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As a young boy in Libya, it was hard to escape the conclusion that the women were the most feeling and most functional part of society.
Garth Stein
I can pinpoint the exact moment when I first began to think about what profession I should go into. It was 1978. I was seven and had just been handed over by the women of my family to the earnest and self-important gatherings of the men. I was no longer the responsibility of my aunts and older female cousins. I was now a man. This was a tragedy.
From before I was born, we Arabs have been caught between two forces that, seemingly, cannot be defeated: our ruthless dictators, who oppress and humiliate us, and the cynical western powers, who would rather see us ruled by criminals loyal to them than have democratically elected leaders accountable to us.
Growing up in the Libya of the 1970s, I remember the prevalence of local bands who were as much influenced by Arabic musical traditions as by the Rolling Stones or the Beatles. But the project of 'Arabisation' soon got to them, too, and western musical instruments were declared forbidden as 'instruments of imperialism.'
We need a father to rage against.
My earliest memory of books is not of reading but of being read to. I spent hours listening, watching the face of the person reading aloud to me.
The Arab Spring is a powerful and compelling response not only to an age of tyranny but also to the remnant chains of imperial influence.
In the same way that Egypt and Libya conspired to 'disappear' my father and silence writers such as Idris Ali, they made me, too, to a far lesser extent, feel punished for speaking out.
My parents left Libya in 1979, escaping political repression, and settled in Cairo. I was nine.
I am, by instinct, wary of revolutions. The gathering of the masses fills me with trepidation.
It is easy to underestimate the demands of an open heart.
Libyans are deeply unsettled by Gaddafi and his regime's careless contempt for human life. The dictatorship is willing to employ any methods necessary to remain in power.
Great writing fills me with hopeful enthusiasm and never envy.
My best hope is that Libya turns into a peaceful, sensible country that has all the things my father and lots of others have been calling for: independence of the courts and press, a protected and democratic constitution, with different parties involved in a healthy and open debate.
I get a lot of energy from making things up, which is why I feel I'm a novelist.
The Arab Spring, with all of its failings and failures, exposed the lie that if we are to live, then we must live as slaves. It was an attempt to undermine not only the orthodoxy of dictatorship but also an international political orthodoxy where every activity must be approved by the profit logic of the 'ledger.'
I don't believe people are interested in dates and facts. I don't think it is interesting to say what it is to be this person or that, but I do believe it is entertaining and perhaps even of value to express how it is to be that person.
One of the frustrations of prison life, which is also one of its intended consequences, is that the prisoner is made ineffective. He is unable to be of much use. The aim is to render him powerless.
Architecture remains a passion and a subject I'm very interested in. I learned a great deal from studying it and working in it.
The laws of the lowly gangster govern Qaddafi and his sons.
The space where writing happens is a unique space that's hard to define, and when you're kicked out of it because you're travelling or distracted, it seems so elusive and hard to defend because you yourself doubt whether it existed.
In 2006, I published my first novel, 'In the Country of Men.' The publication of the book gave me a bigger platform to speak about my father's abduction and Libya's human-rights record.
A revolution is not a painless march to the gates of freedom and justice. It is a struggle between rage and hope, between the temptation to destroy and the desire to build.
It is evident that Qaddafi is mentally unwell. Like Richard III, he has barricaded himself within lies.