the Renaissance, and vernacular poetry). This histori? cal horizon is particularly important today, as various

parts of the world reconsider the 500th anniversary of the expedition of Columbus, an expedition relying on the Hebrew navigational astronomy and geodesy developed at the Portuguese royal courts, developments in turn con? tinuous with the worlds of Arabic astronomy and naviga? tion. This key symbolic event cannot pass as a

hagiographa celebration of the Christian imperium, not even for Spain itself, which is using the event to rejoin


Europe. That Spain should offer itself as a site for a Middle East peace conference further corroborates the

symbolic importance of this jL legacy. What is important ;_&&&!lk\~ about these

historical registers is the re-

Knowledge Shall Rule! |||| Bidjan

Assadipour

tion of genealo- components of

and America to more accurate his- this is already be-

terms of the His-

construc-

gies of the

modernity recover a

tory. Much of

ing done in

panic component of America?contributions that include such icons of the West as the cowboy, whose shoes, hat, lasso, and ballads all derive from the Spanish-speaking heritage of the US-Mexico borderland. This area today is alive with cultural innovation and bilingual creativity. There is no reason that this recovery should be limited to the Hispanic Christian legacies in a land where perhaps the first Black narratives were written by Muslims from West Africa, and where conversos (Jews who converted to Christianity to escape the Inquisition) helped create the several attempts to set up independent buffer repub? lics in Texas. Bharati Mukherjee, in one of her short sto-

33



ries about a drug-running outfit on an island in the Gulf of Mexico, places her narrator among

Aztecs, Toltecs, mestizos...and a lot of Texans. I'll learn the ropes....My first American wife said, in the dog-eat-dog world, Alfred, you're a beagle. My name is Alfie Judah, of the once illustrious Smyrna, Aleppo, Baghdad?and now Flushing, Queens?Judahs....We spoke a form of Spanish in my old Baghdad home....I, an Arab to some, an Indian to others....From His perch, Jesus stares at me out of his huge, sad, Levantine eyes. In this alien jungle, we're fellow Arabs. You should see what's happened to the old stomping grounds, compadre. {The Middle Man and Other Stories, 1988).

Something Called Postmodernity

There is the second, more recent, historical register: the debate about America as the center of something called postmodernity stems from theories largely generated in Paris by either North Africans or Frenchmen deeply af? fected by the Algerian war of independence. If the rise of German fascism was the central generational experience shaping the thought of German-derived social theory in Europe around World War II, Algeria was the genera? tional experience of the postwar period for French-de? rived cultural theory. Bureaucracy, rationalizing pro? cesses of the market, and the defense of civil society were the obsessive concerns of German social theory. French cultural theory has constructed alternatives to totalizing ideologies, alternatives that can accommodate multiple cultural perspectives and not insist that everyone see history or progress the same way.

There have been two waves of powerful initiatives in social and cultural theory construction emerging via Paris. The first wave, spurred by the Algerian War of Indepen-

34

dence and Vietnam, included Frantz Fanon, Albert

Memmi, O. Manoni, Kateb Yacin, and others, with Sartre and Simone de Beauvoir in support roles. Ali Shariati was a powerful next-generation follower. Bourdieu, Derrida, Lyotard, Cixcous and the so-called postmod? ernists or poststructuralists are the second wave.

If the first wave focused on the psychology of colonial

domination, the second wave focuses on the erasure of local meanings in a global economy. If the first wave still focused on individual psychology and face-to-face rela? tions between, say (in Fanon's The Wretched of the Earth), torturers and the tortured, the second wave focuses on the effects of the electronic media (movies, music, televi?

sion, computers, electronic bank transfers, F-16s, satel?

lite broadcast systems) which allow a subtler, more dif?

fuse regime of power, working as much through desire (for commodities) as external domination, and which re? quire new means of resistance. Lyotard suggests resis? tance takes the form ofdifferends (cultural differences at the level of basic assumptions that make translation dif? ficult) and immemorials (ways of keeping the narratives of past trauma from being erased, forgotten, or turned into simple inert memorials), preserving these to gener? ate perspectives that ensure alternative points of view are always kept in play. What is at issue in the theories of postmodernity is an opening for alternative perspec? tives that value and empower multiple visions as being what gives the idea of America vitality.

Visual Displacements

There is the third, most immediate, register: the visual register in such films as Ferid Boughedir's Halfaouine, Child of the Terrace (a Tunisian-French production), Farida Ben Lyazid's A Door to the Sky (a Moroccan-French production), Omar Allouache's Omar Gatlato, Whose Ma? chismo Killed Him, Michel Khleifi's The Fertile Memory and Canticle of Stones. These films?and their Iranian counterparts?displace the archaicizing categories of so much writing in area studies paradigms. They too work with stereotypes, formulas, romanticizations. One can critique aspects of all of these films, but the immediacy of dress, gesture, language, street scenes, sound, refer? ences in popular music both to the past and to the transnational, of dilemmas of love, economic struggle and political repression?all these things focus attention on the present and its dilemmas in a way that the written word often allows to slip away.

The film medium is a powerful yet very much underutilized ethnographic tool?ethnographic in my sense of a vehicle for translation, for allowing multiple voices to speak, for presenting the present. The techniques of filmmaking, like those of other visual media?paint? ing, photography, graphic arts in advertising, wall post? ers, cartoons and graffiti?have developed with strong interactions between the Orient and the West: one thinks of the ways in which the Mediterranean light of Morocco




set up dramatic exercises and learning laboratories for the Impressionists, the ways in which arabesque, lattice?

work, tiling and architecture provided exercises in the

play of light and shadow, the ways in which Japanese printmaking influenced ideas of perspective and depth.

Above all, films like Michel Khleifi's, and Shimon Dotan's Smile of the Lamb, present dilemmas of psycho? logical blockage and conflict laced with historical allu? sions and grounded in ethnographic portraiture. Films like Omar Gatlato present the sexual repressions and their denials in ways that show how warm worlds of hu? man interaction are created and broken; films like A Door to the Sky portray the West-returned and the tradition- eroded. There is a kind of cine-writing portraiture of time and place, a performance of psychological mind sets, that no other medium is achieving with any great success.

Borderlands Phenomena

One of the most creative ferments of cultural creation at the moment seems to be in the Borderlands?the mythic space of the Mexican-American southwest from Texas to California?in bilingual writing, in art, in customizing industrial commodities from low-rider cars to blue-painted furniture to mesquite-grilled fajitas in fast-food fran-

chizing. Borderlands is a term that has conceptual as well as geographic uses.

If one looks to what is happening in creative writing in English, in what has been called the decolonization of

English?the expansion of the tonalities, diction, vocabu? laries and cultural resources of English to include contri? butions from other languages?then surely the explosion of writing and filmmaking from Iran, Pakistan and India must rank among the most important of the Borderlands reinventing the imaginations and languages we inhabit. Nor is only English being decolonized. French through Beur, North African, and francophone African writing is undergoing a parallel process. Music, too, is an arena of both fusion and contestation.

The arena of film has spread Urdu-Hindi as a vibrant cultural mixer, turning Urdu from the language of po? etry into a powerful sign of nostalgia, a powerful me? dium of political slogans, and a vehicle of cultural cri?

tique. Many Urdu writers and poets were associated with the People's Theater Association, the Progressive Writ? ers' Association, and the Bombay film industry, the larg? est in the world and one with audiences in many places. Commercial film plays with notions of modernity, new behavioral styles, material aspirations, violence, stratifi? cation, and even with genre forms. The film Teja, for

instance, is a wonderful spoof on the Western, replaying essentially the same story in three different genre for? mats: a Western with an Indian family and Indian out? laws set in a log cabin with horses in a Western land?

scape; then as an urban gangster film set in Bombay; and then as a science fiction plot set in the Himalayas in a ski lodge. There is an active play here with the idea of


America and modernity that is part of the transforma? tion of India from an agrarian and socialist-governed so?

ciety into a commodity-driven society increasingly domi? nated by the world's largest middle class.

Beginnings

Jumping ship?the attempt at a clean break, a new life? has been literalized in Bharati Muhkerjee's Jasmine. A

Bidjan Assadipour

young grieving widow carries out her dead husband's de? sire to return to America, planning to perform sati on his

college campus in Tampa. Instead Yama, the god of Death, cheats her effort at rebirth, afflicting her with rape and murder. Jasmine appears as an avenging Kali with blood

dripping from her tongue; clutching her Ganpati, she slays her tormentor and walks away unencumbered by any material possessions and a mind plagued by many pasts.

Negotiating is the long drawn out process that any immigrant goes through. Perhaps the strongest is Hualing Nieh. Anton Shammas's arrival in the same writing pro? gram at Iowa that Hualing Nieh helped found is a pre- migration negotiation of a more middle class variety. Hualing Nieh begins her novel of a split personality, Mul?

berry and Peach, with a hilarious scene of an immigra? tion agent and Peach, who denies she is Mulberry:

...Peach laughs. 'Mr. Dark, you have a real good imagination. What you see isn't real. What I see is real. You know what I see when I look at you? A tiger with nine human heads.'

...Peach laughs. "Mr. Dark, don't try to be so smart! You think I'm going to tell you that I was born in Nanking on 26 October 1929 so you can prove I'm Mulberry? Well, you're

35



wrong, Mr. Dark. I was born in a valley when heaven split from the earth. Where the flowers fell people sprang up. That's how I was born. You people were born from your mothers' wombs.

When heaven split from the earth is not a bad descrip? tion of the cataclysmic events of the Chinese revolution, when families were torn apart and individuals fled across vast lands trying to keep body and soul alive; not a bad

description for the cataclysmic events that have shaken almost every society in the 20th century, the US being one of the few exceptions.

In the Iranian-American film by Ghassam Ebra- hamian, The Suitors, an immigration officer asks Hajji's wife to show her face to see if it matches the photo on her

passport. "Show the face all the way to the ear," he com? mands, deliberately insisting that she acknowledge that this is America where veils are out of place. Later, a

building supervisor notices blood dripping from the apart-

ment of the Iranians, who are slaughtering a sheep in the bathtub. Fantasizing it is an Iranian terrorist cell, he calls in the SWAT team; meanwhile, he is listening to a Christian fundamentalist preacher on the radio spout? ing wild paranoia.

Dealing with the body and the unconscious is a com?

ponent without which the other strategies of narration remain weak. As a strategy for focussing on its dilem?

mas, none perhaps is stronger or funnier than Rohinton

Mistry's neurotic constipated character who cannot def? ecate in his new country.

Middle Passages, New Spaces

Middle Passages refers to the ships that carried Africans to America in the slave trade, passages that transformed

36

people from bearers of one culture into dominated work? ers in another, much more complex, system of stratifica? tion. My own family went through a Middle Passage on a boat called the Zamzam, a European journey bound up with Nazi debasements of slavery, annihilation and geno? cide, a journey inextricably bound up with the Middle

East, not only through the name of the ship. On a table on the deck, a young professor, released from a future of

being a plumber's assistant in Palestine, wrote his first book in English, a book called The Passing of the Euro?

pean Age. I am fascinated by Middle Passages, by hybridizations,

by adjustments and refusals of adjustments, refusals that refuse to stand still but change their bearers.

Among the challenges to describing the new worlds we inhabit are the new places that old identities must

negotiate. In a city like Houston, one of the more re? markable of new spaces is the car auction. The auction? eer sounds like a traditional cattle auctioneer, a rapid- fire male voice operating between articulations of price and information and a drone of nonsense filler that al? lows the ear to distinguish one auctioneer from another. The visual accompaniment is his cowboy dress, weath? ered face, Stetson hat,.tapered jeans, pointed boots and silver buckle. He burbles rapid-fire words into a hand?

kerchief-wrapped microphone, while his youthful male aide on the floor holds up fingers and points in visual

pantomime of the bids agreed to by the flick of an eye? brow, the flash of finger, the nod of a head. The Anglo auctioneer and aide have Black and white female book?

keepers. On the floor stand a few Texan farmers, vastly outnumbered by Iranians, Lebanese, Saudis, Pakistanis, a few Indians, and Vietnamese. The Vietnamese are known as the sharpest dealers; if a Vietnamese bidder looks serious, others will drop out. The Saudis dress in the flashiest clothes, go for the big fancy cars and have little competition except for the occasional Anglo-Texan dealer. Most of the others dress down in American ca? sual: shorts and t-shirts, jeans and open shirts, as if, in venerable bazaar style, to mask themselves in a air of indeterminate poverty.

Multiculturalism takes on a new form in these spaces, both like and unlike the older urban immigrant entrepots of New York and Chicago. What fascinates me in these

spaces, places and passages are the cultural translations. We need a new map of America that begins to envision the pilgrimage sites that Indians are establishing among the Hindu temples of North America, the establishment of a little Tehran in Los Angeles. We need the resources of the immigrant imagination. Above all, we need attention to the discourses immigrants use in making sense of their own lives, in comparing their own value systems with their new settings, or in forging philosophically resonant frames that draw on the genres, tropes, metaphors and

imagery of both old and new cultural settings. Are there

afsaneh?moral parables, folktales like those that power the Thousand and One Nights, Kalileh and Dimneh, the Shahnameh?that provide wombs of imaginative growth




in new soil? The stories that are told about marriages and funerals are a kind of folktale in the making: these

ethnographic fragments are the parables of ordinary folk, their lives, their follies, their hard-earned wisdom. De? scendants in the future may retell these stories differ?

ently and in more seamless, less discordant forms; for the moment they serve as birth pangs of something new.

Towards a Stable Civil Society

The introduction of alternative perspectives is the strong, poetic way of combating monolingual, monocultural in?

tolerance, a much stronger way than the industry of

Orientalist-bashing that serves only to solidify the very Orientalist categories that the critics claim to want to

destroy. By paying attention to strong poetic multicultural

voices, we can provide the kind of expansion of the edu? cational curriculum and political discourse that will re?

spond to the demographic changes occurring both within the US and in the world at large.

Whether or not postmodernisms as writing and read?

ing strategies are passing fads, postmodernity is an es? tablished sociological reality. This article is not a mani? festo. It merely suggests approaches to mapping of emer?

gent realities. If we are to create pluralist, civil societies, we will have to pay attention to the perspectives that are

registered in multicultural media: these media are the

places that show how different perspectives can survive in the same social space. ?

Books and Films Discussed in this Essay

Adonis. An Introduction to Arab Poetics. University of Texas Press, 1990.

Agha Shahid Ali. A Nostalgist's Map of America. Norton, 1991. Badr Shakir al-Sayyab. "Rain Song," 1953; in Abdullah al-Udhari.

Modern Poetry of the Arab World. Penguin, 1989. Ross Brann. The Compunctious Poet: Cultural Ambiguity and Hebrew

Poetry in Muslim Spain. The Johns Hopkins University Press, 1991.

Miriam Cook. War's Other Voices: Women Writers on the Lebanese Civil War. Cambridge University Press, 1988.

Frantz Fanon. The Wretched of the Earth. Grove Press, 1963. Eric Fischer. The Passing of the European Age. Harvard, 1943. Miryam Layoun. Travels of a Genre: The Modern Novel and Ideology,

Princeton, 1990. Fatima Mernissi. The Veil and the Male Elite: A Feminist Interpreta?

tion of Women's Rights in Islam. Addison-Wesley, 1991. Rohinton Mistry. Swimming Lessons and Other Stories from Firozsha

Baag. Houghton-Mifflin, 1989. Bharati Mukherjee. The Middle Man and Other Stories. Grove Press,

1988. Bharati Mukherjee. Jasmine. Grove Weidenfeld, 1989. Hualing Nieh. Mulberry and Peach. Women's Press, 1981. Dan Pagis. Hebrew Poetry of the Middle Ages and the Renaissance.

University of California, 1991. Edward Said. After the Last Sky. Pantheon, 1986. Boutheina Shabaan. Both Right and Left Handed. Indiana, 1988. Omar Allouache. Omar Gatlato. 1976. Farida Ben Lyazid. A Door to the Sky. 1988. Ferid Boughedir. Halfaouine, Child of the Terrace. 1990. Shimon Dotan. Smile of the Lamb. 1986. Ghassam Ebrahamian. The Suitors. 1988. Michel Kheleifi. The Fertile Memory. 1980. Canticle of Stones. 1990.

BS^Iffl

p.gut: 'JJ'ljijO

Desert

Shield

to Desert

Storm

The Second Gulf War

Dilip Hiro-MMHHHi "... the most comprehensive history of the Gulf War over Kuwait to have appeared to date. The book is a clear and concise compendium of the causes and course of the conflict, with a summary of the immediate aftermath."

- Daily Telegraph "... admirably cool and balanced account of the second Gulf War.';

- Guardian "Desert Shield to Desert Storm tells the story as it should be told, from all sides without prejudice. Hiro writes dispassionately, methodically, painstakingly, accumulatively."

- Financial Times 19 blw illustrations, 12 maps, 592 pp $59.95/cloth $18.95/paper

so "^^ Available at bater bookstores or from

IJ ROUTLEDGE g\ 29West35thStreet S m New York, NY 10001-2299

RESIST REMEMBERS

We've been funding peace and social justice for 25 years ? recent

grant recipients include:

Coalition Against U.S. Military Intervention in the Middle East (Portland OR); Anti-Racist Task Force (Albany, NY); Iowa Peace Network (Des Moines); Black Hills Teton Sioux Nation Treaty Council (Porcupine, SD); Local Alliance for Mideast Peace (Knoxville, TN).

Resist began in 1967 with a call to "resist illegitimate authority" and to support Vietnam war resisters. Since then, Resist has nurtured a move- ment that continues to broaden its understanding of what can and must

change. Remember, Resist!

Come help Celebrate our history, renew old friendships, make new ones, and look ahead at where our movements need to go. Join us for poetry, music, food, memorabilia, art, poli? tics, propaganda, conversation, dancing, inspiration and ideas!

It's happening at the Jorge Hernandez Cultural Center (Villa Victoria) in Boston on Saturday, November 14, from 6PM 'till 1AM.

For info, directions, grant guidelines, or to make a donation,

contact:

RESIST One Summer Street

Somerville, MA 02143 (617) 623-5110

Middle East Report ? September-October 1992 37



orientalizing america: beginnings and middle...

Documents