The story (Now They Will Believe) is based on a real story from the life of Leader Zayed bin Sultan Al Nahyan, may God have mercy on him. The story centers around a woman who longs to meet Sheikh Zayed, may God have mercy on him. Coincidence brings her together with the leader, but the funny thing is that she is afraid that no one will believe her. Sheikh Zayed, may God have mercy on him, changes the course of the story by sending gift boxes to the woman’s house with a message containing (Now they will believe).
"يقدم مهند الوادية بكتابه "تملك العقارات" تذكيرا واضحا لملاك ومدراء العقارات بمدى أهمية التفكير خارج النطاق التقليدي، حيث يوضح بابتكار وبطريقة عملية في كتابه
Within a Sufi framework held by Al-Attar’s granddaughter, the events of this novel take place in the critical period that Egypt is experiencing before the emergence of the Fatimid state and in its beginnings. It depicts the social situation of the Egyptian people at that time, and the political conflicts hidden under the cloak of religion.
In “The Vision of the Eye,” Mustafa Moussa weaves two parallel stories that go side by side, and are intertwined with a third heritage story narrated by “Ablaa” over many years. Fates intersect, destinies are drawn, and the facts of a conflict that will last forever are revealed.
. توالت الاكتشافات العلمية الكبرى في القرون الأربعة الأخيرة؛ حيث فسرت الكثير من الظواهر الطبيعية، ونتج عن هذه الثورة العلمية أن وثق الناس أكثر في العلم، وبدءوا يتملمون ضد سلطات رجال الدين حتى وصل الأمر إلى أن رفض البعض الدين بالكلية، وأسقطوا العقائد الدينية مما ترك خواءً نفسيًّا وروحيًّا، وجعل الناس أكثر قلقًا تجاه قضايا الوجود وموقع الإنسان في هذا الكون وسبب وجوده. ويقوم العقاد في هذا الكتاب بتتبع النظريات والفروض العلمية كنظرية النشوء والارتقاء، وكشوف كوبرنيكوس، والقوانين العلمية المادية، كذلك أرَّقت مشكلة وجود الشر في العالم أذهان الفلاسفة. ويرى أن تلك النظريات والأفكار الفلسفية كانت سببًا في الإلحاد والإنكار؛ وذلك عندما اعتنقها البعض وجعلها بديلًا عن العقائد الدينية. ويقول العقاد: إن المائتي سنة القادمة ستكون كافية للفصل في أزمة العقيدة الحاضرة.
Reader's eye. Eye of the critic. Painter's eye. Photographer's eye. Artist's eye. Journalist's eye. Many other eyes have become part of the dictionary of terms used in this era, and it happens that a person tells himself or others to read a specific text with the eyes of the reader, not the critic, or vice versa.
How many eyes do we have?
Is the eye the first key to receiving, understanding and interpretation? Or is it just an intermediary?
There is no doubt that the interpretation of texts cannot take place without reading them (hearing is a form of reading), and that a text that is not read or heard cannot be interpreted. Therefore, these parties overlap so much that it is impossible to do without one over the other.
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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