"I defend both the freedom of expression and society's right to counter it. I must pay the price for differing. It is the natural way of things"
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Mahfouz is staking out a position that sounds liberal on paper and bruising in practice: speech is free, and backlash is also free. The elegance is in how he refuses the comforting myth that freedom of expression guarantees comfort, applause, or safety. He pairs “defend” with “counter,” making them twin civic acts rather than moral opposites. In his framing, a society that cannot answer speech is as impoverished as a writer who cannot risk saying it.
The line “I must pay the price for differing” is doing heavy cultural work. He isn’t glamorizing martyrdom; he’s naming the transaction. Difference is not an aesthetic preference but a social disturbance, and disturbances incur costs. Coming from an Egyptian novelist who wrote against pieties and power, that “price” is not metaphorical: denunciations, threats, and the machinery of informal and formal censorship. Mahfouz famously understood that literature can be punished not only by the state but by the street, by clerics, by neighbors, by the slow tightening of acceptable opinion.
Then he lands on “the natural way of things,” a phrase that reads like fatalism but functions as strategy. By naturalizing the backlash, he drains it of its theological grandeur and political drama. Counter-speech becomes weather: real, sometimes violent, but not sacred. The subtext is a writer’s survival manual: keep writing, expect resistance, refuse surprise. Freedom here isn’t a shield; it’s a condition of adulthood, where choosing a voice means consenting to consequences.
The line “I must pay the price for differing” is doing heavy cultural work. He isn’t glamorizing martyrdom; he’s naming the transaction. Difference is not an aesthetic preference but a social disturbance, and disturbances incur costs. Coming from an Egyptian novelist who wrote against pieties and power, that “price” is not metaphorical: denunciations, threats, and the machinery of informal and formal censorship. Mahfouz famously understood that literature can be punished not only by the state but by the street, by clerics, by neighbors, by the slow tightening of acceptable opinion.
Then he lands on “the natural way of things,” a phrase that reads like fatalism but functions as strategy. By naturalizing the backlash, he drains it of its theological grandeur and political drama. Counter-speech becomes weather: real, sometimes violent, but not sacred. The subtext is a writer’s survival manual: keep writing, expect resistance, refuse surprise. Freedom here isn’t a shield; it’s a condition of adulthood, where choosing a voice means consenting to consequences.
Quote Details
| Topic | Freedom |
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