Elias Khoury, born in Beirut, is the author of thirteen novels,
four volumes of literary criticism, and three plays. He was awarded
the Palestine Prize for Gate of the Sun, which was named Best Book
of the Year by Le Monde Diplomatique, The Christian Science
Monitor, and The San Fransisco Chronicle, and a Notable Book by The
New York Times. Khoury's Yalo, As Though She Were Sleeping, Little
Mountain, The Journey of Little Gandhi, and City Gates are also
available in English. Khoury is a Global Distinguished Professor of
Middle Eastern and Arabic Studies at New York University. As Though
She Were Sleeping received France's inaugural Arabic novel
Prize.
Maia Tabet, born in Lebanon, is a literary translator and a
professional cook. She translated Khoury’s first novel to be
published in English, Little Mountain, and has translated a number
of prose texts that have appeared in literary magazines including
Banipal, Words Without Borders, and Fikran wa Fann. Currently, she
lives in the United States.
Khoury is the sort of novelist whose name is inseparable from a
city. Los Angeles has Joan Didion and Raymond Chandler, and
Istanbul, Orhan Pamuk. The beautiful, resilient city of Beirut
belongs to Khoury. —The Los Angeles Times
No Lebanese writer has been more successful than Elias Khoury in
telling the story of Lebanon . . . Khoury is one of the most
innovative novelists in the Arab world. —Washington Post Book
World
How to write Beirut? . . . with words and images that stumble with
weariness, that collapse from the heat, from the stone which
composes them only to crumble in turn? . . . This is why Khoury’s
fiction is so powerful. The intent of the writing is to restore its
soul. —Tahar Ben Jelloun
Elias Khoury is a pure storyteller. A writer who understands the
hypnotic power of words, and who lets this power become the actual
subject of his books. Of course, alongside the words, there is
reality, palpable, sensual, atrocious. —Le Nouvel Observateur
Khoury [is] arguably the finest living Arab novelist. . .
. White Masks represents a turning point in Khoury's
work. . . . A compelling, thoughtful read. —World Literature Today
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