Hani Nadim: I’m not happy with more than half of my hair published

Hani Nadim: I’m not happy with more than half of my hair published

The Syrian poet follows Monica Bellucci in search of the herb of immortality


Wednesday – 17 Shawwal 1443 Hijri – 18 May 2022 AD Case no. [
15877]


Hani Nadim

Cairo: Rasha Ahmed

According to the Syrian poet Hani Nadim, the poem opens to the climate of childhood and the echo of silence, meditation and memories of playing with wolves as they collide “with shepherd dogs”. Since the 1990s, Nadimi has worked in the print and visual press and in the realization of “light ridiculous commercials”, as he put it, and has referenced documentaries for popular platforms and channels. This is the source of his livelihood. Among his collections are “The Wind Sculptor”, “The Wolf Concert”, “The Museum of Loneliness”, “The Dignities of the Miserable”. Here’s an interview with her about work and writing concerns.
> Your education in Al-Nabek, how did that city with spatial privacy contribute to drawing the features of your poetry?
Ibn Khaldun says, in its meaning: “The location that a blogger does not have is a ruin.” Since my childhood I have been busy with country literature. I have read about Paris from the pens of those who have visited it and its writers, London, Petersburg, the small remote villages that thanks to their writers and creators have become a tourist attraction. In fact, “Al-Nabk” is a very special place geographically, socially and historically, a place subject to interpretations, differences, legends and tales, a harsh winter like a blue genie, rumble, ice and terrible snow, the sounds of wolves. colliding with shepherd dogs in their barren, cold trees of walnuts, cherries, apricots and plums. Her adventurous people scattered all over the world, their legendary generosity, their deeds, their ingenuity, their catchy intuition, the songs and melodies that hang like a lamp in our evenings, the songs that did not leave me, nor did they largova. neither in my text, nor in my voice, nor in my silence, this great feast of virgin nature in its first shell, the direct relation to the dust, its smell, and its semantic and chemical references, without the clutter of overflowing with civilization and direct. contact with the sounds of water wheels, whistles, migratory birds and the wind, is an aesthetic ark and a lexical treasure that cities do not and cannot comprehend. So I used my childhood vocabulary and my first place in all my texts and books, like “The Wind Sculptor” and “The Wolf Concert”. “Nebk” has become more prominent in recent years since. it seems that with age we return sharply to the first places.
> Tell us about the circumstances of the publication of your first book when you were only 17 years old and what is left of that experience?
– Today I am ashamed to call it a book, “Democracy” was like the notebook of a schoolboy, in love with language, storytelling, poetry, stories and narratives. Stubbornness is an essential characteristic of highland people. He alerted me and explained to me well which way to go after we ate the hyena of failure in the first way. I learned from my first book not to bite my fingers out of pity; I rewrite it and embellish the mistakes.
> In your poems you seem busy communicating with the reader. How do you see some people accusing you of being “populist” because of this?
I write about myself and I write completely about myself. That is why I am not interested in the classical ways of criticism, because I am neither a poet of a balanced poetry nor a poet of a poetry in prose. I write as I see fit and experiment a lot without any fear or hesitation, and that is another characteristic of the sons of Jurud.
I also do not like to raise large banners and discuss myths, philosophies and propositions of transcendent and homogeneous language in my texts. I write easily about everything except my individual attention.
As for populism, I think we are always stuck in wrong or confused models and conventions. What does “elite” mean? How to distinguish it from “popular”? Did not Ibn al-Mukaffa ‘say, describing rhetoric as “an expression which, if the ignorant hears it, he thinks is better to say the same thing?” Ok, do I have to bring Prometheus and myths, and rely on vague words and dead dictionaries, to be a valuable text? Personally, I do not find fault with the idea of ​​populism, if the term is correct, as intellectuals raised the “jars” of culture, poetry and other arts on the highest shelf of the creative kitchen. I do not think that way, I do not care who will actually read me, I have a sincere personal experience of poetry that I practice with my acquired vocabulary and my original vocabulary and I do not force myself to import what is not related to my language formation. I do not exaggerate in anything, neither in life, nor in clothing, nor in texts.
> What is the secret of the “journalist”‘s obsession with star Monica Bellucci?
– For God, is the most beautiful question of the journalist in the world. Imagine, I was asked a lot about Monica, but not about this detail. No one asked me about it, not even me, as the fixation with Monica is self-evident, but not so self-evident. From my beginnings in journalism, I have tried to meet her and fail, travel after her and do not find her, for more than twenty years I have followed her to see her as journalistic material, as I did with Saramago, Mohamed Choukri. , Al-Jawahiri, singer Zara and other icons of mine for which I followed their paths, interviewed and wrote. But I could not see Monica, and this is rare and strange for a stubborn person like me, and perhaps this failure and misfortune is what turned her into a legend above her legend. Maybe it’s good for me that I didn’t see him, as I wrote a lot of texts about him, some of which I think would have faltered if we had met.
I visited all her shops, her settlements, her birthplace and the apartments where she had stayed and I saw her relatives but I did not see her. She drank the best sip of water from the square of her hometown, Chita di Castelo, and Gilgamesh felt as if she had found the grass of immortality.
> It seems that you are inferior in your poetic production, as you do not publish a new collection of poetry except every few years … Why?
I’m not one of those poets who jumps in front of a rabbit and writes about it, and there passes a bus and they remember their schoolmates. I do not see this as one of the tasks of poetry or in any way. Poetry for me is a very mystical and mystical state. His moments are abstract and without emergency emotional charges. Poetry I have an alternative to meditation and long silence, today I have twenty books in my pocket, eight of them are poetry and I would like them to be less, for God. I am unhappy with more than half of what has been published in my books. But this shortcoming will not be corrected, it is human and healthy.
> What about travel literature, documentaries and television?
– I am a journalist and I have been working since the nineties in print, visual, new media and what has surrounded them in creating creative and advertising content and texts. This is my life, I do light funny commercials and close documentaries for popular platforms and channels. This requires constant travel. This is in addition to my work as editor-in-chief of Aviation magazine for a decade. That enriched me with great raw materials and made me get confused with the vocabulary of the world around me. I hope to find enough time to complete all my documentaries, topics and investigations.
> Unlike most writers who complain that their work in the press was an obstacle in their literary career, you confirm that you owe a lot to this profession, how is that?
This is the argument of lazy writers. It is true that journalism is a profession and an obsession just like gambling, it compresses time, memory, nerves and arteries and puts us in an endless cycle of appointments and delivery schedules. But it is also a wonderful source of inspiration and an unparalleled paradise of true knowledge. Direct contact with people, places and things is the strongest culture and the most important facts, I owe a lot to the press, how I will write about Italy and I did not see it, and about myths and I did not treat it with journalistic treatment. and accurate information, the press is a big factory for information, verification and lighting. It is the noblest and most honorable profession in my opinion, despite our insults to him day and night.
> I interviewed more than 600 poets, writers and intellectuals and approached the scenes of their “other side” … What is the result of this experience?
If I answer you emotionally, I will say: I wish I had not, because their boundaries are not like their body. Many of them have shocked me morally and I have written several times, if I were a scandalous journalist I would have written a 600 page book about the misfortunes of intellectuals. But if I answer you correctly and professionally, I will say that I was inspired by each of them something very important, a window into my conscience and my career. From my point of view, dialogue is the essence of cultural journalism and for this reason every intellectual among them inspired me to look towards what I did not see.
> The wall of your site burns all the time with selected poems of poets of the Arab world from the modern generation, accompanied by plastic paintings by Arab artists. Is there any idea?
– In fact, I invest my site as much as possible as a cultural journalist who generalizes the state of culture in its most beautiful performances from my point of view. I invest my relationships and connections with writers all over our Arab world. I publish for great poets and young poets and every text in which I see an enlightening and aesthetic project in the face of all this literary laziness produced by “Facebook”, from poor, hasty and similar writings that do not have even the slightest linguistic element of cognition. While our old writers may be unfair to their preoccupation with their cultural project. This is the task of cultural journalism. And I try as much as possible not to be biased towards one thought, one form or one diameter without any other. I would really like to be able to publish them to anyone I want, and there are hundreds of them in our Arab world. Yes, I mean poetry is good, and Arab poets always occupy their space.


Syrian Arab Republic

Art

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