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.
Georg Hennick is a famous violin maker. When his life was coming to an end, he decided to resist oblivion and challenge life as a whole, in the name of art, by making an unconventional violin, unlike any musical instrument made before, to fill the universe with unrepeatable tones. As for Victor, the child who tells us this story, he met Grandpa Henik for the first time on his fifth birthday, when he got his first violin. He then met him many times later, and a great friendship developed between them.
In this novel, Victor Baskov writes, in a musical style, a warm story about art, the passage of time, the shadows of loved ones, and Bulgarian society and its diversity.
Khairy Al-Hallaq is a dangerous criminal sentenced to death. He spends the remainder of his life in prison waiting for the moment of execution of the sentence, and hides from everyone the secret that prompted him to commit his crime. A secret that might lighten his sentence, or save his life. When he enters the political prisoner ward, the criminal changes his convictions and reconsiders his life, thus dying a different person.
This “sermon” delves into the Turkish community of killers and criminals, to depict the prisoners’ diaries and their struggles in the cells, but it also carries a political and humanitarian dimension by criticizing the death penalty, and the societies’ attempt to purify themselves by choosing a scapegoat on whom to comment their crimes and corruption, and celebrate the joy of ending his life.
The sernama is usually a book that accurately describes a specific type of public celebration, but the sernama of Aziz Nessin conveys the facts and details of the execution of a “criminal” who lost his right to change.
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.
Mario, the geometric painter, returns one day to his apartment in the city of Jaén, which he has shared for six years with his wife, Blanca. He finds that another woman, almost identical in features and gestures, has taken her place. He begins to turn over the memories and scrutinize the evidence, trying to discover the reasons for her absence, or to bring her back again. Somehow. Is Blanca really gone? What do you look for in the worlds you are immersed in and Mario is forbidden from entering?
In this intense and interesting novel, the Spanish writer Antonio Muñoz Molina delves deeply into the relationship of a man and a woman whose destinies intersected before their world began to shake under the influence of differences and the monotony of life. Molina sheds light on the complexity of emotional relationships and the conflicts experienced by couples who love in their partners today what they may hate in them tomorrow...
Eleven years have passed since Miguel, Alethea, and Lucas met together in one place, when they were teenage friends, and since then, as soon as a connection occurs between two of them, the ghost of the third is present, so that the roles and desires change and it is not really known which of the two young people he loved. Alethea and those who abandoned her are defeated by the other.
In this special novel, the novelist Mario Benedetti dives into the depths of the human soul, contemplating a complex love triangle between two young men and a girl, leaving space for each of them to tell the story from his point of view through diaries, letters, and the story, so that it appears as a different story every time, as if it were three rivers. A small one that eventually flows into the same lake.
It happens that a story creeps into your depths, shaking you violently and challenging you to turn away from it. This is exactly what happened to me with the story of the Nightingale. The truth is that I did everything in my power not to write this novel, but my research into the subject of World War II led me to the story of the young woman who made an escape route from occupied France, and I could not escape from it. Thus, her story became the starting point, and in reality it is a story of heroism, risk, and unbridled courage. I could not distract myself from her; I kept digging, exploring, and reading, until this story led me to other stories that were no less amazing. It was impossible for me to ignore those stories. Thus, I found myself under the weight of one question haunting me, a question that remains as valid today as it was seventy years ago: Under what circumstances would I risk my life as a wife and mother? More importantly, under what circumstances would I risk my child's life to save a stranger? This question occupies a major position in the novel The Nightingale. In love, we discover who we want to be; In war, we discover who we are. Perhaps sometimes we do not want to know what we can do to survive our lives. In war, women's stories have always been ignored and forgotten. Women usually return home from the battlefields, say nothing, and then move on with their lives. The Nightingale is a novel about these women, and the bold choices they made to save their children and maintain the lifestyle they had become accustomed to. Kristen Hannah
I married a song. I did this secretly for about five years.
When I heard it, the sun was setting, and I was in a heavenly expanse of an old house with milk-colored walls. I knew from the first beat that it was her, the song of my life. I only hesitated a little, and because I had never heard before about a legal ruling or a moral reason that prevents a woman from marrying a song, I made up my mind and married her.
Every night I put two headphones in my ears, and Yas Khader sings to me “Han wa Ana Ahn.” I adjust the tremors of my soul to the tremors of the sad Iraqi melody, and I drink Yas’s voice through all my pores. The song cauterizes my heart, and it melts, pouring tears, rain drops, and dew beads, and then it snows. Have mercy on me gently, and I will give birth to butterflies, starlings, and daffodils.
I smile before I sleep, and many women smile with me. I may not know them, but I know that they are like me. A song may revive them, or a song may kill them.
A special kind of anxiety grips Martin Santome after he approaches retirement age. He sees that his life has passed without him achieving anything worth mentioning. However, something changes after hiring the young woman, Abeyanda, in the office where he works, as he suddenly experiences feelings of happiness. After his life had deprived him of her for many years, since the death of his wife and his having to raise his children alone.
Through Santome's diaries over the course of an entire year, Benedetti depicts for us the life of the middle class in Uruguay, expressing with great sensitivity the loneliness and lack of communication, love, happiness, and death, in a poetic narrative that qualifies this novel to be one of the most beautiful and powerful love novels. And elegance in Latin American literature.
978-9933-641-97-9 Summer harvest seasons, the colors of rivers, fish and stones, the warmth of celebrations in a small village, a wheat field facing the ocean, and the gentle touch of a small octopus on a bare foot... images that Le Clezio conjures from his early childhood in the region. Brutani, breathing life into it, with a captivating narration, before moving on to tell about his first encounter with war, hunger, and anxiety in the city of Nice.
In this book, the French writer Jean-Marie Gustave Leclezio goes beyond recounting memories, to approach the war and its lasting impact on his childhood, trying to understand the mysterious void it leaves inside everyone who lived through it, and then deeply explains the cultural and historical nature of the “less fortunate” cities in France, It entangles you in love with cities you have never visited
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.
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.
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.
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".
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.
