The message of forgiveness, a contemporary formulation
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Based on this wish for all Arabs to read what they are able to read, from ancient heritage to modern antiquities, I returned to (The Epistle of Forgiveness) to place it in the hands of senior scholars, intermediate scholars, and those below that. But how do we return to it with passion, eagerness, and the ability to benefit from it after readers have moved away from it until there is no place left for it except in the farthest corners of libraries because it cannot be read no matter how much we tempt people to read it? Would they not be repulsed by it and flee from it as they would from a heavy burden, even if you gave them a generous reward for reading it? Here I came up with an idea that I hope will resonate well with people and students of culture, which is to reformulate it.
It was necessary to include the text (Ibn al-Qarih’s letter) because the letter of forgiveness was a response to it. It is not possible to understand (forgiveness) without considering the message of (Ibn Al-Qarih). I treated it in the same way of paraphrasing so that the two messages fit together.
Angel Santiago, the ambitious young dreamer, and Bergara Gray, the famous and experienced thief, benefit from a general presidential pardon and are released from prison on the same day.
Santiago seeks revenge for his past and the harsh prison experience, with a major theft that he hopes will build a new future for him, and he helps him carry it out after Gray hesitates, who only seeks to restore his previous life.
Their adventure intersects with Victoria, a school student who dreams of being a ballet dancer despite all the circumstances she suffers from.
In his award-winning novel, Planeta, Scarmetta tells a warm, emotional story about three people united by love, friendship, and hope for a better future, in a country still living in the shadows of a defunct dictatorship.
We are a generation without farewell, says the German writer Wolfgang Borchert, summarizing the tragedy of his generation that was led into World War II without anyone saying goodbye to it. Perhaps Borchert is the voice most capable of expressing this generation, and that war that left massive material and spiritual devastation in Germany. It also left literary ruin.
Borchert left behind a collection of short stories that his fellow Nobel Prize winner for Literature, Heinrich Böll, describes as “complete masterpieces,” while Egyptian writer Ibrahim Aslan sees in his stories “a sublime expression of the ferocity of all wars without a single direct word.”
In this book, we present to the reader a selection of these stories, and what attracted us to them is the human approach to major topics, such as war and death, love and the feeling of loss, and the artistic expression of them.
In this novel, “Sabwat Yassin,” we will see the fictional character of the intellectual divided into two characters, the character that the state created, fabricated, and presented as its true self. The original character who escaped from this dark fate went to the home of the religious people from whom he had tried to escape, and then to the community of the Non-Qabalan, a tribe seeking peace who had no dream except to escape from the Qabalan, the sons of Cain, the eternal killer.
Yassin escapes and flees, but the state is bigger, and we will read in the novel: “He looked again in the mirror... The face is a real Yassin, there is no doubt, no doubt, no worry about it. But what about this large number of Yassins in the mirrors, Yasin the face, Yasin the back, Yasin the right? Yassin on the left, Yassin al-Qadhali in front, and Yassin al-Yami on the left.”
Sabwat Yassin is an image of an intellectual torn between the dream of a universal culture and an oppressed society
In “Friendship with Wittgenstein’s Nephew,” which is considered the sweetest and most humanly warm of all that Bernhard wrote, the writer talks about his relationship with Powell, the nephew of the famous philosopher Ludwig Wittgenstein, and the bonds of friendship that had united the two when the writer was being treated in a sanatorium for lung diseases. , while Powell was an inmate just steps away from him in a mental hospital.
In an endless narrative breath, the Austrian writer describes the last years of his friend's life, which also reflects part of Thomas Bernhard's autobiography, and his reflections on life and death, literature and art, reason and madness.
With every meter that Rudy passed, his resistance to the influence of the fortune teller’s words became more intense, but at the same time, the fortune teller’s words became more deeply rooted in his soul and mind. Although he did not admit it, the fortune teller's words had completely controlled him. “Indeed, what knowledge do we, the inhabitants of this vile grain of dust called the Earth, claim to say, ‘This is possible and this is not possible?’ If we were merely irrational beings, we would say that we were created as a result of certain interactions between different chemical elements, such as mushrooms, algae, and others. But where does the soul come from and where does it go?” Do you go? And the mind and feelings? It is impossible for a bone or muscle in my body to feel love or hatred or to think and make a decision. All of this is carried by an energy that resides in my body, an energy that is stronger and bigger than me. It does not even reveal to me who it is or what it is made of I am just a dead battery for this energy, what a worthless piece of junk I am, but why should I accept that the fortune teller’s words are true? He, too, is just a piece of junk like me! These thoughts were fighting inside Rudy, and he did not know which idea was victorious over the other
“Before this book, virginal lovers were in our imagination as pure as angels, infallible as saints. Sadiq Jalal Al-Azm comes in this book to tear the mask off the faces of virginal lovers, and to reveal, with logic and deep philosophical thought, that they were, in reality, narcissists and lustful... Nizar Qabbani
On the night that her husband and children prepare to travel, symptoms of a psychological disorder begin to appear on Mead, a photographer and newspaper archive official. A disorder that makes her see all faces as one face, the face of a bearded Greek god, and little by little, as the disorder worsens, details of the present and past events that led her to the extremely complex social maze she faces are revealed. In a narrative shrouded in mystery, the writer combines imagination with heritage, myth, fantasy, and history, to create from all of this a tight narrative text that discusses major existential and philosophical questions: What is the role of the other versus the ego? What if the hell was me? What if the world existed within the being of only one individual and everything else was an illusion?
On Animal Farm, the horse Boxer believes everything he is told, and works hard day and night. This pure naivety paves the way for evil people to rule our world. Naivety is not infallible. Gullibility must be accompanied by intelligence, knowledge, caution and foresight. This is wisdom. To be wise, you must know evil and see it clearly, and you must also be naive enough to believe in your ability to resist it. Through his collection of stories, Uday Al-Zoubi seeks to raise a question about the limits of wisdom, and its relationship with naivety. Foolish, unwise naivety, and evil, unnaive wisdom, almost dominate our world, spreading confusion and darkness and making the world a dangerous, ambiguous mixture of things, ideas, and stories.
After twenty years of work, Salem ends his service in the police cavalry and returns to his home and family in Deir al-Qarn, bringing with him the only companion that has remained with him all these years: his horse. Family members have different feelings towards this guest, who will now become part of the family. The chains of storytelling revolve between the five children and the mother, and as they revolve, they weave stories and build worlds. In this novel, Mamdouh Azzam writes, in a new and different style from his previous novels, a story about a simple family that lives its tranquility and fear, its surrender and rejection, its peace and its conflicts, to stir within us endless questions and contemplations, while freedom, in its broad meaning, writes the final chapter.
Salman visits the dead cities to make a documentary film about them, those cities that were symbols of ancient civilizations, before they became cities of broken columns and stone remains. But he finds there, in the house of one of the city's elders, a painting of a wounded deer, signed by his mother, "Fatima." Soon, the owner of the house presents him with possible scenarios for his film, all of which revolve around “Fatima,” and he finds himself entering a magical world and a confusing maze as he spies on the hidden faces of his mother, realizing that he only knew one face of her.
In this novel, Khairy Al-Dhahabi manipulates times and multiple voices to write about dead cities and Fatima with its many mirrors. Who is she? What is its truth? What is the secret of wishing? “If her name wasn’t Fatima”?
During his sermon, the president of the country violates the instructions of those around him among the regime’s seniors, which stipulate that he should not do anything or say anything other than what they had planned for him. As a result, they begin work to complete his mission and place a new look-alike in his place from among the twelve look-alikes who train them on everything related to him. The real president, but there are those who are planning a coup against this situation, so what will be his fate?
In this highly contemporary and current work, the German writer recasts history to apply to many countries now, brilliantly depicting how during periods of tyranny many people turn into malleable tools, into machines and puppets. “Disobedience is a disease that leads to death in our country, a disease that is disappearing.”
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