"Portrait of Ameen Rihani through his handwriting" by Mary Haskell
Introduction: Glen Kalem-Habib
Researcher: Francesco Medici
Transcriptions: Philippe Marysael
Graphology by definition is summed up as "the analysis of the physical characteristics and patterns of handwriting claiming to be able to identify the writer, indicating the psychological state at the time of writing, or evaluating personality characteristics"
It is not quite known when Mary Elizabeth Haskell (1873-1964) developed a strong interest in the pseudoscience of graphology, but upon the recent discovery of a French article translated by Fouad Sader for the Lebanese-French Magazine "La Revue du Liban" on the 12th of November 1944, we now have a glimpse of what those skills were li...
Le Sable et l'Écume : Recueil d'Aphorismes
By Philippe Maryssael
In 1926, the fourth book that Kahlil Gibran wrote in English was published in New York: Sand and Foam (A Book of Aphorisms). It contains 322 short aphorisms that were compiled with the help of Barbara Young, Gibran's secretary between 1925 and 1931.
They are ideas that Gibran jotted down in his notebook or on odd pieces of paper in English or in Arabic. Gibran and his benefactress Mary Haskell went through the collection and decided they were worth publishing...
The book forms the most intimate and personal of his writings...
by Philippe Maryssael, retired translator and terminologist.
Arlon, Belgium, 2 November 2019.
“And you, vast sea, sleeping mother”: a short, six-word sentence at the top of page 10 of the first edition of Kahlil Gibran’s The Prophet, published in 1923, was later changed to “And you, vast sea, sleepless mother.”
The aim of this paper is to try and provide answers to the following questions: when did the change occur?, why did Kahlil Gibran ask his publisher, Alfred Knopf, to change his text?, and who could have influenced Gibran to change it?
Also considered in this paper is the question of the versions of the text that were used by the men and w...
Research on the Spread and Influence of Gibran in China
The Contrast between Translation and Research and its Reflection
By Lijuan Gan, Professor, Tianjin Normal University
Xuehua Miao, Associate Professor, Harbin Normal University
Wei Liang, Instructor, Hunan-First Normal University
Edited by Glen Kalem-Habib
In November 2013, I had the pleasure of being invited to attend a three-day Middle Eastern literature conference at Peking...
By Todd Fine
Originally Published on HuffPost 06/15/2017
The field of Arab American studies is being revolutionized by a movement of independent scholars that is leveraging the new accessibility of genealogical information and newspapers in digital databases. Important topics like the history of the “Syrian quarter” in Lower Manhattan and the biographies of key Arab American political and literary figures are being finally written by scholars like Linda Jacobs, Jean Gibran, Charles Malouf Samaha, Francesco Medici, Mary Ann DiNapoli, Gregory J. Shibley, and Robert Goodhouse.
Mercedes de Acosta: “Gibran Was a Great Spiritual Teacher”
edited by Francesco Medici and Glen Kalem-Habib
Mercedes de Acosta (1892-1968) was an American poet, playwright, and novelist. She was professionally unsuccessful but is known for her many lesbian relationships with famous Broadway and Hollywood personalities and numerous friendships with prominent artists of the period.
edited by Francesco Medici and Glen Kalem
Kahlil Gibran tried out his early poetry on Josephine Peabody (1874-1922), a fine American poet and dramatist, and instructor in English at Wellesley College from 1901 to 1903. He attempted to explain what he was up to in his Arabic poems to his friend, and took with her his first tottering steps in English composition.
One of those immature prose poems remains, dating probably from 1904, among Josephine’s papers in Harvard University Library:
by Joseph Nahas
edited by Francesco Medici and Glen Kalem
One day, instead of eating our lunch at the restaurant, Gibran and I prepared our own sandwiches and walked over to Battery Park. There we saw a blind man sitting on a bench, running his fingers over a white page covered with dots protruding through embossing. The man’s lips moved as if he were whispering to himself, as his fingers moved over the white sheet. As we passed by the blind man, Gibran remarked, “Let’s sit on the adjoining bench, eat our sandwiches quietly while watching this man with ‘seeing fingers.’” We sat down eating, while our eyes were fixed on the blind man, watching the expressions on his face, smiling now, frowning then, as his fingers deftly moved over one line after another, page after page. ...