Najati Sidqi, "Memoirs of a Palestinian Communist: The Secret Life of Najati Sidqi" (U Texas Press, 2025)

Summary

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Episode Overview

Podcast: New Books Network
Guest: Prof. Margaret Litvin (Boston University), co-translator
Book: Memoirs of a Palestinian Communist: The Secret Life of Najati Sidqi (U Texas Press, 2025)
Host: Ibrahim Fauzi
Date: January 30, 2026

This episode explores the newly translated memoirs of Najati Sidqi, an influential Palestinian communist, anti-fascist, intellectual, and writer. Host Ibrahim Fauzi and translator Margaret Litvin discuss Sidqi's multifaceted legacy, the challenges of capturing his voice and context in translation, and the collaborative process involving undergraduate students. The conversation also delves into why Sidqi's perspective is especially resonant today, both as a window into 20th-century history and as a humanizing counterpoint to stereotyped visions of Palestinian identity.

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Key Discussion Points and Insights

Who Was Najati Sidqi?

• Multifaceted Figure: Sidqi is described as "the elephant and the blind man in that story. Everyone sees a different side of him." (Margaret, 01:45)
• Biography Highlights:
  • Born 1905, Jerusalem; died 1979, Athens
  • Early Arab communist who fought in the Spanish Civil War
  • Renowned translator, notably of Pushkin into Arabic
  • Prominent anti-fascist thinker and writer; published on Nazi ideology vs. Islamic traditions
  • Materialist historian and popularizer of Ibn Khaldun, Darwin, Descartes

Getting to Know Sidqi — and What Remains Elusive

• Personal Connection:

  • Litvin feels both connected to Sidqi through his family (who supported the translation project) and aware of remaining mysteries, especially regarding his emotions and personal motivations (02:56).
  • "He does not talk about his feelings very much, except when they're funny or apropos or make the political point that he wants to make." (Margaret, 03:55)

• Memoir’s Scope and Silences:

  • The memoir covers mainly 1925–1940 and is highly political—many personal aspects, especially involving his wife and family, are left out.

Navigating Absence and Editorial Choices in Translation

• What’s Left Out:
  • Sidqi omits nearly all personal material; his wife Lotke appears only as a silent helper in escapes (05:28).
  • Litvin and her co-translators respected this, adding contextual clarification only in the introduction and a comprehensive bibliographic essay, rather than footnoting or editorializing within the text.
  • “We’re not constantly telling you... ‘But actually he misremembers Lenin’s first name’... It didn’t seem conducive to a good reading experience.” (Margaret, 06:02)

Making the Memoir Accessible

• Project Elements:
  • Targeted at both scholars and undergraduates
  • Includes a map tracing Sidqi’s itinerary, a preface by his grandson, a foreword by historian Joel Beinin, substantive introduction, annotated timeline, and a detailed bibliographic essay.
  • “We have our own substantive introduction about Sidqi’s life and his style, how to read him as... a literary writer, as a chronicler of a travelogue.” (Margaret, 07:22)

The Origin of the Project – From Assignment to Book

• Student Involvement:
  • Initiated when two students, Anas and Gideon, expressed interest in translating more after Litvin’s seminar (08:53).
  • Secured research funding to support their work.
  • Each collaborator contributed unique insights:
    • Anas’s Islamic education helped with cultural/language humor
    • Gideon's background illuminated the work’s resonance with Arabic travel literature
  • Discovery of literary connections (e.g., Sidqi modeled travelogue style after Ibn Battuta) enriched both the translation and the Sidqi family’s understanding of his influences:
  • “This helps me so much to understand why he wrote the way he did and to understand his book in a different light.” (Margaret, sharing daughter Hind’s reaction, 11:50)

The Ethics of Collaboration and Giving Credit

• Authors’ Recognition:
  • Litvin insists on granting co-author credit to student collaborators, challenging the academic norm of invisible labor:
  • “For us to credit the people who do work together with us... is the easiest thing in the world. It costs nothing.” (Margaret, 12:47)
  • Emphasizes that at a certain point, mentorship becomes equal partnership.

Achieving a Unified Translational Voice

• Practical Process:
  • Used collaborative editing (Google Docs); addressed British/American English differences and historical terminology
  • Peer review and final edits enhanced uniformity
  • “We edited over each other over and over again until it was pretty even... Sidqi made it easier because he has a very strong voice.” (Margaret, 15:05)

The Political Context and the Memoir’s Relevance

• Current Climate’s Impact:
  • Litvin expresses gratitude to the publisher for releasing a book “translated from Arabic by a Palestinian author... memoirs of a Palestinian Communist. Like Palestinian and communist, two of the biggest trigger words right there on the cover in this moment.” (Margaret, 15:49)
  • Argues Sidqi offers a more nuanced, humanizing view of Palestinians—a “complete emotional, social, political human being and not just... representative of Palestine.” (Margaret, 16:40)

Translating Sidqi’s Political and Literary Layering

• Approach to Politics:
  • Sidqi’s memoir is more about “the stories and the emotional core of these interactions and the clever things he said,” than party-line ideology (Margaret, 18:15).
  • The translation team fact-checked gently in appendices, treating the memoir as literary rather than an ideological treatise.

Literary Style – The Travelogue (“Rahla”)

• Stylistic Choices:
  • Sidqi’s memoir written in a journey/travelogue style, reminiscent of classical Arabic “rihla”.
  • Litvin reads aloud a comical and revealing letter Sidqi wrote to his father about departing for Moscow, highlighting his sense of humor and self-awareness as a narrator:
    • "Jaffa, September 16, 1925. Dear Father, when you receive this letter of mine, I will be looking out at the Mediterranean Sea on my way to Moscow to seek an education. Don't be worried or upset..." (Margaret, reading Sidqi, 19:53–20:42)
  • “This is the texture of a man's life, but he's always watching himself travel and he's alert to his own story value. That's what makes it a rakhla.” (Margaret, 21:30)

What’s Next for Margaret Litvin

• Current Projects:
  • Translating The Sleepless Giraffe of Damascus by Syrian novelist Khalil Alrez (forthcoming from Archipelago, 22:18)
  • Writing an in-depth collective biography of Sidqi and his family, tentatively titled A Daughter Named: The True Story of an Impossible Palestinian Family (22:31)
    • “…want to fill in some of those gaps.” (Margaret, 22:48)

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Notable Quotes & Memorable Moments

• On Sidqi’s Complexity:
  "Everyone sees a different side of him. He was born in 1905 in Jerusalem. He died in 1979 in Athens... The man got around."
  — Margaret Litvin (01:45)

• On Sidqi’s Emotional Reserve:
  "He does not talk about his feelings very much, except when they're funny or apropos or make the political point that he wants to make."
  — Margaret Litvin (03:55)

• On Translation Ethics:
  "We’re not constantly telling you, okay, but it didn't really happen like this... because it didn't seem conducive to a good reading experience."
  — Margaret Litvin (06:02)

• On Recognizing Co-Translators:
  "For us to credit the people who do work together with us and who inspire us and enable our work is the easiest thing in the world. It costs nothing."
  — Margaret Litvin (12:47)

• On Sidqi’s Humanity:
  "I think Palestinians deserve to be seen as complete emotional, social, political human beings and not just to be representatives of Palestine."
  — Margaret Litvin (16:40)

• Sidqi’s Own Words (Letter Excerpt):
  "Jaffa, September 16, 1925. Dear Father, when you receive this letter of mine, I will be looking out at the Mediterranean Sea on my way to Moscow to seek an education. Don't be worried or upset..."
  — Najati Sidqi (read by Margaret Litvin, 19:53–20:21)

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Key Timestamps

• 01:45 — Who was Najati Sidqi?
• 02:56 — Translator’s relationship with Sidqi and his family
• 05:28 — Gaps and silences in the memoir
• 06:41 — Book structure and making it accessible
• 08:53 — How the translation project began with students
• 12:47 — On giving students proper credit as co-translators
• 14:08 — Maintaining a consistent translated voice
• 15:42 — Significance of publishing Palestinian memoir now
• 17:12 — Navigating Sidqi’s politics during translation
• 19:34 — Impact of travel literature (“rihla”) on Sidqi’s style; reading from the memoir
• 21:41 — Litvin’s ongoing translation and family biography projects

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Summary Takeaways

• Najati Sidqi was a complex, multifaceted Palestinian intellectual whose memoir offers rare firsthand insight into both Palestinian and international leftist history.
• The translation, a collaborative, scholarly yet accessible project, faced unique challenges: respecting Sidqi’s silences, maintaining his strong narrative voice, and reflecting layered political and literary influences.
• Litvin and her team advocate for visible recognition of student contributions and embrace transparency in translation, both in process and in credit.
• The publication is timely, offering a textured portrayal of Palestinian identity and intellectual life at a moment of renewed political urgency.
• Sidqi emerges not merely as a political symbol but as a witty, surprising, and deeply human narrator—qualities illuminated by both the translation and Litvin’s commentary.

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Transcript

[A]

Hello, everybody. This is Marshall Po. I'm the founder and editor of the New Books Network. And if you're listening to this, you know that the NBN is the largest academic podcast network in the world. We reach a worldwide audience of 2 million people. You may have a podcast or you may be thinking about starting a podcast. As you probably know, there are challenges basically of two kinds. One is technical. There are things you have to know in order to get your podcast produced and distributed. And the second is, and this is the biggest problem, you need to get an audience. Building an audience in podcasting is the hardest thing to do today. With this in mind, we at the NBM have started a service called NBN Productions. What we do is help you create a podcast, produce your podcast, distribute your podcast, and we host your podcast. Most importantly, what we do is we distribute your podcast to the NBN audience. We've done this many times with many academic podcasts and we would like to help you. If you would be interested in talking to us about how we can help you with your podcast, please contact us. Just go to the front page of the New Books Network and you will see a link to NBN Productions. Click that, fill out the form and we can talk. Welcome to the New Books Network.

[B]

Hello and welcome to the New Books Network. I'm Ibrahim Fauzi and today I'm super pleased to be joined by Professor Margaret Ledvin, a professor of Arabic literature and translation at Boston University and the co translator of the memoir of Najati Sutqi, the book that brings into English a rare Palestinian firsthand account of 20th century political life, tracing Sidkuy's journey. Welcome to the show, Margaret.

[C]

Thank you so much for having me.

[B]

I'm very glad to welcome you to the show and to talk more about Najati Sutki. And first of all, could you tell us a little bit about Najati Sutki?

[C]

Sure. Najati Sutka is fun to talk about because he's like the elephant and the blind man in that story. Everyone sees a different side of him. He was born in 1905 in Jerusalem. He died in 1979 in Athens. Some people know him as an early Arab communist who volunteered in the Spanish Civil War, one of several Arabs who did that. Others know him as a writer and literary translator who helped make Pushkin famous in Arabic. He was also a very prominent anti fascist who wrote against Hitler. He has a book called Islamic Traditions and Nazi Principles. Can they ever agree? He's, you know, he's a materialist historian of Arab culture. He's a popularizer of Ibn Khaldun, Darwin and Descartes. The man got around.

[B]

I really would love to ask you about, after two years with Najati Sutki, do you feel now close to Sudki? Do you feel like you know him or does he remain a bit elusive?

[C]

You know, some of both. That's a great question. On one level, I feel like I'm a member of Sadqa's family. That's because his actual family has been incredibly kind and welcoming and supportive of this translation project and of my research about their family history. Najeti was married to a Jewish born communist comrade named Lotke Lorberbaum and they had three children. So I am in touch with the two surviving children and with a granddaughter of their oldest child who died in 2018. I'm in touch with Najeti and Lotka's grandson who actually wrote the preface to this translation and has been a big supporter. So I feel like I know a lot about this man that he didn't include in his memoir. It's a pretty political memoir of 15 years, like 1925 to 1940. And I know a lot from his family and from archives that happened to him before and after, as well as, of course, inhabiting his very lively personal view of the journey, the political and the physical journey that he made across, you know, much of Europe in this very action packed moment in history. But there's so much about him that is still elusive that I don't feel like I really have a grasp on things he doesn't say, on his motives, on his feelings. He does not, you know, like people of that generation, like my own grandfathers. He does not talk about his feelings very much, except when they're funny or apropos or make the political point that he wants to make. And so there's a lot I have to imagine, you know, when he and his wife are being smuggled out of Palestine after they get out of prison, they're being smuggled out in 1933 and they're crossing the border into Lebanon and she's all veiled and muffled up and she's pretending to be his silent cousin whom he's smuggling out to marry her. You know, he recounts the scene and you can see it very vividly and it's funny, but you have no idea how they felt at that moment and what it was really like.

[B]

This takes me to the following question. When you were translating, did you feel like you were navigating what he says and what he can't bring himself to say, absolutely.

[C]

There's a lot that he leaves out. He leaves out any trace of Lotke, except she appears a couple of times, kind of silently helping him to elude the police. Physically veiled, in that case that I described. Anything personal he leaves out. And I left it out, too, although I did put Gideon and I wrote an introduction that fills in a lot of those silences and provides a lot of that context for how it felt. I did not add anything to the text itself. We resisted the urge to add footnotes, and instead we kind of externalized all of the explanations and the second guessing and the fact check and the context all into a big fat bibliographic essay at the back of the book. So that we're not interrupting him. We're not constantly telling you, okay, but it didn't really happen like this. Oh, well, he's almost right. But actually he misremembers Lenin's first name. You know, like, we didn't do that because it didn't seem conducive to a good reading experience of the kind that I wanted readers to have.

[B]

Yeah, wonderful. And I feel like this is not just a translation, but a project. Please talk to us more about this project, because our listeners cannot see the book, but we can give them a sense of it and they can pick it up from the publisher.

[C]

Absolutely. I hope they do, and I hope they use it in their classes or in their research papers. We tried to make it as accessible as possible, both to serious scholars. There are people who study, for instance, the global left, but they don't know Arabic. So this is a gaping hole in their research that now they can start to fill. But then also undergraduate students who can't find these places on a map. So we give them a map and we annotate where and when Sidqi went and have a little, like, line diagram of his journey. We have that preface I mentioned by his grandson Marwan, and big fat forward by Joel Banan, a historian of the Arab left, among other things. And we have our own substantive introduction about Sadqi's life and his style, how to read him as a literary writer, as a chronicler of a travelogue. Maybe we can get into that later. Then there is the timeline that we make of what's happening in the world and what's happening to Sutkay, because he lived through some of the most eventful moments of the 20th century. And he kind of. Some things he goes into tedious detail about, but other things he just assumes, you know, and maybe you Don't. And there's a bibliographic essay with a lot of suggestions of context and further research. And like, oh, here's the lyrics of the song that he was translating from memory, but we found the real lyrics, and here's the real translation, or here's our translation directly into English. And then there's an index. So it's a real book. It's intended to be used in many different ways by different readers.

[B]

And mentioning the undergrads, how did an assignment turn into a published book?

[C]

So Anas and Gideon took my class on Arabic translation in the fall of 2022, the same class that you took two years later. And then they showed up in January of 23 and said, professor, we want to keep going. We want to keep translating to keep our Arabic improving and because it's fun and to apply these skills that we learned in your seminar. I thought, oh, my God, this is a professor's dream. Let's see if we can get them some funding. So we got some grants, and I'm very grateful to the BU Undergraduate Research Opportunities Project for funding this and later for the BU Associate Dean of the Humanities for funding it. And there was help from the NEH Professorship in the Humanities. This humanities funding that is in some places drying up now is so important for just keeping us accountable, keeping us focused on the project so that it's not the bottom thing on our to do list. So these guys were actually paid for some of this work that they did, and that made me feel okay about asking them to work really, really hard to do multiple drafts. And sometimes I had suggestions, and sometimes we negotiated together, and sometimes we went through a draft room. We're like, oh, this sounds too stiff. This sounds too formal. Anas brought a lot of Islamic background. He had a very solid Islamic education in Malaysia. His Arabic was beautiful, a very educated fusha. And he recognized a lot of the funny references to Islamic tradition in the text. Like when Ajayati Sutqi was making jokes about, like, somebody in Tashkent, a Communist Party official offers him a vodka shot and says, oh, please drink it. It is the pure drink. And he's like, quoting the Quran. And so, oh, my God, this is a joke that only two secular Muslims would make over a glass of vata. You know, it's not. It's completely blasphemous, but it's blasphemous in a purely Muslim way that you need to kind of pull on that thread of shared Muslim identity to understand. And there were a few moments, like that, that Anas was able to catch kind of that flavor in the text. And then Gideon Gordon is an amazing US Born student of Arabic who started learning Arabic in high school. He studied abroad in Jordan and later in Morocco during the course of us doing this project. And he had also taken my colleague Sunil Sharma's course on Arabic travel writing. So he was the one who caught the loudest echoes of Rihan literature of Arabic travelogue and said, wait, this sounds like Ibtuta. And we put that in our introduction. And then Hind, Hind Sidqi Zaybak Najati's daughter said, oh, my God, you're right. My dad kept a volume of Ibn Battuta by the bed. And this helps me so much to understand why he wrote the way he did and to understand his book in a different light. So it was a great collaboration. I think each of us brought something, and I don't think I would have been motivated to finish it without my two collaborators.

[B]

And the way you are talking made me remember our class. And so I'd love to talk more about maybe the environment of your classes. I mean, the translation ones. And why was that important to you to push your students and to give them all this visible credit?

[C]

Of course I'm gonna give them credit. I mean, oh, my God. I was a fellow in a research institute one year and I was interviewing undergrad research assistants, and one of them said, oh, yes, I'm writing a book with a professor now. I'm helping him draft chapter five and chapter six. I said, what does that entail? And she said, well, I'm basically doing the research and I'm putting together the arguments and I'm writing a draft and then he's going to edit. I'm like, that is not research assistants. You are a co author. Like, for us to credit the people who do work together with us and who inspire us and enable our work is the easiest thing in the world. It costs nothing.

[B]

Yes.

[C]

And I don't understand scholars who don't do it because, of course, Gideon and Anas deserve credit. And for Gideon, he's Now in a PhD program in Middle east related studies in political science. And of course, it's good to come into grad school with a published book coming out.

[B]

Yes.

[C]

And why would I not do that with him when he's really an equal partner in the work? It just seems obvious that if students work hard, it's not a student teacher relationship anymore. It can be a mentor, peer kind of relationship.

[B]

How do you keep consistent voice when three People are translating one narrator across hundreds of pages.

[C]

You're so right. I mean, it's a challenge. We wrote over each other all the time. So we just worked in a Google Doc and that's what translates something. And I would say that's brilliant, but it sounds totally British because of his Malaysian English that had not so much the spelling, because who cares, but some just British ways of phrasing things or like saying, you know, he had got tired instead of he had gotten tired or little things like that. So yeah, we edited over each other over and over again until it was pretty even. And then to peer reviewers read the text and also identified some things that were strange or not standard. Maybe we didn't use the standard terms for historians of Palestine to translate certain concepts or places or events. So we fixed that. And then I went again over the last draft in the galley proofs. So hopefully it sounds pretty consistent now. And I will say Sidqi made it easier because he has a very strong voice.

[B]

You translated this book at a moment when Palestinian history is literally under attack. Did the current political climate change the way you felt the work mattered or raised the stakes of the translation?

[C]

You know, to their credit, the University of Texas Press, which is part of the state run University of Texas, published this book that not only is translated from Arabic by a Palestinian author, but says on the COVID memoirs of a Palestinian Communist. Like Palestinian and communist, two of the biggest trigger words right there on the COVID in this moment that my country is unfortunately going through. So look, Sidree is a very special Palestinian voice. And I think he helps not only to humanize Palestinians, not only to dramatize a period when Palestinians cared about the whole world the way that now the whole world, or much of it, cares about Palestine because he went to Spain to help the Spaniards, to help the Spanish Republican government fight off the fascist dictatorship of Franco. But also he's just very personal and very unexpected and sometimes you forget that he's Palestinian. And I think that's wonderful. I think Palestinians deserve to be seen as complete emotional, social, political human beings and not just to be representatives of Palestine. Right. So he's really good for that because he surprises you at every turn.

[B]

How did you and your students navigate translating someone whose politics are layered, contradictory, and sometimes heartbreaking?

[C]

I mean, as I said, we fact checked him a little bit in the appendix in the essay, but we just took his word for things and we treated him primarily as a literary writer. He doesn't care so much about the politics. Like he tells a story about being in Moscow with his study buddies, his fellow Arab Communists. And they're all there under their pseudonyms, you know, their party nom de guerre. And they're all, like, being super ideological and having study sessions. And at one point, somebody, something. And Tsitky says, oh, my God, this is Galiota. And the Egyptian Communist. He says it to get super offended, and he just meant it was clumsy, but, you know, in Egyptian, it's a little stronger. And then he has to apologize and back down, and he describes how he backs down. At another moment, they have a debate about how to translate the International the Hymn of the Communists into Arabic. And at yet another moment, Sidqay accidentally makes a comment that sounds like he might be in favor of some private property, some petty bourgeois business, very small business, and they accuse him of being a Trotskyist, and he has to, again, apologize. And my sense in reading him is that he's more interested in the stories and the emotional core of these interactions and the clever things he said, which he tends to remember accurately, or at least vividly. Maybe not accurately, but who knows? We'll never know. Fifty years later, then he is in the real ideological stakes of, you know, who was right, Stalin or Trotsky or whatever. Because by the time he's writing this memoir, he's been out of the party for decades, and he thinks the whole thing is baloney. So that's how we navigated his politics as kind of a feature of his character and his history.

[B]

And you talked a little bit about Rehla at the beginning of our chat. So did that influence how you wanted the English to sound? I mean, in terms of pace and rhythm?

[C]

Oh, totally, of course. I mean, he went to Moscow mostly by boat. He sailed out of. Out of Jaffa harbor, and he wrote this letter to his father, which I'm just going to read to you, if I may, because it's so funny, I think. Jaffa, September 16, 1925. Dear Father, when you receive this letter of mine, I will be looking out at the Mediterranean Sea on my way to Moscow to seek an education. Don't be worried or upset. The trip is very comfortable and I'm being treated excellently. He wrote this before he sailed, right. So it's just all lies, complete lies, to justify that he snuck away without telling his parents where he was going. The trip is very comfortable. I'm being treated excellently. I will live in the Russian capital for three years, then I will return to you. Having received a great education in the arts and sciences. Don't imagine that I'm going to the North Pole. I will be only a 10 days journey from you. As for the cold there, I took along a thick military jacket. Just in case. I ask that you forgive me. I will write to you constantly from Moscow. Greetings from your obedient son, Najenty. And then I'm just going to read you the next paragraph. I'm sorry, I can't help myself. My father later told me that when he received this letter of mine, he frothed and foamed. He went to Government House and shouted, bolshevism has stolen my son. He demanded that the British send a warship after me to bring me back over the sea, whatever the cost. But they explained to him that this was impossible and asked him to bear his shock with patience. They made do with recording his complaint. The small merchant steamer Chicheren set off from the port of Jaffa and so on. You know, I mean, if you read it as a. It just becomes so much richer and funnier.

[B]

Yes.

[C]

This is the texture of a man's life, but he's always watching himself travel and he's alert to his own story value. That's what makes it a rakhla.

[B]

So what are you currently working on?

[C]

All right, so I'm working on two projects and the first one, which I'm very excited about, is I am translating, indeed a book which is called Al Hay the Russian Quarter by Syrian exiled Syrian novelist Khalil Al Raz. He lives in Brussels. It's about a giraffe during the Syrian Civil War. And the giraffes, humans who live in this neighborhood in a zoo. In English, it's going to be called the Sleepless Giraffe of Damascus. It's coming out with Archipelago kind of soon. So I sort of have to get going a little faster on that translation.

[B]

Yeah, can't wait to read.

[C]

And the second project that I'm working on after that, believe it or not, is an in depth collective biography of Najeti Sutqi and his family, his wife Lotke and their first daughter, Daulia. And the tentative title of that, Daulia means international or international. So it's going to be called A Daughter named the True Story of an Impossible Palestinian Family. Yeah, I love how I do want to fill in some of those gaps.

[B]

Yeah, amazing. And I love how a project leads to another. This is amazing.

[C]

I've always been like that. So the Khalil Al Raz translation, it grows out of my research on Arab Soviet educational ties, because Khalil himself studied and then worked in Leningrad and Moscow and translated Russian literature into Arabic. He translated Chov. And so I wrote a whole chapter about this book, al Hay el Rusi, in a big book that I just finished. And then I was like, why should the reader take my word for it? You know, I want to translate it and let them see for themselves.

[B]

Thank you so much for joining us.

[C]

Well, thank you so much for having me. It's always a pleasure to talk to you.

[B]

Thank you. And dear listeners, the memoir of Necati Sutqi is available now from the University of Texas Press and will be of great interest to readers of Palestinian history, global leftist movements and, of course, translation studies. Thanks for listening to New Books Network. Be sure to follow the show for more conversations with authors and translators shaping how we read and understand the world. Thanks for listening. Until next time.