Class Warrior—Taoist Style. Abdelkéir Khatibi

      INTRODUCTION

      Abdelkébir Khatibi (1938–2009) is considered one of the most prominent writers of postcolonial Francophone literature from North Africa. His list of works includes thirty-six separate titles, and during his lifetime he won literary and intellectual prizes in Morocco and France. Despite the fact that he was a trained sociologist, Khatibi described himself as a poet, saying, “I don’t consider myself a thinker or a philosopher or a critic, even if I often use this or that philosophical or scientific concept. For me, I strive in the direction of the ‘poem.’”¹

      Khatibi grew up in several cities—first El Jadida, then Marrakech and Casablanca. He wrote about these years in his first major literary work, La mémoire tatouée (Tattooed Memory), an experimental autobiography.² He recalls the experience of having his father die when he was seven years old, and how he was subsequently trundled between his mother’s household and that of a loving aunt. It was during these years, he speculates, that he developed an intellectual sensibility that favored multiplicity, the intercultural, and a bearing toward the world and its diversity. In La mémoire tatouée, he wonders self-consciously, “The orphan of a father who had disappeared and two mothers, would I have a sort of toggle set inside me?”³ Later, in Le scribe et son ombre (The scribe and his shadow), a work published one year before his death, he declares: “This multipolar tendency … nourished in me a strong feeling of uncertainty that, by chance, orphaned me of any spiritual master who would have guided my education.”⁴ It would be hard to overemphasize the figure of the orphan in understanding Khatibi’s life and work as it provides him with the poetics that shaped much if not all of his literary production.

      In 1959 Khatibi left Morocco for Paris to attend graduate school; he finished his PhD in sociology at the Sorbonne in 1965. His dissertation was devoted to a sociological reading of the Maghrebi novel in French, the first work to deal with the subject. The three men who sat on his thesis committee were Roland Barthes; René Etiemble, an important figure in the history of the discipline of comparative literature in France; and his principal advisor, Jacques Berque, a prominent sociologist of North Africa.

      Khatibi traveled extensively during his time in Europe, then returned to live in Morocco in 1964. There he hoped to lead a new generation of postcolonial sociologists who could tackle the formidable task of describing Moroccan society on its own terms, outside of Orientalist paradigms. In 1966, he became the director of the Moroccan Institute of Sociology, a post he held until the institute dissolved four years later. Also in 1966, he took up editing a central periodical of Moroccan colonial and postcolonial intellectual life, the Bulletin économique et social du Maroc (The economic and social bulletin of Morocco), a responsibility that he held until 2004.⁵

      He began his teaching career at Mohammed V University in Rabat in 1969, where he continued to work until his untimely death in 2009. Barthes taught there as well in 1969–70, when the two men lived across the street from each other. It was during this time that Barthes proposed a semiotic project on Moroccan traditional dress, which Khatibi declined “with regret”⁶ because he was in the throes of writing La mémoire tatouée.

      In September 1974, Khatibi’s circle of important friends would expand again. That year he met Jacques Derrida at a café in front of Saint-Sulpice in Paris. They would exchange books—Derrida giving his new acquaintance Glas, and Khatibi returning the favor with La blessure du nom propre (The wound of identity) and Vomito blanco.⁷ The two would remain friends until Derrida’s death in 2004.⁸

      While Khatibi admitted that Paris was his second home,⁹ the fact that he did not remain there is significant. Many intellectuals from the decolonizing world who travel to the colonial center do not resettle in their homeland. Khatibi’s reasons for returning to Morocco were professional, personal, and perhaps something more enigmatic. “This country has a real life to it,” he writes. “I owe it my birth, my name, my initial identity. How could I not love it with benevolence? A critical and vigilant benevolence. A homeland isn’t only the place where a person comes into the world, but a personal choice that gives a sense of belonging.”¹⁰

      Morocco also provided him with a felicitous distance from the polarizing effects of Parisian intellectual life, with its

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