Disaster writing combines philosophy and narrative into a new template | Hossam Al-Masadi

The novel “A Flood of Sweets … in the Temple of Skulls” by Tunisian writer Um El-Zein Ben Sheikha represents a slap in the face to governments and political regimes that are skilled at killing, marginalizing, impoverishing, slaughtering and beheading. Paul Nezani’s dogs and Van Gogh’s crows in a tragic scene in which there is nothing but blood, death and slaughtered heads as they fly across a sky without horizon, identity or path.

The novel, published by the Tunisian Book House in 265 pages, pushes us to ask a lot of questions and try to dwell on them, because research and writing are ultimately a medicine to hurt question after question, and the question is nothing but a breaking of boundaries, dots and commas and an opening to the horizon of truth outside the traditional frameworks.

Is it possible to write crisis and disaster? And how can the scene in which we live (reality) with a kind of tragedy be transformed into a loose text where truth intersects with the imaginary and the individual with the collective? Can literature today open a horizon to these peoples as the liberation of life wherever they are arrested, in the words of Gilles Deleuze? What is the use of art, literature and writing in a time of terrorism, backwardness and generalized intellectual pollution? How to read Holderlin’s cry when he said, “Why are poets in this evil age?” And Adorno’s quote, “Why are poets after the Holocaust?” Is it a process of reacting to the tragedy we are experiencing or is it a position, an idea, or an intellectual and ideological commitment in some way?

Judgment of the authors

A speech in which languages ​​intersect and intersect

The novel was written with the blood of brothers Mabrouk and Khalifa al-Sultani (brothers who were killed by terrorists), with the tears of their mother Dada Zara, with the voices of the dead and orphans, with the bodies oppressed and tortured on the ground and with the fat and flesh of the poor and the simple that history has removed from its account and geography from its terrain. those who committed crimes against this people and for all those who killed, traveled, incited, slaughtered and killed the dream in us and practiced oppression, uprooting, monitoring and punishment, hence it is a moment in which the writer wrote the narrative of death, pain and murder in a bold attempt to write the tragedy and crisis that overwhelmed and divided us, which Maurice Blancheau confirms by saying that “the tragedy of an inexperienced person is that which avoids any possibility of placing writing, k no it is the experience of an end. It is necessary to repeat the following: Tragedy describes. This does not mean that he excludes himself from writing, as a writing force, to be a footnote outside of writing.

The tragic scene in which we live and play a role is somehow written with knives, rifles and cannons, meaning that our tragedy was imposed as an experience that inspired the writer to write her novel, which confirms that our tragedy has transcended the boundaries of experience and was not present in the margins and edges as much as it was static in our hearts and bodies. Consequently, there is a force and energy that is imposed on the act of writing and forces the writer to somehow enter the catastrophe, sign and write in poetic form The act of writing here is an act of resistance and commitment, not in a way rigid and fixed politics that puts discourse in a position and a narrow angle, but rather in a way that the novel does is an open influence on meanings and connotations, which makes the text resistant and open to the same time.

“A Flood of Sweets… in the Temple of Skulls” is the title chosen by the writer for the novel and the paths and questions through which the reader can traverse to understand this contradiction and contradiction that resides in the body of the text. Read this novel means wandering in a forest of stories and traveling in a flood of fairy tales and stories. He came with two heads and each head had a story, a story, a myth, a story, an idea, a biography, which they met at a certain moment before they deviated and repulsed each other and dwelt in his bed and in his distant place.The skulls and what symbolizes death, destruction and murder.

Thus, the writer draws for us characters who imitate reality, horizon and dream through a radical discourse where languages ​​intersect and intersect: the language of the philosopher, poet, novelist and citizen who wants to live in a free homeland and a happy country. has a story in its traditional sense that starts with characters and events from one point to reach another, so much so that the text is open to current and existing data of events where it is not possible to keep in one given predetermined, all events are open to chance and accident in the various political and social contexts and culture in which we live.

philosophical novels

A Flood of Sweets… in the Temple of the Skulls is a novel and philosophical text belonging to postmodern literature.

“A Flood of Sweets… in the Temple of Skulls” comes as a philosophical novel and a text belonging to postmodern literature, based on fragmentation, fragmentation and fragmentation into a poetic, artistic and literary form, in which fairy tales and stories intersect in a the flood of narrative mixed with poetry, philosophy, intimacy and nostalgia for those mountains, which terrorist groups turned into an altar and a place for heads and bodies.

The writer is weaving her novel through a leap between the characters and their worlds: Sometimes we find ourselves in the world of the character “Miyari” who is interested in the world of viruses and their impact on human life before “boredom” as a result of the comprehensive quarantine approved by the political authorities, which prompted him to look for the causes of this disease in novels and books, especially in Alberto Moravia’s novel Boredom and other times we are in the world of this ” Kushmari ”. the character, whose body travels between several names (Imad / Abdel-Baqi / Koshmar) and who turned his house into a studio for slaughtered heads that were dismembered and isolated from the body in the mountains of Al-Shaanbi and Mughila Tunisian , in a form of resistance, and confrontation with thieves, blood traffickers and death.

Kochmar’s character represents the first and last horizon we have left to defend the values ​​of love, happiness, art and freedom, because history always teaches us “that whenever humanity descends into the abyss, it manages to look well into the darkness, and that peoples always possess the invention of new forms of being whenever their existence is seized by ruin. ” That the mountains turned from a living metaphor of beauty, poetry, love and freedom into a dead metaphor and an ugly scene on which the poor and needy were massacred under the banner of God and after the country became a game in the hands of mediators and merchants, we have nothing left in this ruin but art as a powerful force capable of somehow preserving the fragility that inhabits us and protecting what is left of our being, in whose land thorns were planted and diseases and plague escalated in her body.

The novel “A Flood of Sweets … in the Temple of Skulls” came to tell corrupt people, terrorists and murderers that we explode texts, words and stories instead of exploding bodies and cutting necks and necks, and that we exercise violence in the body. writing instead of violence on human bodies. The novel confirms Artaud’s saying “I have nothing to say but violence.” The text also confirms what Jacques Derrida said in Jankilevich’s words: “Forgiveness died in death camps.”

Forgiveness, forgiveness, forgiveness and tolerance are all concepts that have died in the heights of the mountains, among the trees and in the depths of the valleys. We had a process of erasing them from the mind at the moment when the soldiers were massacred and mistreated. , and when the agricultural workers lost their way to death, when the angels died in hospitals and when a dream became impossible in our country. So we have nothing left that accepts the pardon and what accepts the statute of limitations. with which we will strike the faces of terrorists, politicians, traders and murderers and a stake for all those who contributed to sabotage, violence and deportation, and we will form Among the skulls are also bags of candy that we give. for all the children of the world as the ultimate firm to preserve the dreams they wanted to kill.

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