The Tongue of Adam
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- 6,99 €
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- 6,99 €
Publisher Description
A playful and erudite look at the origins of language
In the beginning there was one language—one tongue that Adam used to compose the first poem, an elegy for Abel. “These days, no one bothers to ask about the tongue of Adam. It is a naive question, vaguely embarrassing and irksome, like questions posed by children, which one can only answer rather stupidly.” So begins Abdelfattah Kilito’s The Tongue of Adam, a delightful series of lectures. With a Borgesian flair for riddles, stories, and subtle scholarly distinctions, Kilito presents an assortment of discussions related to Adam’s tongue, including translation, comparative religion, and lexicography: for example, how, from Babel onward, can we explain the plurality of language? Or can Adam’s poetry be judged aesthetically, the same as any other poem? Drawing from the commentators of the Koran to Walter Benjamin, from the esoteric speculations of Judaism to Herodotus, The Tongue of Adam is a nimble book about the mysterious rise of humankind’s multilingualism.
PUBLISHERS WEEKLY
In this slim volume based on his lecture series, prominent Moroccan writer Kilito muses on the origins of multilingualism via an analysis of the historical debate about what language Adam and his family spoke. Citing an array of sources medieval Arab theologians, the Hebrew Bible, Herodotus, and Holy Roman Emperor Frederick II he opens up a new world for his reader, demonstrating the religious and philosophical urgency this question held for many through history and the many forms it has taken, including debates over whether poetry could be written by Adam and experiments with depriving children of language. Kilito treats his history with respect (especially considering the implications and controversial nature of the questions) and, with his blend of erudition and whimsy, comparisons to Borges are inevitable. Yet his commentary on the age-old debate, though minimal and mostly contained in an afterword, reveals his personal connection to the subject as a writer in both French and Arabic, making the work both poignant and relevant for contemporary readers. Fans of Kilito's work should be pleased here, and those who have never read him should be intrigued this introduction.
