Kalyan Nadiminti and Mohamedou Ould Slahi, author of Guantánamo Diary in conversation with Suchitra Vijayan.
Mohamedou Ould Slahi’s political memoir Guantanamo Diary (2015) raises urgent questions about the biopolitics of dissent in post-9/11 America. Long withheld from the public as a form of “presumptive classification,” the memoir presents an unwitting literary device authored by U.S. military censors: the black bar of redaction. Far from silencing Slahi’s narrative, the blank space of redaction heightens the narrative’s desire to present a grim tale of American militarism and its regime of Islamophobia. While many official details of Slahi’s internment remain hidden under the twenty-five hundred redactions, the blank space of suppressed information offers the chance for an ironic reversal of state power, one that creates a hyperbolic mode of representing both the fragility and necessity of dissent. Similarly, Iranian American poet Solmaz Sharif’s debut collection Look: Poems (2016) reconfigures the blank space of redaction by using bureaucratic vocabulary from the U.S. Department of Defense Dictionary of Military and Associated Terms. Like Slahi, Sharif meditates on the brutal intimacies naturalized by America’s perpetual wars. Querying the aesthetic and political form of dissent, the talk suggests that both Slahi and Sharif uncover a new register of dissent by writing from within the American military-industrial complex.
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Slahi’s handwritten manuscript (the complete handwritten, redacted text is available on the book’s website, www.guantanamodiary.com), a timeline, notes on the text, and an editor’s introduction and acknowledgements as well as a final author’s note.