Dr Theodore Ell: Ithaka Lecture

Dr Theodore Ell (OS 2002) offers some thought-provoking observations, based on his recently published book Lebanon Days and the ethics of thinking back.

 

This lecture described how I addressed certain ethical problems in writing about Lebanon and surviving the Beirut port explosion of 2020. Each problem called up a challenging and mysterious question which had faced me in the past, but which only now revealed its full depth. These questions were: ‘Will you go down that corridor forever?’ ‘Could you describe this?’ ‘What are you on about?’ and the one recalled in this extract, ‘Isn’t it fascinating?’

Theodore Ell (OS 2009).jpg


Pictured: Dr Ell (OS 2002)

Pictured in header: History master Ms Rima Kandalaft with Dr Theodore Ell

Before it is anything else, Lebanon Days is a reckoning with the problems of speaking about the intimacies of a culture to which one has no familial claim whatsoever and which one grows to know as a privileged outsider. Whatever I wrote, it needed absolutely to avoid impersonating or ventriloquising a Lebanese point of view. That would have been presumptuous to the point of being intrusive, even violent. Lebanon has a rich literature and a passionate political commentariat of its own, which were already yielding serious insights into the corruption behind the explosion, and I had no intention of telling the Lebanese their business. Yet I was mindful that although voices and stories of Lebanon are often heard in the Arabic world and are somewhat known in the Francophone world, they rarely or incompletely filter through to the Anglophone world. We most often hear of Lebanon on the news as a place torn with strife and war. Whatever I was on about, I resolved, I must offer a larger picture, reflecting the richness of the Lebanese setting and the variety of histories and life experiences contained there. It must report the points of view that were put to me and that were suggested to me by events, places and materials. At the same time, certain things had happened to me personally which I believed were of value to the common picture, but which could never become part of that picture unless I spoke about them, which inevitably meant involving myself in the picture.

So, was it a set of socio-political essays I was going to write, or a travelogue, or a memoir? The answer came in the writing. I began in the same way I write poems, creating small pieces, scenes, describing events or settings, and then, bringing to bear the rational analytical side of my mind, drawing out the political or historical or societal conclusions they implied. And the more scenes of this kind that emerged, the clearer it became that the book would not be only a piece of socio-political commentary, or a travelogue, or a memoir, but an amalgam of all three, with all of those instincts and forms working together. What was I on about? It was the fact that what had happened to me had happened to millions. It was the details that could make the political personal, the remote intimate, the overpowering contained.

And so the last of those echoing, insistent questions made its offer: ‘Isn’t it fascinating?’ To which my instinctive answer, which came to mind with the force of a revolt, was, No – it is not fascinating. It is real. It is known. It is felt, passionately, painfully.


Pictured: The aftermath of the port explosion

Theodore Ell's apartment in Beirut.jpg


Pictured: The apartment in Beirut

My answer was ready because this question was one I had been burning to answer for a decade, far too late for the moment I had heard it posed. That had been at a conference at the University of Sydney in 2009. World news that week was seized with the massive uprising in Iran against rigged elections that had returned an autocrat to the presidency. The power grab provoked demonstrations on a scale not seen in thirty years, as hundreds of thousands of Iranians took to the streets demanding free and fair democracy. This outpouring of generations of repressed desire, known to us all as the ‘Tehran Spring,’ electrified the Iranian diaspora as well as the masses marching in the capital.

Then the Iranian government turned on the demonstrators and put down their peaceful movement with violence. The Revolutionary Guards rode into the crowds on motorbikes. Iranians in exile could only watch in horror and heartbreak. I know because I saw the emotional turn and its turmoil myself, for two Iranian postgraduates, a married couple, were present at the Sydney conference. On finding out who they were and where they were from, professors of literature, modern languages and philosophy gathered round the pair in a tea break to say how remarkable it all must have been. ‘Isn’t it fascinating?’ By the time I spoke with this couple – once the professors had wandered off – they were visibly affronted and distressed, but maintained their composure with a dignity the like of which I had never witnessed before and seldom have seen since. There was nothing fascinating for them about what was happening in Tehran. It was their home that was convulsing. It was people like them, who studied and had sophisticated ideas for the future of their country, who were going under the wheels of the motorbikes. ‘This madness,’ they could only say, ‘This madness.’

I said I was sorry. We did not speak of such things for long. In admitting and sharing sorrow and then turning to other subjects, things we loved, things we did find fascinating, we became friends. In writing what became Lebanon Days, I felt I owed it to them to say to people in my own world what I had been unable to say in 2009. No, this is not fascinating. This is not subject matter. This is life and it can be as brutal as it can be beautiful.


Pictured: An aerial view of Beirut

The book Lebanon Days was published in late 2024 (1).jpg

In writing Lebanon Days, I did revisit the histories and the analyses of Lebanon’s society and politics and economy that I had read on first moving there. They had opened my eyes to certain realities in the new country I was living in, but they did not do the living for me, any more than they did for the Lebanese people who said something about their lives and in so doing revealed something about themselves. A vintner among his vines, in the foothills of the northern ranges: ‘I think when people try and kill each other, isn’t there anything better for you to do? But no, it looks like not. You try to take over the world so that you have a world to take.’ The satirical wit of demonstrators in the revolution of 2019, as immortalised on their placards: Break out of your cages and eat your zookeepers! Save Lebanon – it’s the only country with real hummus! My doctor, checking up on me in the days after the explosion: ‘I think every foreigner who lived through that blast should be made an honorary citizen of Lebanon. You might not feel honoured. But you are a citizen.’ A taxi driver, looking out at the devastated port as we pass it on the freeway, suspecting that no one will ever be brought to justice for the blast: ‘All the world knows what happened here. The only one who doesn’t know is Lebanon.’ The same taxi driver, who happened to pick me up again another day: ‘There are people in Israel and Palestine who just want to work. The Lebanese just want to work. We have nothing to argue about.’ A mountain guide: ‘Lebanon: so rich, so small. Think of people forced to emigrate. All they must leave. To gain one thing, they lose ten things.’ The point of the book was to make these and many other voices heard, beyond a small conversation with me or the noticing of details in passing.

‘Isn’t it fascinating?’ No. Or, not only. Before anything, these matters are human, to be heard and weighed before we dissect them with self-regarding mental attitudes.

I have been speaking mainly about one book and some of the matters it addresses, but my larger concern has been to show you that despite the obstacles and discouragements that artists find placed in their way, it is not only possible but fulfilling to live and work as one. I have been honest about the difficulties that may be involved in realising what kind of artist you are and what kind of work you might do, but then there are no typical cases. If, for me, writing nearly ended before it even began, then that was because I was late to realise that writing could serve experience as much as reproducing or exploring it. In closing, I want to say to anyone listening – especially those nearing the end of schooling – who might wish to be any sort of artist: do not leave the understanding of such service as late as I have. Beyond all that you read for pleasure and learn from history and the techniques of others – which in all seriousness any writer should do – if you can scrutinise your own intentions, assess your position in relation to your subject and understand and accept your obligations to that subject, then you will be ready to do your work. The questions of the audience, publication, dissemination and all the rest of it will be important, but later. Know yourself first. Know what it is you are driven to do and why you must do it. Then you will get it done.