Searching for our cities in other cities and places
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With the spread of Syrian artists and cultural practitioners around the world, it seems that the relationship with their Syrian cities, which they left or decided to remain in, remained fundamental and fundamental, but it moved to other levels of pain and hope, which alternate between the hammer of longing, nostalgia, and loss, and the anvil of anger, orphanhood, and cutting off roots.
Over the past seven years, Syrians have settled in new cities. During that time, they began a journey in search of their old cities. They settled in new homes, lived and resided in them for short periods, walked on new sidewalks, or rediscovered old sidewalks, then redefined them and discovered them in new cities and headquarters. They tried to invent Damascus, Daraa, Homs, Latakia, Their Tartous, Masyaf, and Deir ez-Zor were in new cities, and they tried to draw new maps for themselves in them, and they reinvented the city between Cairo, Beirut, Istanbul, Berlin, Paris, and other cities.
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.
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