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I want a clear enemy who is fit to curse and curse And soldiers cheer for their return Defeated or victorious And martyrs, not victims And an anthem And a memorial... I want a place in the heart of the country to comment on A memorial photo of a family that did not survive death I leave the task of pinning medals of honor on the chest of the tyrant to war. I want a war that resembles a war And an enemy is the enemy, without a mask, from the clay of this earth And a poem I write in praise of the fighter Not in Venetian satire! I want to write grass, The grass that will grow on the iron of the cannons!

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This book collects selected texts by twenty-one male and female poets from different cultural and social backgrounds, regardless of the reasons and ways they left Syria, even though most of them left after the outbreak of the revolution in early 2011. Today they live in various countries in the Arab world and outside it, and many of them live in Germany especially. These selections are an attempt to shed light on the Syrian poetic experience emerging in exile, which carries within it the diversity of poets’ styles, experiences, opinions and ages, and presents a picture of the reality of Syrian poetry abroad, without evaluating it, but rather as a witness to the changes occurring in poetry and parallel to the changes in the earth. Although the features of this experience have not yet crystallized, it demonstrates effective attempts to take Syrian poetry to other directions that will inevitably lead to new places in Syrian writing.

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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.

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So young people write today? What topics do they cover? This book may provide a model for what young people think and how they see the world. On this occasion, we return and confirm what was said previously on other occasions: They write themselves, their lost lives in complex worlds so obscure that they are impossible to write. In these three texts, the ego is present, but it gradually turns into a comprehensive “I” that expresses an entire generation. Each of them writes his lived present, but this present is so fast-paced that it is difficult to capture it and express it in a way that fixes it in a specific form. The question that results from this observation: Can these young people actually live their present? The texts contained in the book are part of the product of a playwriting workshop, which we called “Writing for the Stage.” The name is not arbitrary, but rather carries a specific meaning linking the text and the performance, writing and directing on the stage. This workshop was organized by the Citizen Artists Foundation in 2016

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The shelter of absence is a place built of words. Everyone in it belongs to the world of his imagination, and lives in a state of obsessions and doubts. A scientist who surrenders to ambiguity and hieroglyphs and loves the mercury of impermanence and uncertainty. In this shelter, we do not know whether what we read are the preparations of the goddess of talisman, or if they are the same as the preparations of others. We do not know whether to believe her or to believe in the suffering writers who create themselves with the power of language and invent worlds and selves with words. In “The Shelter of Absence,” we read about the wreckage of events and people, and about the brewing panic of perishing cities, in stories that belong to the imagination and the grotesque, as much as they derive from the devastation that occurs in reality as material for writing. Critic Dr. Mohamed Al-Shahat believes that the narrative of “The Shelter of Absence” builds “on constructing an imaginative journey, with successive episodes, that questions the concepts of space, time, and human existence. In doing so, it searches for the essence of human communication beyond “language” in its common sense.”

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The rise of the Third Reich, World War II, the fall of Nazism, the disintegration of Germany, the rise of East Germany, the fall of the communist states, the fall of the Berlin Wall, the disintegration of the Soviet Union. Terms that may pass over in history books, but they carry dozens of questions: What really happened? How did families who found themselves on opposite sides, divided between opposing ideas and warring countries, live? What does it mean to live in a country that suddenly disappears, and the enemy becomes part of the homeland? The first thing Maxim Leo learned was to refrain from any questions, even about his family history. Twenty years after the fall of the Berlin Wall, he too decides to break the wall of silence in order to understand what really happened there, with his family, with his grandparents, with his parents, and with himself. To answer the most difficult question: What was so important that it made us strangers to each other even today?

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It is common knowledge in Russia that all decisions are made by one person: Vladimir Putin. This is partly true. In fact, all decisions are made by Putin. But Putin is not one person. It is a great collective mind. Dozens, even hundreds of people guess every day what decisions Putin should make. Vladimir Putin himself is guessing all the time about what decisions he must make in order to be popular, to be understood and to gain the support of “the great collective Vladimir Putin.” This is a very important myth: that everything in Russia is related to Putin, that without him everything would change and that the current image of Putin - the terrible Russian Tsar - was shaped for him, often without his participation: by courtiers, foreign partners, and journalists. This collective Vladimir Putin has been praising his memories all these years, in order to prove to himself that he is right. In order to convince himself that his actions were logical, that he had a plan and a strategy, and that he had not committed mistakes, but rather he was forced to act in this way, because he was struggling with enemies and fighting a harsh and continuous war. That's why my book is a history of an imagined war. A war that must not end, otherwise we would be forced to admit that it never existed. We have all invented a Putin character that we like. Most likely, it will not be the last character.

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Ever since the Parisian girl Marie-Laure lost her sight, she has been living her own world, either between the pages of the books her father brings her, or in the corridors of the National Museum of Natural History where he works, enchanted by the wonders of the museum and the imaginative stories she hears about its holdings, especially the mysterious jewel: the Sea of ​​Flames. She spends her days with her father with her usual routine, until the war begins, forcing them to run away carrying a dangerous secret. On the other side of the war, in an orphanage in a small German town, a German teenager spends his days with his little sister, fascinated by the magic of radio and its ability to transmit news and stories from distant lands. Werner pursues his obsession to become an expert in installing and repairing radios, until the war requires him to join the engineering forces in the German army. Through their story, Anthony Dorr tells in his charming novel about the good that we may see despite the ugliness of war, and about what war does to dreamers.

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In the thirties of the twentieth century, the writer Agatha Christie came from London to the city of Amuda in Syria, where she lived with her husband, the archaeologist Max Mallowan, for a period of time, and there she wrote her diary, “Come Tell Me How You Live,” in which she narrated pictures of her adventures in life in Syria and Iraq. . After less than a hundred years, Haitham Hussein was forced to emigrate from his small city of Amuda to Damascus and from there to multiple stops: Dubai, Beirut, Cairo, and Istanbul, all the way to London, where he wrote his biography, responding to Agatha Christus about how he lives, and in which he depicts the paradoxes of his journey to search for a safe haven. For him and his family.

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This research discusses language as a distinctive feature of a society (Syrian society), and monitors the changes that have occurred in it as the political, economic, cultural and social circumstances of this society change according to the context in which events take place, especially in light of the wave of protests that swept many countries in the Arab world in the context of what was called "Arab Spring"; The linguistic change witnessed by this society was shaped by the collective influence of those regions that witnessed these protests and is spreading thanks to the globalization of cultural communication that exists now.

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“Sarrah” is an immigrant in Sweden. Since the start of the war in her country, she has been unable to write. She seeks to seize the key to freedom of expression, but she faces locks. She works with an autistic child, whose father, Gibran, works in a library and fights discrimination, but he still finds himself in dark basements. “Gibran” longs for “Sarrah,” and she longs for writing, remembering her days in Hama, and her ambition to find peace. In this novel, Manhal Al-Sarraj tells us, in a different style of narration and writing, the story of Syrian immigrants in Sweden, their circumstances, and the fragmentation of their relationships, and quietly scatters reflections on existence, life, trust, love, and peace.

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Unlike the rest of the men in his village, Mario decides not to spend his life as an ordinary fisherman, so he decides, using his bicycle, to work as a postman in a small village, even though it only has one person who receives and sends letters. Chile's greatest poet, Pablo Neruda. In his exile there, the poet lives as an observer and participant in the great changes taking place in Chile, and through small meetings and discussions about love, poetry and politics, a special relationship is established between him and the young postman who is immersed in love and enchanted by Neruda’s poetry, which he sees as his right because poetry does not belong to its writer but to those who need it. . Through charming details of the human relations in a small village between the poet steeped in politics and the postman in love steeped in poetry, Scarmeta recounts the great political changes that took place in Chile and the rise and fall of revolutionary dreams.

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girl.. Accordion player.. Some fanatical Germans... boxer.. Multiple thefts... They are the heroes of a story I have kept to retell over and over again, one of many stories, each trying to prove to me that you, your human existence, are worth it. If you have the desire to investigate the details of this story, come with death and he will tell you a story.