Why poetry now?!
We live in an age of betrayals, conspiracies, and assassinations. We pant through twenty-four crowded, deadly hours in a frame of extended, neglected time that does not give any importance to our entire lives. We live in vortexes, labyrinths, and alienation. We live in oppression, fear, and hunger. So why poetry now?!
Who has time for poetry? Who has time to write poetry?! Who has time to receive poetry?!
Poetry riots against betrayal, conspiracy, and murder, or it riots against triviality, superficiality, and sorcery. If poetry does not say: “No” in a blatant, loud, and hurtful way, then it does not accept to say: “Yes,” even by cutting off its head.
It's that great positive thing. It is what confirms to us that we cry because we are not yet accustomed to humiliation and have not accepted it, that we bleed because we have not died, and that we are angry because we have not adapted to injustice. It alerts us to what we have almost forgotten, and reminds us that we are human, and that we are bigger and greater than our daily lives.
we are human beings. We must always remember this, and poetry must always remind us of this.
We are greater than profit and loss, greater than acceptance and surrender, or malice and evasion.
So poetry is necessary.
Therefore, a poet is necessary.
Was it still possible to add anything about Al-Mutanabbi, who filled the world and preoccupied the people, throughout these centuries that extended from his birth until now?!.. And did there remain a side of him that had not been studied, examined, and examined in more than one way, nor was it subject to discussion and debate among the fans of this great poet? And between his critics and haters?!..
Al-Mutanabbi is a unique figure in our literary heritage. His lovers, readers, and memorizers of his poetry are more numerous than those who can be counted, and it is too dangerous to clash with them without prior preparation and readiness. They have extensive knowledge of his poetry and many of the stages and details of his life. Their zeal in defending or attacking it is immeasurable. Therefore, the prior image is more binding. The imagined picture of him that they drew for him is too attached to the imagination to be discussed. Its relationship with national identity is more rooted and dangerous. This is what makes attacking him, for many, an attack on one of the nation’s “values and symbols.”
But I am writing about Al-Mutanabbi after I spent two full years reading him, analyzing his poetry, and studying the details of his life in order to write a television series about him. Dramatic writing requires its author to penetrate as much as he can into the souls of his heroes in order to understand them, to imagine them in the situations in which humans might be, and to draw their reactions, with dramatic logic, as human reactions might be. All of this is within the framework of documented historical information.
I mean: If that were the case, how much of our dignity, human solidarity, and sense of humanity have we lost until we became accustomed to the humiliation surrounding us, for ourselves and for others?! We have even come to accept this violence and inhumane treatment with which we or others are treated as we see it in life or when we read about it or see it on television. (We will ignore that we sometimes treat others in this way: our children, our subordinates, or those who fall into our hands among our enemies, for example, or the prisoners in our hands, assuming that some of those who carry out these tasks can read what I write).
Our habituation to this humiliation is reflected in the fact that we have come to accept that torturing a prisoner is a given. We no longer wonder about the effect of that torture on the prisoner-victim, even after his release from prison, just as we no longer wonder about the effect of torture on its perpetrator. Can he easily return to his normal daily life after leaving the torture room, as if he left the toilet to resume his life?
This is the first time I have gathered my thoughts on this topic after many attempts and articles scattered in more than one place.
After trying my previous book, “In Defense of Insanity,” it occurred to me to do it again. The issue, in brief, is that I select from things that I have previously published in periodicals or introductions to books, what I consider to be valid beyond their time.
This book is not a continuation of the previous book, but rather a continuation of it.
It contains Lee's opinions on art, culture, journalism, women (and some politics). The question that confronted me in my first book confronts me now: What do these articles have in common?
The answer is as naive as I answered earlier: What unites these articles is that I wrote them.
The opinions here are my own, which may mean nothing to some of them, and may not mean anything to others. But it was important to me, myself, to say these opinions, and to record them, and among them was a farewell to figures like Assi Rahbani and Al-Dhahirah Rahbani, and even a farewell to a number of friends who had passed away, and who had passed through my life only briefly. Perhaps some bitterness still exists here as well. Upon reviewing the articles, I discovered that I was insisting once again on the losses that had befallen our lives. These are losses greater than military or political defeats. It is our constant humanitarian bleeding. And the one who gives us life...or makes us mad.
Man had a beautiful dream about himself, and he aspired to transcend his human condition, but a succession of circumstances opened a wound in this dream. The dream began to bleed and fade away. As it atrophied, it began to take on forms and names. From time to time, a person became aware of his tragic loss and realized that he was working hard to prevent himself from descending from his human level to the level of an animal, and when he resisted, his resistance took on a form of madness, and in this book an attempt is made to touch upon something of... This bleeding is particularly within the context of creative expression. Perhaps these (introductions) could be an (introduction) to a more comprehensive research, or research, but we are currently in the stage of defending our right to insanity.
It is no longer necessary to stop at the picture written by Cervantes. There is a big difference between Don Quixote, which was written to make fun of him, or for any other purpose, and Don Quixote, which became our property, and we carried it in our imagination, subjected it to our perceptions, and we became free to remake and formulate it as we wish.
We can say that each of us has his own Don Quixote, whether he has read the novel or not, and whether he relies on the picture in the book or not. Whether he relied on his own interpretation of what was in the book, or projected into the book what he wanted.
The many faces of a character like Don Quixote give us the freedom and courage to express our own vision of him. Therefore, each of us is able to talk about the Don Quixote that he saw in the book, or the Don Quixote that he himself is raising in his symbolic and creative imagination.
Don Quixote is everywhere, and he is present in all of us. The Donquixote vision is one that does not give its owner the opportunity to retreat. There must be a pause that seems suicidal or crazy. Retreating in search of a new opportunity means overlooking the collapse that has occurred to humans and values. It means as if one overlooks deterioration. It is a kind of self-punishment to revive the consciences of others.
We can say in general that there must always be a Don Quixote pause so that honor does not die in life itself.
For this reason, it occurred to me one day to defend insanity.
The novel tells the events and details of the period of Ottoman rule at the moment of its collapse. As well as the echoes of the dangerous transformation at the gates of World War I. The heroes are Jamal Pasha and his Jewish lover, Sarah, surrounded by tough men, spies, adventurous officers, and wandering soldiers seeking to push the Arabs, who live in the bitterness of nostalgia of the past, out of their land, their history, and their era.
The basis of this study was to be an introduction to the book Fabrication
The history of biblical Israel, which the author translated.
But due to the complexity of the topic, this introduction was expanded to become a study
A separate discussion about the Israeli influence in shaping history,
Especially the history of the region
Al-Zeer Salem, the hero, between biography and history
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The controversy that took place on the pages of newspapers, magazines, and television seminars about the series Al-Zeer Salem moved this series from being an entertainment material that ends with (I like it or I do not like it), to being a cultural material whose discussion requires a cognitive reference.
The ending to Al-Zeer Salem in the series was one of the most controversial topics. The popular story ends when Al-Zir wins and Al-Jarru manages to kill his uncle Jassas and humiliate Bani Bakr. But history does not stop at the popular mood with which biography interacts.
People are defending the stereotype they have in their mind of the hero. Historical truth destroys and distorts this image. Therefore, it is easier for them to deny this fact than to accept it. Denial comes either by accusing us of forgery, distortion for the sake of omission, or ignorance of history or biography. Not to mention the accusation of being hostile to the nation and distorting the images of its heroes.
All of this created an opportunity for us to have a serious discussion about drama and its relationship to history and popular biography, by responding to some proposals. Perhaps this discussion will bring some benefit to the reader, and shed light on some of the ambiguities that have occurred.
Years have passed since his absence, and Mamdouh Adwan had more. But death was no longer with him.
What has not been published before. We collect it today in this book.
Mamdouh Adwan left a file on his computer containing completed poems that he had prepared for publication, and other poems that he called incomplete poems.
Mamdouh did not give a title to the file. But he left it under the name (A Poet's Job).
(A Leap in the Air) is the title of a book that Mamdouh Adwan had prepared for publication.
But death forced him to complete this collection. Therefore, we at Dar Mamdouh Adwan decided to collect the poems that he wanted to publish and add to them some of the missing poems. Let us present to the reader some of his completed poems that have not been published, and other poems that he did not complete, but are open to the possibility of completion.
Was it still possible to add anything about Al-Mutanabbi, who filled the world and preoccupied the people, throughout these centuries that extended from his birth until now?!.. And did there remain a side of him that had not been studied, examined, and examined in more than one way, nor was it subject to discussion and debate among the fans of this great poet? And between his critics and haters?!.. Al-Mutanabbi is a unique figure in our literary heritage. His lovers, readers, and memorizers of his poetry are more numerous than those who can be counted, and it is too dangerous to clash with them without prior preparation and readiness. They have extensive knowledge of his poetry and many of the stages and details of his life. Their zeal in defending or attacking it is immeasurable. Therefore, the prior image is more binding. The imagined picture of him that they drew for him is too attached to the imagination to be discussed. Its relationship with national identity is more rooted and dangerous. This is what makes attacking him, for many, an attack on one of the nation’s “values and symbols.” But I am writing about Al-Mutanabbi after I spent two full years reading him, analyzing his poetry, and studying the details of his life in order to write a television series about him. Dramatic writing requires its author to penetrate as much as he can into the souls of his heroes in order to understand them, to imagine them in the situations in which humans might be, and to draw their reactions, with dramatic logic, as human reactions might be. All of this is within the framework of documented historical information.
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