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Mada
7 days ago
- Politics
- Mada
Cairo, undelivered: A conversation with Mai Serhan
I read CAIRO: the undelivered letters the morning after Mai Serhan's book launch. I came home carrying the book with a quiet urgency to meet it on my own terms. Not through someone else's framing, not through a room's impression. Just me and the work. CAIRO: the undelivered letters is a book of epistolary poems: each one a fictional letter written to the city, tracing what remains unsaid, unread or unheard. So is its author, both letter and city, both voice and witness. Mai is someone I've come to know recently, as a writer and a confidante. Her voice carries a steadiness that feels earned. She doesn't seek approval. She moves through the page with clarity, each line a product of something lived, not just observed. That kind of authorship demands a space that listens. So I gave her that. I woke up the next morning and read the book straight through. Not out of duty, but because something in me needed to. The book had already drawn me in with its physical form. The airmail aesthetic, the modest production, the sense that you weren't holding a product but something closer to a secret. Reading it felt like unlocking a drawer: hers, or at times, mine. Mai's writing doesn't seek to provoke. It seeks to reveal. She carries resonance that cuts through time and place. As a Palestinian-Egyptian woman, a mother, a witness, she writes Cairo from within: without apology, without compromise. It isn't aggression that defines her voice, but the refusal to make what's true more bearable. This isn't a book that asks to be liked. It doesn't ask to be read, even. It asks you to look inward. To notice what stirs, and why. In that way, it reminds you of what art is for. Not to decorate, but to disrupt. Not to charm, but to charge. Cairo doesn't always listen. But Serhan writes anyway, each letter a quiet defiance, meant for anyone still willing to feel. Beneath that defiance is a deeper question: What do we do with the things we never get to say? That's the question that stayed with me. I wanted to understand how someone keeps writing into silence. How do you sustain a voice when the city around you is unwilling to respond? It's that courage to speak without knowing who might be listening. That's what made me want to ask her more. *** Adam Makary: Why letters? Why 'undelivered'? What drew you to this form — a dispatch that knows it may never arrive? Mai Serhan: A letter as a literary device holds enormous dramatic potential. It bridges and emphasizes distance, which leads to conflict. It's private and intimate, often risking exposure. It seldom brings closure and can only provide fragments. A letter-writer may speak with conviction, but because they can only offer their own version of truth, that very limitation became an invitation for me to explore multiple perspectives. The inspiration came from Bareed el-Gomaa, a popular advice column that ran in Al-Ahram for over 30 years. People wrote in with their problems, and the editor responded. When I finally read the compiled letters, I had an immediate aversion to his advice. It felt paternal, moralizing, rooted in state-approved ideas of what a 'good' person should be. It didn't speak to me. So I thought, why not dispense with the advice altogether? That shift gave me creative license to invent the letters. Ones that hadn't been published, and others that were too raw, too uncomfortable, too much. AM: Who, or what, is the Editor in your mind? Is he a real figure, an imagined authority, or something more metaphorical? MS: The editor stands for the system at large. He's a kind of Zeus figure on the mountain. A removed and impotent god-like voice. He's supposed to stand for truth, hope and justice, but he doesn't deliver. AM: The book moves between the hyperlocal and the mythic. How do you hold Cairo as both city and symbol? MS: My interest in Cairo was two-fold: Cairo as material reality and Cairo as literary imaginary. I wanted to map the city's underbelly and position it alongside its grand history and authoritarian present. You can do that with Cairo. Its timelessness allows you to collapse time altogether. I saw Cairo as Al-Qahira, the vanquisher. Pride and pressure. Mother and monster. Capital of the motherland. A city of mythical dimension. How can it possibly mother more than a hundred million people without depleting, without aborting the task? That paradox charged the language forward. I wanted to match that emotional intensity with an equally heightened imaginary. What happens when you're contained too long and suddenly released? You explode. That was the space I wrote from. Awe and terror. AM: These poems feel channeled, almost trance-like. What was your process like? Were they written quickly, compulsively, or built slowly? MS: I do believe creative thinking is a kind of channeling. It's a generative state that demands your full attention. You enter it with guideposts, and you yield to what the space offers in return. You summon the paradox and start connecting disparate ideas. You listen for that other voice — the voice of your character. I write compulsively, but not always quickly. Some poems arrive like a baby ready to pop, whether you're ready or not. ' Red Dress ' was one of those. I was emotionally charged and wrote it in 20 minutes. When that happens, the poem finds me, I don't find it. AM: There's an ache in the voice, exhaustion, but not silence. What kind of response were you hoping for? Did you expect the letters to be read, or was the act of writing itself a form of survival? MS: Writing is survival. A personal urge to find meaning in chaos, reconcile and connect. Being read is a blessing, of course. It means others connect to you through the writing. But it's also surreal. You work alone for years, then suddenly you're in conversation with a stranger about your inner workings. It's jarring and beautiful at once. AM: The book doesn't flinch. It names violence without spectacle. How did you avoid turning trauma into performance? MS: George Saunders gave some of the best advice. He said to move as quietly as possible toward what you feel is heat. The quieter the approach, the more space the reader has to feel. I try to name things without describing them in detail. That invites the reader's imagination to do the work. You suggest, tease, woo, and leave the door ajar. Whoever's meant to enter will. AM: One letter ends with 'the petals torn for a false spring.' Can you speak about revolution as a metaphor in your work? MS: Yes, metaphorically the undelivered letters are, in some ways, an act of protest. They rebel against their original inspiration, Bareed al-Gomaa. These are the letters that don't get selected for publication, that don't make it to print, which, I suppose, ultimately raises questions of censorship. The way I see it, there is the official narrative, embodied in the person of the editor in a state-run newspaper. He gets to decide who gets to speak and who doesn't. What content is permissible, and what isn't. What kind of advice ensures law and order. Then there's the alternative narrative of the letters, which speak up, or scream, despite being coerced into silence. I wouldn't go so far as to call it revolutionary, but there is defiance there, and a refusal to disappear. AM: When does a poem fail? And what does a failed poem still leave behind? MS: A poem fails when it doesn't startle me with recognition. We need to find each other. That moment needs to feel like discovery. Even if a poem fails, it leaves behind the attempt — the possibility of connection, the attempt at resolution. AM: There's a tenderness in how the characters appear: maids, scribes, ghosts. Who are y ou responsible for as a writer? Who are you carrying? MS: I'm responsible for every character in this collection. I carried them all and delivered them to you. I wouldn't have bothered if I didn't care about each of them. AM: Do you consider yourself a poet? MS: I love poetry. I love writing it. I use its techniques across all kinds of writing. But no, I don't call myself a poet. I get awkward when others do. Maybe it's because the perfect poem still feels out of reach. There's one by Dorothea Grossman I come back to: I have to tell you, there are times when the sun strikes me like a gong, even your ears.
Yahoo
18-05-2025
- Business
- Yahoo
Egypt is Scrambling For Cheap Oil and LNG as its Energy Crisis Deepens
Egypt is once again facing a resurgence of natural gas shortages, drawing headlines as the country enters the peak summer season. With soaring temperatures above 40°C expected in the coming months, electricity demand—driven largely by air conditioning—is putting intense pressure on the national grid. In response, the Cairo government is scrambling to implement emergency measures to avoid blackouts. Despite Egypt's ambition to become a regional energy hub and key LNG supplier to Europe and global markets, the country is struggling to meet domestic power needs. This paradox underscores the challenges Egypt faces in balancing its export goals with internal energy security. Strained Resources and Lagging Investment Egypt's energy challenges are compounded by sluggish economic growth, ongoing financial instability, and limited foreign investment. The country continues to fall short of its natural gas production targets, most notably at the giant Zohr offshore gas field, which is grappling with technical difficulties. Meanwhile, expected output from other fields has yet to materialize. Turning to Long-Term LNG Imports In a bid to alleviate the recurring natural gas shortages, the Sisi government is accelerating efforts to secure long-term LNG import deals. Recent reports from regional sources suggest that Egypt is in advanced talks with Qatar over a long-term agreement to supply Qatari LNG. This was a central topic in a meeting between Egypt's Minister of Petroleum and Mineral Resources, Karim Badawi, and Qatari Energy Minister Saad bin Sherida to Al-Ahram, a state-affiliated newspaper, Cairo is eager to finalize an agreement swiftly. As part of the broader talks, Egypt is offering Qatar investment opportunities in both its upstream and downstream oil and gas sectors. Sources indicate that QatarEnergy's existing concessions in Egypt, including offshore Mediterranean blocks like Nefertari, Masry, and Cairo (in partnership with ExxonMobil), could be expanded. In a further sign of strengthening ties, QatarEnergy has agreed to acquire a stake in Egypt's North El Dabaa offshore block, in cooperation with EGAS and U.S. energy major Chevron. Disruptions in Regional Gas Supply Egypt's energy situation has worsened following an unexpected delay in natural gas exports from Israel. Under a new deal, Israel was to supply 200 million cubic feet per day starting mid-May. However, local media outlet Watan reports that the Israeli side is seeking better terms and higher prices, according to the Egyptian General Petroleum Corporation (EGPC). The timing is surprising, given that Israel has just completed a 46-kilometer expansion of the offshore gas pipeline connecting Ashdod and Ashkelon with Egypt's network in Arish. This infrastructure was expected to boost daily imports from Israel from 1.0 to 1.2 billion cubic feet, feeding Egypt's LNG export terminals at Idku and Rosetta. Emergency LNG and Fuel Oil Measures In parallel, Cairo is ramping up efforts to secure 14 LNG shipments this month from European and U.S. suppliers under deferred payment terms. The urgency has grown as Italy's Eni has been unable to meet its delivery schedule for an additional 250 million cubic feet per day from the Zohr field, now delayed from April to late August 2025. While Egypt remains a significant oil and gas producer, the domestic supply shortfall has forced the country to seek an estimated $7 billion in funding to purchase 155–160 LNG cargoes in 2025. Cairo aims to cap purchase prices at $14 per MMBtu—an ambitious target even as global LNG prices soften. Return to Oil for Power Generation In a controversial move, Egypt is reverting to using cheap fuel oil for power generation—an older practice that environmentalists are likely to criticize. In recent hours, EGPC has issued a tender for 2 million tons of fuel oil to be delivered in May and June. With natural gas becoming increasingly expensive and straining public finances, fuel oil is seen as a more viable short-term alternative. By Cyril Widdershoven for More Top Reads From this article on
Al-Ahram Weekly
11-05-2025
- Entertainment
- Al-Ahram Weekly
Colour and words: Sanaa El-Bissy's retrospective - Visual Art - Arts & Culture
The work of renowned artist and journalist Sanaa El-Bissy, showcased at Picasso East Gallery last week, reveals a deep connection between writing and drawing as her elegant style blends passions. Her retrospective, which closed last week, highlighted this unique fusion. As a writer, journalist, and painter, Sanaa El-Bissy belongs to the generation that experienced the golden age of both fields. The retrospective at Picasso East Gallery celebrated El-Bissy's life and work, highlighting the intersection of her writing and visual art. El-Bissy's writing and painting are inseparable. Each one complements the other in a mutually innovative and emotional interaction. Her more than 80 oil paintings, created between 1960 and 2025, reflect a career built on the duality of journalism and visual arts. Her paintings, often bursting with vibrant colours, tell stories through figures in constant motion, expressing both joy and anxiety. Her preferred style, a mix of figurative expressionism often leaning toward abstraction, was first seen in her 1972 solo exhibition. Society, women, and human emotion El-Bissy's works are rich with emotional depth, often drawing on themes of community, human interaction, and the complexities of life. Using characteristic bold, vivid colours, she paints crowds, horses, flowers, and people, all interwoven into a lively, almost chaotic symphony of hues. These elements, often blending ornamental and abstract motifs, symbolise her approach to painting and journalism: an intimate, personal interpretation of the world. El-Bissy's art has always been deeply engaged with societal issues, particularly those affecting women. The commitment to gender equality and women's rights is reflected in her journalistic work and her paintings, which often depict women in moments of introspection, sadness, and strength. Her work in the 1950s and 1960s, as editor of Al-Ahram's women's section and later the creator of the magazine Nisf Al-Donia, showcases her dedication to advocating for women's voices and struggles. El-Bissy's art, though full of vibrancy, often conveys a deeper, sometimes melancholic tone. Though she uses vivid colours in painting women's faces, these faces often evoke a sense of mystery and sadness. Throughout her career, El-Bissy highlighted the emotional and social challenges women face. Her paintings highlight women's beauty and strength, capturing their elegance, confusion, and inner lives. The human form and Arabian horses The human form—whether through portraits or dancing crowds—remains central to her work. In both her paintings and journalism, El-Bissy explores the human experience, seeking to convey feelings that are both abstract and deeply rooted in daily life. Her art oscillates between realism and symbolism, utilising colour and line to communicate intense emotions. One of the most significant aspects of El-Bissy's art is her focus on the human body, which she portrays as personal and political. The figures in her work invite viewers to reflect on their relationships with the world, their identity, and the broader societal context. The use of the human figure challenges the viewer to contemplate the aesthetic form and its deeper connections to life, humanity, and personal expression. The Arabian horse, frequently featured in El-Bissy's work, symbolises freedom, strength, and grace. It dominates many of her pieces, representing a "knight" figure fighting societal wrongs and exploring the tension between the dream world and reality. El-Bissy's connection to the horse dates back to her childhood. Her paintings depict it in fluid, dynamic motion, emphasising its symbolic significance as a representation of human desire for liberation and expression. El-Bissy's husband, the late artist and journalist Mounir Kanaan, also greatly influenced her work. His encouragement helped her develop her artistic identity, even as she absorbed his creative philosophy. Kanaan's belief in blending genres and styles is something El-Bissy took to heart. In her own paintings, she merged abstraction, realism, and surrealism. A key feature of El-Bissy's retrospective is her work titled Al-Awda (The Return, 2025), which poignantly depicts the hoped-for return of displaced Palestinians to Gaza. The painting uses vivid, warm colours and miniature figures to create a sense of movement and collective desire. Alongside it, another significant work, Al-Tawwaf (The Circumambulation), represents the pilgrimage to Mecca. This painting captures the pilgrims' spiritual and physical journey in a rhythmic, circular motion, symbolising peace, humility, and devotion. In addition to her visual art, El-Bissy's legacy extends to her written work. She recently published Beit Al-Fan (The House of Art), an art encyclopedia that her son Hisham Kanaan helped create. The 500-page book delves into the lives of prominent figures in Egyptian visual arts and explores various schools and trends in art history. It also covers subjects such as Islamic art, the Arabian horse, and oriental carpets, showcasing the depth of El-Bissy's cultural and artistic knowledge. ------ This article's long version was originally published in Al-Ahram Hebdo (French) on 11 May. Additional edit and translation: Ahram Online Follow us on: Facebook Instagram Whatsapp Short link:
Al-Ahram Weekly
02-05-2025
- Politics
- Al-Ahram Weekly
Khaled El-Balshy re-elected head of Egypt Journalists Syndicate
Khaled El-Balshy was re-elected on Friday as president of Egypt's Journalists Syndicate, according to the committee overseeing the elections. El-Balshy secured 3,346 votes (55% of the votes), surpassing his main rival Abdel Mohsen Salama, former head of Al-Ahram institution and a current member of the Supreme Council for Media Regulation; who garnered 2,562 votes. Related Egyptian journalists vote to select Syndicate President and six board members A total of 6,051 members of the syndicate participated in the elections with nearly a 60% turnout. Earlier Friday, the syndicate held its midterm elections to select a new president and six board members. According to the committee, vote counting began with the ballot boxes for the chairman's seat, with the results announced first. The counting of votes for the board members' seats followed afterward. A total of eight candidates vied for the chairmanship, while 43 others competed for six available seats on the syndicate's board. Follow us on: Facebook Instagram Whatsapp Short link:
Zawya
30-04-2025
- Business
- Zawya
Egypt to issue improved mining investment law
Egypt is on the verge of issuing a new mining law that includes better incentives for foreign investors in a bid to boost the sector's contribution to the economy by 12 times, the Petroleum and Mineral Resources Minister has revealed. Karim Badawi told Egypt's parliament on Monday that the mining sector currently contributes just around 0.5 percent to gross national product (GNP) and the target is to expand that share to six percent by the end of Vision 2030. In his comments, published by Al-Ahram newspaper and other local publications on Tuesday, Badawi disclosed that global consultancy firms have helped Cairo in devising a new mining investment law with the aim of wooing in capital to attain that target. 'We are in the process of issuing the new law, which illustrates efforts to improve the investment atmosphere and create a strong framework that will serve the interests of all parties concerned,' the Minister said. 'The new law will include an integrated strategy for mining surveys, exploration and geological assessments besides the preparation of new mining maps.' Egypt, locked in IMF-recommended reforms, stepped up its mining investment drive in 2024 with the creation of a landmark mining portal. The portal includes maps and data for investors seeking to embark on minerals projects in the third largest Arab economy after Saudi Arabia and the UAE. 'This platform is designed facilitate investment opportunities for those interested in setting up minerals project in Egypt…it will also promote the country's mining sector abroad and provide information on mining project bids…technical evaluation of the new portal has been completed and it will be launched soon,' the Petroleum and Mineral Resources Ministry said last year. It said the platform will cover 27 metals, including gold, zinc and iron, adding that Egypt is rapidly becoming a key metal producer and exporter. In 2023, metal production stood at around 13 million tonnes and exports exceeded 2.3 million tonnes, it added. (Writing by Nadim Kawach; Editing by Anoop Menon) (
