Mara Naaman is a New York–based independent scholar, writer, and editor whose work explores contemporary Arabic and American literature and culture. She has built a career shaped by deep study, global experience, and a clear commitment to thoughtful inquiry.

Naaman earned her PhD in Arabic Literature from Columbia University. Her dissertation on literary representations of downtown Cairo received high honours. She spent several years living in Cairo and travelling across the Middle East, developing both language fluency and cultural insight that continue to inform her work.

Her academic career includes serving as Assistant Professor of Comparative Literature and Arabic at Williams College from 2007 to 2014. She has also held teaching positions at Columbia University, New York University, Hostra University and Hunter College. Earlier in her career, she worked as Associate Director of Programs at the Modern Language Association in New York.

Naaman’s approach is grounded in the idea that process matters more than outcomes. She often describes herself as a “culture worker,” focused on how literature and lived experience intersect. Her work connects academic research with broader cultural conversations.

Currently, she is pursuing an MFA in Creative Writing at the City College of New York and is working on a novel. Through her teaching, writing, and research, Naaman continues to contribute to her field with an approach that values depth, reflection, and human connection.

Mara Naaman on Culture, Career, and Choosing Process

Q: You began your career in the arts as a dancer. How did that shape your path into literature and academia?

I started as a serious dancer and attended Interlochen Arts Academy while I was in high school. At the time, I thought I would go on to be a professional dancer. But writing was always there in the background; I found it clarifying to write, both creatively and academically. I won a creative writing award in high school, and began to think about writing more seriously. I don’t see it as a sharp transition. It felt more like one form of expression leading into another.

Q: What drew you specifically to Arabic literature?

I began studying the history of the Middle East at Wesleyan University and took my first Arabic language classes at The American University in Cairo as part of a study abroad program. I realized the language was really difficult and that mastering it would take many years. I made a commitment to keep working on learning the language and wrote my senior thesis on Magical Realism in Arabic literature. Researching that project opened a door for me. I realized there was a whole world of stories and perspectives that I wanted to understand more fully.

Q: You spent time living in Cairo as an undergraduate and during your PhD. How did that experience influence your work?

It changed everything. I felt the class divide in Cairo acutely and identified with writers committed to detailing the experiences of the working classes and the poor. And, of course, I was living in many of the spaces I was writing about, which was very inspiring. My dissertation focused on downtown Cairo as a symbolic space and the history of protest over the twentieth century. This gave me a deeper understanding of how urban spaces and the built environment have their own story to tell. It also gave me a sense of how literature not just reflects but also helps to shape a narrative for social justice movements. My years in Cairo grounded my work in lived experience.

Q: Your career includes roles at several universities and institutions. What stands out from those years?

Teaching at Williams College was a key part of my career. It gave me time to develop my ideas and connect with students. I’ve always valued the classroom as a space for conversation. Later, working at the Modern Language Association gave me a broader view of the important work professors in language and literature departments are doing, and how threatened many of these departments are by budget cuts to the humanities in higher education.

Q: You’ve described yourself as a “culture worker.” What does that mean to you?

It means I don’t separate my work from the world around me.I’m interested in how literature reflects everyday life and how it inspires us to want to work against injustice. I’m also interested in how people engage with ideas. For me, it’s about contributing to culture in a meaningful way and sharing inspiring work with others.

Q: You’ve spoken critically about the idea of a “success mindset.” Why is that important to you?

I think the language of success, efficiency, and outcomes can be limiting. It pushes people to focus on results and self-optimization rather than process. For me, the process is where learning happens. It’s where growth happens. If we lose that, we lose something important.

Q: How has that mindset shaped your career decisions?

It has allowed me to take a longer view. I haven’t always followed the most direct or conventional path and have made many mistakes along the way. But I’ve stayed connected to what interests me. That has led me to opportunities that feel meaningful rather than just strategic.

Q: What does your current work look like day to day?

I balance my days between taking care of my kids, writing, and taking classes as part of the MFA program at the City College of New York. I try to keep things simple. I write lists, manage my time carefully, and limit distractions. It’s about creating space to think and work.

Q: You’re currently working on a novel. How does that fit into your broader career?

It feels like a natural extension of my academic work. Novels require research, patience, and revision. They also require hours of sustained focus and an attention to detail. For me, working on this project has been another way of exploring certain intellectual ideas that interest me but also I’ve thought a lot about the human psyche and the complexities of human behavior. The work feels like a piece.

Q: What keeps you motivated through long-term projects?

I try to stay grounded. I run, practice yoga, try to read widely, and talk to friends. I also think about my mother a lot. She worked very hard to support us. That perspective helps me keep going, even when things feel difficult or uncertain.

Q: What do you think matters most in a career today?

For me, it’s not about job titles or recognition.

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Mara Naaman on Culture, Career, and Creative Work