Amazigh, itineraire d'hommes libres ("itinerary of free men") is a graphic novel by the Moroccan artist Mohamed Arejdal (written with Cedric Liano). It tells the story of Arejdal's long, tortuous, ultimately unsuccessful attempt to emigrate illegally to Spain. It captures the teenage rebelliousness and nonchalance that lead to the decision to make the trip; and the casual mistreatment that takes place along the smuggling route. Much of the story takes place in the Canary Island, where Arejdal ends up in a succession of detention centers. It is there that a social worker gives him some art supplies. When he is forcefully repatriated to Morocco, he ends up studying at the Fine Arts Institute in Tetouan; his long trek in search of European opportunity ultimately becomes material for some of his art projects. His book concludes with him being granted the much-sought-after  European visa to attend a biennale in Italy.

Regarding the title: Arejdal is Amazigh, meaning that he belongs to the country's indigenous Berber population (the word means "free man" or "rebel"). Most Moroccans do, ethnically, but only some identify as Amazigh. At least a third of the country speaks Amazigh languages-- which have historically been marginalized -- as their first language rather than Arabic. The issue of language and identity here is a fraught and complicated one. 

My article about the confiscated graphic novel "Metro" came out in The Review, the weekend cultural supplement of The National, a new English daily based in Abu Dhabi. Below is the opening paragraph. You can see translated panels from the novel at Words Without Borders.

 

In a pivotal scene in the Egyptian graphic novel “Metro,” a blind old shoe-shiner stumbles upon an anti-government demonstration in the streets of Cairo. “Where can the oppressed find justice? Where can the hungry find food?” chant the demonstrators. The old man, almost without realizing it, starts mumbling along. A few frames later, he’s being carried on the shoulders of the demonstrators, having improvised a choice slogan of his own. A few frames further on, he’s being beaten by a gang of those young thugs routinely employed by the authorities to break up demonstrations. In two pages, the author of “Metro” has suggested the appeal and hopefulness of recent democracy movement in Egypt, as well as the severe consequences of any political activism.