The four of us lived in a rather narrow room, with a roof that served as a filter in the winter for the rainwater received by the carefully distributed bowls and utensils. It was rented to us by an obese widow in her forties. She was a cold woman with a sharp tongue, but she did not increase the price of our rent, fortunately for us. ..
Then the fire came and consumed everything.
The objects... the rooms... the building... and even the fat Mrs. Afaf, who has a foul-mouthed tongue!
We were looking at the scene with sad faces. The firefighters, with their old equipment and their late arrival, were unable to save anything, and no one moved to help the miserable widow due to the ferocity of the fire that occurred through her negligence, as we learned later.
We gathered in the café at a small circular table to think about a solution to the problem we found ourselves in.
- “We leave...”
Siwar said it after a deafening silence, then Kahf nodded his head in support and said with a smile:
- There is no escape, there is no other solution.
While (Herbak) remained silent as usual, so I did the same. I trusted their opinion and considered him to be the decisive factor. He did not trust his personal judgments much when we were together, so his opinion was my opinion..
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.
We must contemplate the secret of Homeric creativity in the epic narrative. So Homer does not care about telling only what happened in his epic “The Iliad,” but he is more interested in presenting the context of what happened and depicting the world in which this event occurred. We find events covering the universe from above Mount Olympus - the snowy sky - to the depths of the raging sea and the burning forests, and even the depths of the human soul itself in all its conditions, whether good or bad.
The events also cover gods, humans, the animal kingdom and birds. So we are dealing with a depiction of a universal existential situation, not a passing individual event. We are faced with an integrated system in which all the features and various components of living things and things interact, so that in the end we obtain a poetic exploration of the universe and its working system.
With a suitcase in hand, and the wrap in which her daughter Kaya sleeps on her back, Ingrid Barrowe sets off from the island that bears her name, on a journey across Norway to search for her child's father. And everywhere you go, you ask one question: Does anyone remember a Russian who fled across the mountain during the last winter before the war ended?
During her journey, and through her meetings with many people, Ingrid realizes that war leaves its scars on people, but peace also works with memory. Will you find the person you are looking for? How well does she really know about the man she's risking everything to find?
"The Eyes of Rigel" is a poetic and harsh story about a post-war people, and about people's destinies, told from the perspective of an extraordinary woman who slowly discovers that the truth is the first casualty of peace.
Mario Rota, a professor of linguistics, falls while doing his usual morning exercise, spraining his ankle. When he returns to his apartment, the landlord introduces him to the new tenant, Daniel Berkwix, who will live next door to him.
Starting from that moment, everything will change in his life, as the new tenant is his colleague not only in housing, but also at work, and threatens his existence and status. Things will get worse when he visits him in his apartment, and discovers that it is a mirror copy of his apartment itself, with its contents and arrangement.
In the novel “The Tenant,” Javier Cercas writes in a graceful and enjoyable narrative, a breathtaking story that we have no choice but to follow page after page to find out the fate of its hero, and how he will face his new circumstances, while everyone warns him after he checks on his ankle: “The stupidest things can get complicated.” Life sometimes."
The puppeteer Dingo's carriage hits a young child while passing through the village of Artemilla, the miserable village from which he fled years ago to join a troupe of acrobats, aspiring to make his entire life a continuous festival. He resorts to his old friend, Juan Medinao, to help him in this predicament, but his contact with the village master will finally awaken the details of the painful past, and with them he will begin a relentless journey through memory, recalling his relationship with his father, his mother’s suicide, and the mixture of hatred and love that he felt towards his brother. Stepbrother.
In this small-sized novel, but with a big impact, Anna Maria Matute is able to delve into the depths of her characters, searching for the deep scars that childhood leaves in their souls, revealing with keen insight and high sensitivity the most complex and profound human feelings, in a dense narrative that makes room for emotional feelings. Inferiority, fear, isolation, and hatred can tell their story too.
The Supreme, as an eternal dictator, wants the only voice heard in his country to be his own, and for all his subjects to follow the path he has set, because he is certain that this is their destiny. But what will happen when he wakes up one day and finds a leaflet posted on the door of the cathedral, written in the form of a decree issued by the dictator himself, instructing the people to hang his head after his death on a pike in the public square, and calling for the killing of all his aides? Will the Almighty succeed in finding out who wrote this post and punishing him?
In this novel, Augusto Roa Bastos gives free rein to the character of José Gaspar de Francia, who ruled Paraguay with an iron fist for nearly three decades, to narrate and dictate, ask and answer, tell stories and incidents, and judge situations and people, in a frenetic narration and a genius, competent construction. This novel is among the 100 most prominent works of literature written in Spanish.
A train traveling with a single passenger is forced to stop for an entire hour, so the traveler leaves it and walks to waste time, but the paths lead him to a coal mine, then to a gypsy wedding, and finally to a place where five wolves were trapped, to carry out a plan targeting the village and its residents.
In an interesting plot, this novel pulls you in and carries you away without leaving you any chance to escape, as you follow the trail of this mysterious strange man and wonder: Who is he? A saint who came to save the village and its residents? Or just a mentally ill man running away with his madness? Or a philosopher? Or all of these together?
With linguistic and psychological intensity, Elena Alexeeva writes a novel that stands on the border between dystopia, magical realism, and absurdity, drawing inspiration from all of them without drowning in any of them. Therefore, in the year following its publication, it deserved the 2019 Novel of the Year Award and the National Book Center’s Feather Award.
Under the roof of a modest hostel in a poor neighborhood in the Chilean capital, a strange group of guests meets, including workers, trade unionists, students, traffic police, and performance artists. Let them all witness the last days of the rule of the Popular Union headed by Salvador Allende, before the bloody coup led by General Pinochet took place and changed the history of Chile forever. Thus, this hostel turns into something similar to an operations room through which some Chilean leftists try to protect the socialist government and stand up to fascism. And among all of them, Arturo, the braggart and virginal football player, coming from the south to the capital, and burdened with dreams of fame and unsatisfied desires, tries to discover himself and determine his position on everything that is happening around him.
“I Dreamed That the Snow Was Burning” is the first novel by Chilean writer Antonio Scarmeta, and one of his most important works. In it, the features of a special, diverse style are established in terms of rhythms and narrative techniques, in which imagination blends with reality, and in which sarcastic humor alleviates the harshness of dramatic events. The book is a living document of the dialogues, conflicts, and popular mood that prevailed in Chile at the most pivotal moments in its history.
In 1920, the British philosopher, logician, and mathematician Bertrand Russell traveled on a short visit to Russia, a trip that brought him a lot of frustration, and later made him one of the most prominent critics of Bolshevism, or the “Russian experiment in communism,” without this meaning that he abandoned his support for socialism as an idea. Or a political approach.
In the first section of this book, Russell records his direct impressions of that visit, in the form of journalistic observations carried out by a committed leftist and first-class philosopher. While the second theoretical and philosophical section is devoted to presenting his main criticisms of Marxism and Bolshevism. Such as criticizing the Marxist philosophy of history, the psychological motives that drive man according to Marx, criticizing the Bolshevik vision of democracy, and refusing to repeat the Bolshevik experience in the West.
Russell presents his ideas to the average reader in a smooth manner without this meaning that he abandons the depth of treatment. Russell's experience and his relationship with a revolution he believed in and witnessed its failure may inspire many. Because it teaches them that changing the world for the better comes through honesty and criticism, and through learning from mistakes, and understanding those who committed them with idealism and courage.
Life is a drama, and drama is a drama within this drama, and most of it talks about this drama that emerges from it, and the process of acting is the enemy of this drama. The more we are honest in presenting this drama, and the more we are spontaneous, the more we seem real, and the exact opposite is true. When you look like you are acting, you will be closer to failure, and farther away from the audience’s love. Even a clown must clown with sincerity and spontaneity that makes him appear real. Our example is Charlie Chaplin, who used clown tools in all his roles that people know, and the audience interacted with the humanitarian issues that he raised and sympathized with them. .
We all know that what is presented on the screen are nothing but events that have no basis, so we think, but why do we follow them if we believe that? We follow it because we are in fact the heroes of this drama: its author, director, actor, and the rest of its makers speak in our name, act for us, and represent us at the same time, and when we follow them we are watching ourselves, or details from it.
This collection presents a group of stories that attempt to approach the worlds of drama in one way or another, in writing and acting.
In his book “Mirrors,” Eduardo Galeano retells the history of human civilization in his own way, condensing what he finds exciting, funny, and worthy of attention through brief, precise passages that give the reader the opportunity to connect with the events and facts he reads, as if history were resurrected before him. The author adopts a cornological path in narrating a history based on bitter paradoxes, and stops at cities, personalities, events, and inventions that constituted milestones in human history. This is how we see him moving lightly between various topics; Such as female circumcision, silkworms, beer, Santa Claus, tango, the torture instruments of the Inquisition. But through the illusion of dispersion, he somehow makes history more logical and full of bitter irony. With extreme selectivity and absolute freedom, Galeano, with his extensive knowledge, chooses the points that stand out to him that seemed to him pivotal in the path of humanity, specifically the forgotten events or people that the dominant narrative of history ignored and wanted to erase from collective memory, as if he was saying to the world: “See your true face reflected in... Mirror".
Sweet Batush, Batoul, Turkish Comfort, Mrs. Hard Coin, different names for one woman whose trace has been lost, and finding her alive or dead has become necessary so that her family can obtain a large estate inherited by the mysterious woman; The journey to search for her becomes an opportunity to discover the secrets of the high society of which Batoul was once a part. It is a journey of ups, downs, and transformations of a woman who manipulated everyone and took revenge on them in order to avenge an injustice after she hid a mysterious secret behind her captivating laugh.
In this book, Aziz Nissin directs his harsh criticism to expose the “rot” that has befallen the velvety layers of society, and the opportunism, vulgarity, and absence of values that prevail in them, but he does so by mocking the situations and paradoxes that make men blind their eyes to what they do not want to believe, and voluntarily surrender. To the deceptions and vicissitudes of a sweet Kaptosh playful girl.
Only fourteen pages, or perhaps a few lines are enough.
A different and dangerous experience until I know which is more important: what we said so that it would be very simple memoirs suitable for publication, or what we said over long periods, most of which was not for publication.
Like life, all details are important, but what we leave behind is just a small trace.
Language and Politics: Essays on Criticism, War, and the Left
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These Orwell essays are written with a direct and frank practical breath. They are not purely intellectual or academic articles. Quite the contrary, Orwell wants the reader to engage in intellectual, and therefore political, battles - as he does not distinguish between the two matters. On the other hand, the articles are very entertaining, smart, and mean. Journalistic writing, for Orwell, is a special literary project. Orwell makes the art of the essay a renewed field for discovering the meaning of writing, and his articles are taught in English universities and institutes as a model of serious, literary, profound, and artistic writing.
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