Cairo Quotes

We've searched our database for all the quotes and captions related to Cairo. Here they are! All 100 of them:

Joel Cairo: You always have a very smooth explanation ready. Sam Spade: What do you want me to do, learn to stutter?
Dashiell Hammett (The Maltese Falcon)
You go away for a long time and return a different person - you never come all the way back.
Paul Theroux (Dark Star Safari: Overland from Cairo to Cape Town)
الذين يسافرون يتغيرون.. تتغير نظرتهم للحياة.. تتغير فكرتهم عن الرفاهية.. عن رائحة الهواء.. عن معنى الراحة.. وربما عن الانتماء
أحمد مهنى (Cairo mood - مزاج القاهرة)
Because a lost little girl from Cairo thought she was living in some sort of fairy tale. And because for all her supposed cleverness, she couldn’t see that the dashing hero who saved her was its monster.
S.A. Chakraborty (The Kingdom of Copper (The Daevabad Trilogy, #2))
When rivers flooded, when fire fell from the sky, what a fine place the library was, the many rooms, the books. With luck, no one found you. How could they!--when you were off to Tanganyika in '98, Cairo in 1812, Florence in 1492!?
Ray Bradbury (Something Wicked This Way Comes)
My mother is from Cairo, Georgia. This makes everything she says sound like it went through a curling iron.
Augusten Burroughs (Running with Scissors)
الجمال كالسراب لا يُرى إلا من بعيد.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
The measure of civilized behavior is compassion.
Paul Theroux (Dark Star Safari: Overland from Cairo to Cape Town)
كم قتلنى الشوق إليك وأنت لا تحس لى وجوداً.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
Space is about 100 kilometers away. That’s far away—I wouldn’t want to climb a ladder to get there—but it isn’t that far away. If you’re in Sacramento, Seattle, Canberra, Kolkata, Hyderabad, Phnom Penh, Cairo, Beijing, central Japan, central Sri Lanka, or Portland, space is closer than the sea.
Randall Munroe (What If?: Serious Scientific Answers to Absurd Hypothetical Questions)
The other thing that troubled me: Dad was clutching his workbag. Usually when he does that, it means we're in danger. Like the time gunmen stormed into our hotel in Cairo. I heard shots coming from the lobby and ran downstairs to check on my dad. By the time I got there, he was just calmly zipping up his workbag while three unconscious gunmen hung by their feet from the chandelier, their robes falling over their heads so you could see their boxer shorts. Dad claimed not to have witnessed anything, and in the end the police blamed a freak chandelier malfunction.
Rick Riordan (The Red Pyramid (Kane Chronicles, #1))
في حياتي البسيطة كنت أخجل من التصريح بأني أحتاج أحيانا للطبطبة أكثر من توقف الألم ذاته...
أحمد مهنى (Cairo mood - مزاج القاهرة)
Sometimes when she is able to spend the night with him they are wakened by the three minarets of the city beginning their prayers before dawn. He walks with her through the indigo markets that lie between South Cairo and her home. The beautiful songs of faith enter the air like arrows, one minaret answering another, as if passing on a rumor of the two of them as they walk through the cold morning air, the smell of charcoal and hemp already making the air profound. Sinners in a holy city.
Michael Ondaatje (The English Patient)
هل يكمل الرجل إلا بالعشق ؟
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
I just met a wonderful new man, he is fictional but you can't have everything
Woody Allen
When I lived in South Africa, someone told me what the longest road in Africa is. It's not the road from Cairo to Capetown, it's the way from your head to your heart, and from there to the here and now.
Bert Hellinger
I added that it was no fun to grow old, but that the compensation for it was that time turned your mental shit-detector into a highly calibrated instrument.
Paul Theroux (Dark Star Safari: Overland from Cairo to Cape Town)
You go away for a long time and return a different person - you never come all the way back
Paul Theroux (Dark Star Safari: Overland from Cairo to Cape Town)
When you have half of Caironese in slums, when you don't have clean water, when you don't have a sewer system, when you don't have electricity, and on top of that you live under one of the most repressive regimes right now... Well, put all that together, and it's a ticking bomb. It's not of a question of threat; it is question of looking around at the present environment and making a rational prognosis.
Mohamed ElBaradei
الأصدقاء الذين صنعوا معي حياتي لم يعد لأي منهم وجود، لم أعد أراهم مطلقا، لم يعد بيننا نفس الاهتمامات المشتركة، وربما الرؤى أيضا تبدلت، ليس لأن الحياة شغلتنا، ولكن ربما لأننا كنا أضعف من المواجهة، أو ربما لأن الحياة فعلا شغلتنا
أحمد مهنى (Cairo mood - مزاج القاهرة)
الثورة وأعمالها فضائل لا شك فيها ما دامت بعيدة عن بيته.. فإذا طرقت بابه، وإذا هددت أمنه وسلامته وحياة أبنائه، تغير طعمها ولونها ومغزاها. انقلبت هوسا وجنونا وعقوقا وقلة أدب.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
ربما كان في وسع الإرادة القوية أن تتيح لنا أكثر من مستقبل واحد ولكننا لن يكون لنا-مهما أوتينا من إرادة- إلا ماض واحد لا مفر منه ولا مهرب.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
In the calculus of good deeds you have the most to gain.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
paraphrasing.."Science is the language of the intellect of society. Art is language of the entire human personality.
Naguib Mahfouz (Palace Walk / Palace of Desire / Sugar Street (The Cairo Trilogy #1-3))
كل شئ يُواصل حياته المعهودة كأن شيئاً لم يحدث.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
I am who I am because of that human world. It wasn’t the Banu Nahida who’d driven the peris to their knees, it was the con artist of Cairo, and Nahri wouldn’t cast her away.
S.A. Chakraborty (The Empire of Gold (The Daevabad Trilogy, #3))
I believe in life and in people. I feel obliged to advocate their highest ideals as long as I believe them to be true. I also see myself compelled to revolt against ideals I believe to be false, since recoiling from rebellion would be a form of treason
Naguib Mahfouz (Palace Walk / Palace of Desire / Sugar Street (The Cairo Trilogy #1-3))
القلب هو كل شئ، وهو عند الله فوق الصلاة والصوم.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
Visit me once each year, for it's wrong to abandon people forever.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
You and I may go to Harvard, we may go to York of England, or go to Al Ahzar in Cairo and get degrees from all of these great seats of learning. But we will never be recognized until we recognize our women.
Elijah Muhammad (Message To The Blackman In America)
يندر أن يُرضى العقل والحكمة طموح عاطفة لا تعرف بطبعها الحدود.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
The way love can disregard fears, however, is an age-old wonder. No fear is able to spoil love's development or keep it from dreaming of its appointed hour.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
إن لأخبار السوء رائحة تزكم الأنوف.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
Yes,' Spade growled. 'And when you're slapped you'll take it and like it.' He released Cairo's wrist and with a thick open hand struck the side of his face three times savagely.
Dashiell Hammett (The Maltese Falcon)
سرعان ما حجبت الذكريات الحاضر كله.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
عندما اوقفنى الخوف من المستقبل عن اخذ القرار بجدية , شعرت بالعجز و الجبن .. لكن قررت ان استمر , ليس لاثبت لنفسى اننى قادر على ان افعل ,, لكن لاختبر ثقتى بالله
أحمد مهنى (Cairo mood - مزاج القاهرة)
And her father always said if people were going to stare, you should give them a show.
P. Djèlí Clark (A Dead Djinn in Cairo (Dead Djinn Universe, #0.1))
Love the life you have been given. And be humbled by it. It is not to be despised.
G. Willow Wilson
After that month in Cairo she was muted, read constantly, kept more to herself, as if something had occurred or she realized suddenly that wondrous thing about the human being, it can change. She did not have to remain a socialite who had married an adventurer. She was discovering herself. It was painful to watch, because Clifton could not see it, her self-education.
Michael Ondaatje (The English Patient)
وراء إرادتنا دنيا وشيطان، تهزأ من تصميمنا وتُفسد علينا نوايانا الطيبة.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
In 1491 the Inka ruled the greatest empire on earth. Bigger than Ming Dynasty China, bigger than Ivan the Great’s expanding Russia, bigger than Songhay in the Sahel or powerful Great Zimbabwe in the West Africa tablelands, bigger than the cresting Ottoman Empire, bigger than the Triple Alliance (as the Aztec empire is more precisely known), bigger by far than any European state, the Inka dominion extended over a staggering thirty-two degrees of latitude—as if a single power held sway from St. Petersburg to Cairo.
Charles C. Mann (1491: New Revelations of the Americas Before Columbus)
God in His infinite wisdom Did not make me very wise— So when my actions are stupid They hardly take God by surprise
Olen Steinhauer (The Cairo Affair (The Cairo Affair, #1))
هل تضيع الآمال اليوم كما ضاعت بالأمس ؟
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
ليست ثمة مصيبة أفدح من أن يجمعك بيت واحد بحسناء إلى الأبد ..
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
كيف أُحمل نفسي مشقة العجب لوقوع شئ باعتباره بعيداً عن التصديقما دمت ألمسه واقعاً ! إنه من السخف أن أتساءل ذاهلاً هل يُمكن تصديق هذا.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
Don't go back over the past. Let it depart, never to return.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
The wish to disappear sends many travelers away. If you are thoroughly sick of being kept waiting at home or at work, travel is perfect: let other people wait for a change. Travel is a sort of revenge for having been put on hold, or having to leave messages on answering machines, not knowing your party's extension, being kept waiting all your working life - the homebound writer's irritants. But also being kept waiting is the human conditon.
Paul Theroux (Dark Star Safari: Overland from Cairo to Cape Town)
والأشواق فى مغانى الطرب تثار.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
إذا إنزكمت القاهرة عطست بغداد و سعلت الدار البيضاء و دعت لنا بالشفاء الرياض
أنيس منصور (قل لي يا أستاذ)
Cairo and Alexandria were cosmopolitan not so much because they contained foreigners, but because the Egyptian born in them is himself a stranger to his land.
Waguih Ghali (Beer in the Snooker Club (Twentieth Century Lives))
In 1942 the Germans sent a spy called Eppler into Cairo before the battle of El Alamein. He used a copy of Daphne du Maurier’s novel Rebecca as a code book to send messages back to Rommel on troop movements. Listen, the book became bedside reading with British Intelligence. Even I read it.
Michael Ondaatje (The English Patient)
That was my Malawian epiphany. Only Africans were capable of making a difference in Africa. All the others, donors and volunteers and bankers, however idealistic, were simply agents of subversion.
Paul Theroux (Dark Star Safari: Overland from Cairo to Cape Town)
إذا لم نقابل الارهاب بالغضب الذي يستحقه فلا عاش الوطن بعد اليوم، لا يجوز أن تنعم البلاد بالسلام و زعيمها الذي قدم نفسه فدية لها يعاني عذاب الأسر ...!
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
...love is like health. It is taken lightly when present and cherished when it departs.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
An anxious heart is like a string that's out of tune.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
Back at the Euphrates, when I asked if you wanted to continue, and you took my hand... would you do it again? Should I have stopped, returned you to Cairo — " Nahri instantly reached for his hand. "I would do it again, Dara. I would take your hand a thousand times over.
S.A. Chakraborty (The Empire of Gold (The Daevabad Trilogy, #3))
My mother is from Cairo, Georgia. This makes everything she says sound like it went through a curling iron. Other people sound flat to my ear; their words just hang in the air. But when my mother says something, the ends curl.
Augusten Burroughs (Running with Scissors)
After the war Cairo became a sanctuary for Nazis, who advised the military and the government. The rise of the Islamist movement coincided with the decline of fascism, but they overlapped in Egypt, and the germ passed into a new carrier.
Lawrence Wright (The Looming Tower)
Ask me how many people, right here in Cairo, have blood sugar sickness,” he said. Fatma blinked. “I don’t—” “No, go ahead. Ask me.” “How many people in Cairo have blood sugar sickness?” “Ya Allah! I have no idea! I’m terrible with numbers!
P. Djèlí Clark (A Master of Djinn (Dead Djinn Universe, #1))
لكى تضمن الإنتصار على غريم ينبغى أن تفترض فيه الغاية من المناعة والبأس.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
The purpose of infographics and data visualizations is to enlighten people—not to entertain them, not to sell them products, services, or ideas, but to inform them. It’s as simple—and as complicated—as that.
Alberto Cairo (Truthful Art, The: Data, Charts, and Maps for Communication (Voices That Matter))
What I remembered most clearly about this Jinja road was that on portions of it, for reasons no one could explain, butterflies settled in long fluffy tracts. There might be eighty feet of road carpeted by white butterflies, so many of them that if you drove too fast your tires lost their grip, and some people lost their lives, skidding on butterflies.
Paul Theroux (Dark Star Safari: Overland from Cairo to Cape Town)
Egyptians undergo an odd personality change behind the wheel of a car. In every other setting, aggression and impatience are frowned upon. The unofficial Egyptian anthem "Bokra, Insha'allah, Malesh" (Tomorrow, God Willing, Never Mind) isn't just an excuse for laziness. In a society requiring millennial patience, it is also a social code dictating that no one make too much of a fuss about things. But put an Egyptian in the driver's seat and he shows all the calm and consideration of a hooded swordsman delivering Islamic justice.
Tony Horwitz (Baghdad without a Map and Other Misadventures in Arabia)
إننا نتنكر بالعمر.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
Did you wake up feeling particularly gay this morning?
Laney Cairo (Bad Case of Loving You)
I asked father whether they led. 'Like everything else in Cairo' he said, 'Round and round in circles, to everywhere and nowhere.
Noel Barber (A Woman of Cairo)
استهانة الحب بالمخاوف عجب قديم.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
At times people who are extremely sad become lighthearted for the most trivial reasons, merely to obtain the relief furnished by the exactly opposite condition.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
ثم إن هنالك أمورًا لا يُمكن أن تُنسى.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
لشد ما حزن حتى رسبت عكارة الحزن في أحلامه.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
There is a new crisis in the Middle East. A report from Beirut, via Cairo, says that Syrian tanks of the most modern Russian design have crossed the Jordanian frontier. This is undoubtedly a threat to Israel. At the same time Damascus charges that Turkish troops are mobilizing….” Florence
Pat Frank (Alas, Babylon)
كنت في مصر اجنبية لعدم قدرتي على تحدث العربية وفي فرنسا حيث اقمنا مؤقتا لفترة وجيزة، ورغم طلاقتي في التحدث بالفرنسية، كنت ايضا اجنبية لأني مصرية، وفي امريكا مازلت أجنبية لأني قادمة من القاهرة وباريس. بدا ان ذلك هو قدري المحتوم، ان اكون دائما اجنبية بصرف النظر عن اي مكان من العالم اقطن.
Lucette Lagnado (The Man in the White Sharkskin Suit: My Family's Exodus from Old Cairo to the New World)
Fred Astaire. Not a handsome man. He said himself he couldn’t sing. He was balding his whole life. He danced like a cheetah runs, with the grace of the first creation. I mean, that first week. On one of those days God created Fred Astaire. Saturday maybe, since that was the day for the pictures. When you saw Fred you felt better about everything. He was a cure. He was bottled in the films and all around the earth, from Castlebar to Cairo, he healed the halt and the blind. That’s the gospel truth. St Fred. Fred the Redeemer.
Sebastian Barry (The Secret Scripture (McNulty Family))
After living for a month in his home, her character had been infected with the virus of submission to his will, which terrified everyone in the house.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
We all have our alloted portions of black and white paint; how we lay it on is a question of temperament.
Ewart S. Grogan (From The Cape To Cairo: The First Traverse Of Africa From South To North)
The Swahili word safari means journey, it has nothing to do with animals, someone ‘on safari’ is just away and unobtainable and out of touch.
Paul Theroux (Dark Star Safari: Overland from Cairo to Cape Town)
فرجت مصراعي النافذة ووقفت وراءها وقلبها يبعث ضربات بالغة العنف من العاطفة والخوف معاً، كأنها تلعن حبها له، بل كانت كمن يقذف بنفسه من علو ساحق ليتقي ناراً مستعرة تحيط به.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
This is indeed a funny country. Yesterday, for example, we were in a cafe which is one of the best in Cairo, and there were, at the same time as ourselves, inside, a donkey shitting, and a gentleman who was pissing in a corner. No one finds that odd; no one says anything.
Gustave Flaubert (Flaubert in Egypt: A Sensibility on Tour)
Clarice, the glorious city, has a tormented history. Several times it decayed, then burgeoned again, always keeping the first Clarice as an unparalleled model of every splendor, compared to which the city’s present state can only cause more sighs at every fading of the stars.
Italo Calvino (Invisible Cities)
Now this was like trying to comprehend all the activity of an anthill, and read all the words in a book, and feel all the splendor of a cathedral, in one glance. Jack’s mind was not equal to the demands that Cairo placed on it, and so for a long while he fixed his attention on small and near matters, as if he were a boy peering through a hollow reed.
Neal Stephenson (The Confusion (The Baroque Cycle, #2))
إن اللهو لا يُغير ما بقلوب الرجال !
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
من أهم صفات القاهرة أنها مدينة بلا أرصفة .. أنها مدينة تدعو الناس إلى أن يتحولوا إلى أبراصا تمشي على الجدران
أنيس منصور (معذبون فى كل أرض)
between the beginning of time and 2003, humanity generated roughly five exabytes of data, whereas we now produce the same volume of bits every two days.
Alberto Cairo (Functional Art, The: An introduction to information graphics and visualization (Voices That Matter))
كما تشاء!.. منذا يردّ لك مشيئة؟!.. تزوجني وتطلقني.. تحييني وتميتني، لست هنا، خديجة عائشة فهمي ياسين.. الكل واحد، الكل لا شيء، أنت كل شيء.. كلا.. لكل شيء حد، لم أعد طفلاً، رجلاً مثلك سواء بسواء، أنا الذي أقرر مصيري، أطلق أو أودعها بيت الطاعة، تراب حذائي بمحمد عفت وزينب وصداقتكما. -مالك لا تتكلم؟ فقال دون تردد: -أمرك يا أبي... أي عيشة وأي بيت وأي أب، زجر وتأديب ونصائح، أزجر نفسك.. أدب نفسك.. انصح نفسك، أنسيت زبيدة؟.. وجليلة؟.. والغناء والشراب؟.. ثم تطالعنا بعمامة شيخ الإسلام وسيف أمير المؤمنين، لم أعد طفلاً، اعتن بالقصَّر ودعني وشأني، تزوج.. أمرك يا فندم.. طلِّق.. أمرك يا فندم.. ملعون أبوك.
Naguib Mahfouz (Palace Walk (The Cairo Trilogy, #1))
Habits never really disappear. They’re encoded into the structures of our brain, and that’s a huge advantage for us, because it would be awful if we had to relearn how to drive after every vacation. The problem is that your brain can’t tell the difference between bad and good habits, and so if you have a bad one, it’s always lurking there, waiting for the right cues and rewards. This explains why it’s so hard to create exercise habits, for instance, or change what we eat. Once we develop a routine of sitting on the couch, rather than running, or snacking whenever we pass a doughnut box, those patterns always remain inside our heads. By the same rule, though, if we learn to create new neurological routines that overpower those behaviors—if we take control of the habit loop—we can force those bad tendencies into the background, just as Lisa Allen did after her Cairo trip. And once someone creates a new pattern, studies have demonstrated, going for a jog or ignoring the doughnuts becomes as automatic as any other habit.
Charles Duhigg (The Power of Habit: Why We Do What We Do in Life and Business)
Travel is transition, and at its best it is a journey from home, a setting forth. I hated parachuting into a place. I needed to be able to link one place to another. One of the problems I had with travel in general was the ease and speed with which a person could be transported from the familiar to the strange, the moon shot whereby the New York office worker, say, is insinuated overnight into the middle of Africa to gape at gorillas. That was just a way of feeling foreign. The other way, going slowly, crossing national frontiers, scuttling past razor wire with my bag and my passport, was the best way of being reminded that there was a relationship between Here and There, and that a travel narrative was the story of There and Back.
Paul Theroux (Dark Star Safari: Overland from Cairo to Cape Town)
They say the closest ones to ya are the same ones who’ll sneak up behind ya and stick the knife through ya. Sleepin’ on me is your biggest mistake. Close ya eyes, and ya’ll find ya’self in a river of blood. One for the money, one for the nut, one bullet to the skull…nigga, what?!
Cairo (The Kat Trap)
Maputo was much praised as a desirable destination, but it was a dreary, beat-up city of desperate people who had cowered there while war raged in the provinces for twenty-five years, destroying bridges, roads, and railways. Banks and donors and charities claimed to have had successes in Mozambique. I suspected they invented these successes to justify their existence; I saw no positive results of charitable efforts. But whenever I expressed skepticism about the economy, the unemployment, the potholes, or the petty thievery, people in Maputo said, as Africans elsewhere did, 'It was much worse before.' In many places, I knew, it was much better before. It was hard to imagine how much worse a place had to be for a broken-down city like Maputo to seem like an improvement.
Paul Theroux (Dark Star Safari: Overland from Cairo to Cape Town)
Let me tell you something, man. I sat here at this desk during the war as one report after another of Arab sellouts came in. The Egyptian Chief of Staff selling secrets to the Germans; Cairo all decked out to welcome Rommel as their liberator; the Iraqis going to the Germans; the Syrians going to the Germans; the Mufti of Jerusalem a Nazi agent. I could go on for hours. You must look at Whitehall’s side of this, Bruce. We can’t risk losing our prestige and our hold on the entire Middle East over a few thousand Jews.” Sutherland sighed. “And this is our most tragic mistake of all, Sir Clarence. We are going to lose the Middle East despite it.” “You are all wound up, Bruce.” “There is a right and a wrong, you know.” General Sir Clarence Tevor-Browne smiled slightly and shook his head sadly. “I have learned very little in my years, Bruce, but one thing I have learned. Foreign policies of this, or any other, country are not based on right and wrong. Right and wrong? It is not for you and me to argue the right or the wrong of this question. The only kingdom that runs on righteousness is the kingdom of heaven. The kingdoms of the earth run on oil. The Arabs have oil.” Bruce Sutherland was silent. Then he nodded. “Only the kingdom of heaven runs on righteousness,
Leon Uris (Exodus)
For Eric, Columbine was a performance. Homicidal art. He actually referred to his audience in his journal: “the majority of the audience wont even understand my motives,” he complained. He scripted Columbine as made-for-TV murder, and his chief concern was that we would be too stupid to see the point. Fear was Eric’s ultimate weapon. He wanted to maximize the terror. He didn’t want kids to fear isolated events like a sporting event or a dance; he wanted them to fear their daily lives. It worked. Parents across the country were afraid to send their kids to school. Eric didn’t have the political agenda of a terrorist, but he had adopted terrorist tactics. Sociology professor Mark Juergensmeyer identified the central characteristic of terrorism as “performance violence.” Terrorists design events “to be spectacular in their viciousness and awesome in their destructive power. Such instances of exaggerated violence are constructed events: they are mind-numbing, mesmerizing theater.” The audience—for Timothy McVeigh, Eric Harris, or the Palestine Liberation Organization—was always miles away, watching on TV. Terrorists rarely settle for just shooting; that limits the damage to individuals. They prefer to blow up things—buildings, usually, and the smart ones choose carefully. “During that brief dramatic moment when a terrorist act levels a building or damages some entity that a society regards as central to its existence, the perpetrators of the act assert that they—and not the secular government—have ultimate control over that entity and its centrality,” Juergensmeyer wrote. He pointed out that during the same day as the first attack on the World Trade Center, in 1993, a deadlier attack was leveled against a coffee shop in Cairo. The attacks were presumably coordinated by the same group. The body count was worse in Egypt, yet the explosion was barely reported outside that country. “A coffeehouse is not the World Trade Center,” he explained. Most terrorists target symbols of the system they abhor—generally, iconic government buildings. Eric followed the same logic. He understood that the cornerstone of his plan was the explosives. When all his bombs fizzled, everything about his attack was misread. He didn’t just fail to top Timothy McVeigh’s record—he wasn’t even recognized for trying. He was never categorized with his peer group. We lumped him in with the pathetic loners who shot people.
Dave Cullen (Columbine)
A humorous treatment of the rigid uniformitarian view came from Mark Twain. Although the shortening of the Mississippi River he referred to was the result of engineering projects eliminating many of the bends in the river, it is a thought-provoking spoof: The Mississippi between Cairo and New Orleans was twelve hundred and fifteen miles long one hundred and seventy-six years ago. . . . Its length is only nine hundred and seventy-three miles at present. Now, if I wanted to be one of those ponderous scientific people, and “let on” to prove what had occurred in the remote past by what had occurred in a given time in the recent past . . . what an opportunity is here! Geology never had such a chance, nor such exact data to argue from! . . . In the space of one hundred and seventy-six years the Lower Mississippi has shortened itself two hundred and forty-two miles. That is an average of a trifle over one mile and a third per year. Therefore, any calm person, who is not blind or idiotic, can see that in the Old Oolitic Silurian Period, just a million years ago next November, the Lower Mississippi River was upwards of one million three hundred thousand miles long, and stuck out over the Gulf of Mexico like a fishing-rod. And by the same token any person can see that seven hundred and forty-two years from now the lower Mississippi will be only a mile and three-quarters long. . . . There is something fascinating about science. One gets such wholesale returns of conjecture out of such a trifling investment of fact.
Mark Twain (Life on the Mississippi)
Many things combine to show that Midaq Alley is one of the gems of times gone by and that it once shone forth like a flashing star in the history of Cairo. Which Cairo do I mean? That of the Fatimads, the Mamlukes, or the Sultans? Only God and the archaeologists know the answer to that, but in any case, the alley is certainly an ancient relic and a precious one. How could it be otherwise with its stone-paved surface leading directly to the historic Sanadiqiya Street. And then there is its cafe known as "Kirsha's". Its walls decorated with multicolored arabesques, now crumbling, give off strong odors from the medicines of olden times, smells which have now become the spices and folk-cures of today and tomorrow ... Although Midaq Alley lives in almost complete isolation from all surrounding activity, it clamors with a distinctive and personal life of its own. Fundamentally and basically, its roots connect with life as a whole and yet, at the same time, it retains a number of the secrets of a world now past.
Naguib Mahfouz
You. Man at the machine and man in the workshop. If tomorrow they tell you you are to make no more water-pipes and saucepans but are to make steel helmets and machine-guns, then there's only one thing to do: Say NO! You. Woman at the counter and woman in the office. If tomorrow they tell you you are to fill shells and assemble telescopic sights for snipers' rifles, then there's only one thing to do: Say NO! You. Research worker in the laboratory. If tomorrow they tell you you are to invent a new death for the old life, then there's only one thing to do: Say NO! You. Priest in the pulpit. If tomorrow they tell you you are to bless murder and declare war holy, then there's only one thing to do: Say NO! You. Pilot in your aeroplane. If tomorrow they tell you you are to carry bombs over the cities, then there's only one thing to do: Say NO! You. Man of the village and man of the town. If tomorrow they come and give you your call-up papers, then there's only one thing to do: Say NO! You. Mother in Normandy and mother in the Ukraine, mother in Vancouver and in London, you on the Hwangho and on the Mississippi, you in Naples and Hamburg and Cairo and Oslo - mothers in all parts of the earth, mothers of the world, if tomorrow they tell you you are to bear new soldiers for new battles, then there's only one thing to do: Say NO! For if you do not say NO - if YOU do not say no - mothers, then: then! In the bustling hazy harbour towns the big ships will fall silent as corpses against the dead deserted quay walls, their once shimmering bodies overgrown with seaweed and barnacles, smelling of graveyards and rotten fish. The trams will lie like senseless glass-eyed cages beside the twisted steel skeleton of wires and track. The sunny juicy vine will rot on decaying hillsides, rice will dry in the withered earth, potatoes will freeze in the unploughed land and cows will stick their death-still legs into the air like overturned chairs. In the fields beside rusted ploughs the corn will be flattened like a beaten army. Then the last human creature, with mangled entrails and infected lungs, will wander around, unanswered and lonely, under the poisonous glowing sun, among the immense mass graves and devastated cities. The last human creature, withered, mad, cursing, accusing - and the terrible accusation: WHY? will die unheard on the plains, drift through the ruins, seep into the rubble of churches, fall into pools of blood, unheard, unanswered, the last animal scream of the last human animal - All this will happen tomorrow, tomorrow, perhaps, perhaps even tonight, perhaps tonight, if - if - You do not say NO.
Wolfgang Borchert
Malaka Nazli hadn’t simply been a place, I realized, but a state of mind. It was where you could find an extraordinary, breathtaking level of humanity. What it lacked in privacy, what it failed to provide by way of modern comforts—hot running water, showers, electric stoves, refrigerators, telephones—it more than made up for in mercy and compassion and tenderness and grace, those ethereal qualities that make and keep us human.
Lucette Lagnado (The Man in the White Sharkskin Suit: A Jewish Family's Exodus from Old Cairo to the New World (P.S.))
From the very beginnings of Islam, the search for knowledge has been central to our cultures. I think of the words of Hazrat Ali ibn Abi Talib, the first hereditary Imam of the Shia Muslims, and the last of the four rightly-guided Caliphs after the passing away of the Prophet (may peace be upon him). In his teachings, Hazrat Ali emphasized that ‘No honour is like knowledge.’ And then he added that ‘No belief is like modesty and patience, no attainment is like humility, no power is like forbearance, and no support is more reliable than consultation.’ “Notice that the virtues endorsed by Hazrat Ali are qualities which subordinate the self and emphasize others - modesty, patience, humility, forbearance and consultation. What he thus is telling us is that we find knowledge best by admitting first what it is we do not know, and by opening our minds to what others can teach us.” — The Aga Khan IV at the Commencement Ceremony of the American University in Cairo, 25 June 2006
Aga Khan IV
She looked closer at the object she’d mistaken for a bookmark—a length of metallic silver tinged with hints of bright mandarin. She picked it up, holding it aloft as it glinted in the gas lamps’ glare. Aasim cursed, his voice going hoarse. “Is that what I think it is?” Fatma nodded. It was a metallic feather, as long as her forearm. Along its surface, faint lines of fiery script moved and writhed about as if alive. “Holy tongue,” Aasim breathed. “Holy tongue,” she confirmed. “But that means it belongs to . . .” “An angel, ” Fatma finished for him. Her frown deepened. Now what in the many worlds, she wondered, would a djinn be doing with one of these?
P. Djèlí Clark (A Dead Djinn in Cairo (Dead Djinn Universe, #0.1))
It’s one thing building a cloister to reflect the 768 of the numerological Bismillah, it’s another planning a giant alphabet out of an entire city before you’ve even built your first mosque.’ ‘It is, but remember, Sinan was chief architect and city planner at the time of the conquest of Cairo. He practised on that city; demolishing and building where he liked. I have no doubt that he was already forming the idea of a sacred geometry. His first building as Architect of the Abode of Felicity was the Haseki Hürrem Mosque for the Kadin Roxelana. Not his greatest work by any means, and he was working from existing designs, but it was identifiable as his first mature work. There’s a story in his autobiography Tezkiretül Bünyan that while he was surveying the site he noticed that children were pulling live fish from a grating in the street. When he went to investigate he discovered an entire Roman cistern down there. Perhaps it was this that inspired him to realize his vision. Hidden water. The never-ceasing stream of Hurufism.
Ian McDonald (The Dervish House)
I lived through beautiful times, Busayna. It was a different age. Cairo was like Europe. It was clean and smart and the people were well mannered and respectable and everyone knew his place exactly. I was different too. I had my station in life, my money, all my friends were of a certain niveau, I had my special places where I would spend the evening—the Automobile Club, the Club Muhammad Ali, the Gezira Club. What times! Every night was filled with laughter and parties and drinking and singing. There were lots of foreigners in Cairo. Most of the people living downtown were foreigners, until Abd el Nasser threw them out in 1956.” “Why did he throw them out?” “He threw the Jews out first, then the rest of the foreigners got scared and left. By the way, what’s your opinion of Abd el Nasser?” “I was born after he died. I don’t know. Some people say he was a hero and others say he was a criminal.” “Abd el Nasser was the worst ruler in the whole history of Egypt. He ruined the country and brought us defeat and poverty. The damage he did to the Egyptian character will take years to repair. Abd el Nasser taught the Egyptians to be cowards, opportunists, and hypocrites.” “So why do people love him?” “Who says people love him?” “Lots of people that I know love him.” “Anyone who loves Abd el Nasser is either an ignoramus or did well out of him. The Free Officers were a bunch of kids from the dregs of society, destitutes and sons of destitutes. Nahhas Basha was a good man and he cared about the poor. He allowed them to join the Military College and the result was that they made the coup of 1952. They ruled Egypt and they robbed it and looted it and made millions. Of course they have to love Abd el Nasser; he was the boss of their gang.
Alaa Al Aswany (The Yacoubian Building)
For the first time in his life, Midhat wished he were more religious. Of course he prayed, but though that was a private mechanism it sometimes felt like a public act, and the lessons of the Quran were lessons by rote, one was steeped in them, hearing them so often. They were the texture of his world, and yet they did not occupy that central, vital part of his mind, the part that was vibrating at this moment, on this train, rattling forward while he struggled to hold all these pieces. As a child he had felt some of the same curiosity he held for the mysteries of other creeds—for Christianity with its holy fire, the Samaritans with their alphabets—but that feeling had dulled while he was still young, when traditional religion began to seem a worldly thing, a realm of morals and laws and the same old stories and holidays. They were acts, not thoughts. He faced the water now along the coast, steadying his gaze on the slow distance, beyond the blur of trees pushing past the tracks, on the desolate fishing boats hobbling over the waves. He sensed himself tracing the lip of something very large, something black and well-like, a vessel which was at the same time an emptiness, and he thought, without thinking precisely, only feeling with the tender edges of his mind, what the Revelation might have been for in its origin. Why it was so important that they could argue to the sword what it meant if God had hands, and whether He had made the universe. Underneath it all was a living urgency, that original issue of magnitude; the way several hundred miles on foot could be nothing to the mind, Nablus to Cairo, one thought of a day’s journey by train, but placed vertically that same distance in depth exposed the body’s smallness and suddenly one thought of dying. Did one need to face the earth, nose to soil, to feel that distance towering above? There was something of his own mortality in this. Oh then but why, in a moment of someone else’s death, must he think of his own disappearance?
Isabella Hammad (The Parisian)
Sometimes, she said, she could recognize a place just by the quality of the light. In Lisbon, the light at the end of spring leans madly over the houses, white and humid, and just a little bit salty. In Rio de Janeiro, in the season that the locals instinctively call ‘autumn’, and that the Europeans insist disdainfully is just a figment of their imagination, the light becomes gentler, like a shimmer of silk, sometimes accompanied by a humid grayness, which hangs over the streets, and then sinks down gently into the squares and gardens. In the drenched land of the Pantanal in Mato Grosso, really early in the morning, the blue parrots cross the sky and they shake a clear, slow light from their wings, a light that little by little settles on the waters, grows and spreads and seems to sing. In the forests of Taman Negara in Malaysia, the light is like a liquid, which sticks to your skin, and has a taste and a smell. It’s noisy in Goa, and harsh. In Berlin the sun is always laughing, at least during those moments when it manages to break through the clouds, like in those ecological stickers against nuclear power. Even in the most unlikely skies, Ângela Lúcia is able to discern shines that mustn’t be forgotten; until she visited Scandinavia she’d believed that in that part of the world during the winter months light was nothing but the figment of people’s imagination. But no, the clouds would occasionally light up with great flashes of hope. She said this, and stood up, adopting a dramatic pose: ‘And Egypt? In Cairo? Have you ever been to Cairo?… To the pyramids of Giza?…’ She lifted her hands and declaimed: ‘The light, majestic, falls; so potent, so alive, that it seems to settle on everything like a sort of luminous mist.
José Eduardo Agualusa (The Book of Chameleons)