Since the free poetry movement, Syrian poetry has been very present in the Arab poetic scene. Not to mention the writers of short stories, novels and reviews. However, the war in Syria obscured the current literary scene, which prompted Cairo magazine “Mirit Cultural” to present it in its latest issue through a dossier containing poetry by twenty-two poets and nine books of short stories. This numerical inequality between poetry and narrative reflects the rapid reaction of the former to the current moment of tension, which has clear effects on the objective themes addressed in poetry. It is worth noting that the issue of war has cast a shadow over everything. Here is the poet Ahlam Othman who describes her boyfriend that his eyes are “laminated” with sadness and that the wind around them whistled and rain fell on their shoulders; “Running away from the smoke of the place”, while her hands were cold and the owner was shaking and her reluctant hand remained “torn prey between the jaws of the night”.
The impact of war and the crown
Ahmed Iskandar Suleiman is introduced in a direct descriptive language when he says: “I was born in 1955 / When Syria was a place where the elect were born / I was born in Gabala / whose name means the Voice of God in the ancient language phoenix. “And so on, until he reached the war vows that the poems foresaw:” I lived in Damascus / I felt the war crawling and approaching / But no one heard the noise of the poems “, to” everything that can caught. / The dream turned into a nightmare. ”In the midst of all this, a person feels his insignificance and insignificance. This is what we notice in a poem by Basma Sheikhos when he says: of the universe / If she leaves, nothing will change “and she feels that” she will be close to her relatives “. under the dirt / as in her life.” And the issue is exacerbated when war concerns are compounded by the spread of the Corona epidemic, as Bahij Warda puts it, given the freedom of roaming – in Canada – dog owners can go out with their dogs during the siege period, provided the distance is not more than a mile from the home address.These anomalies have become a regular occurrence due to their daily repetition.
Hassan Shahout says: “It is not surprising if I can not break your silence hanging from the ceiling like a loop of remorse / It is no wonder if I can not get rid of my tribal fears / It is no wonder if I walk in mud and rain / In my face the tears of the thorns and the sighs of the paths accumulate. ” Hussein Al-Daher adds another limitation, which are identity cards and stamps to prove identity: “Excuse me, I can no longer approach / My feet are tied to millions of identity cards and stamps / War is a one-time death / Peace is a death thirty times before death. ” This is because this temporary peace or ceasefire awaits war and destruction. Poets find no way out of this except by leaving the earth, even for the imagination. Hikmet Al-Jasim says: “Let us embrace you / Outside is a great sky / Waiting for us to fly together / And die together”.
the emptiness of the world
Love, then, is an alternative to the emptiness of the world. According to Rana Safkouni, “The man who loved me / bought me an apple / said it was the moon / believed it / then the light swallowed us together”. But this love often frustrates, as Rita Al-Hakim says: “The woman who bites her past / Until her blood flows and her sorrows are poured on his shirt / her dreams / To be born with unknown lusts. ” But in another country she links the liberation of women with the liberation of the homeland, “Freedom is a breakthrough in the time of slavery.” Freedom – or always striving for it – is what makes death delicious, and this is what Saddam al-Abdullah describes: “O death, exalted be glorious / like a cotton seller / which means a colorful laugh with two ball “. He wants death to abandon its horrific image when it comes in the form of barrels that would cause thousands of casualties. Arif Hamza stops in front of the sea as a symbol of the labyrinth. / Eats the sea / Even if you drown now. ” Aisha Breikat compares her condition to that of her owner when she says, “When my face whispers / Your shadow breaks over the mirrors that breathe in the intoxication of my cries / At the edges of a water-filled painting.” Ubadah Osmani predicts the future of his homeland when he says: “One day the garden will sleep in its frosts / dreaming of flocks of butterflies / and may not wake up until winter eats its face / one day the city will walk on corpses our./ plowed by the killer horses ”.
Desire to emigrate
The image of the city also appears in the poem of Abdullah Al-Hariri: “The city wakes up again / As if it is not old / Buses have Alzheimer’s / Forget the faces and remember the facades”. It is noteworthy that there is a well-formed vertical poem by Farid Yagh where it says: “I embraced your shadow like a deprived child / Until I melted and lost my hand in the embrace”. This is parallel to the poem in prose when we read the saying of Abeer Suleiman: “There is no problem that I am the book that tore it in the crowd of your preoccupations / and left it orphaned on the table without features”. Muhammad Al-Haburi presents what is like an inner monologue when he presents the phrase and then comments: “How close you are to me despite this distance / A lie – I feel like I will see you today / A lie – I will wait when you pray / A lie.” Hani Nadim talks about the brunette beauty that “the soldier returned with the identity of the dead man at the front”, then passes to the desire to emigrate: “He said to his friend: We do not need anything to go out. of this hell / a passport and a hidden road that connects us with Malon ”. Nadine especially moves to refer to the marginalized of the city when she says: “At my party I will let my conscience / die for a while / and ignore the young woman standing in front of the pizza shop / holding a small one. plate / asks for money to feed her children. “
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My loyalty at night is due to the appearance of lack of status and its value to my father: “Here I am just like you, my father / but without role, status and value / and I have never been / as you were during at the end. “Finally, we find two poems based on the description of the first character of the inheritance entitled” From the letters of Prophet Yusuf “by Yusuf Al-Abbas, in which he says:” Seven will eat what is enough for you. / from seven deserts. and you wait for the prison to pass. ” The second, entitled “Sissifus”, by Muhamed Hajjaj Bakri, connects him with the Syrian when he says: “The Syrian Sisyphus is born and grows / gathers the homeland at the beginning of tragedies / then continues in a mirage / We, Sisyphus, are children of ruin / Delayed death marks us / in copper bullets.
Stories that describe misery
In the file there is a story by Islam Abu Shakir entitled “Optical Illusion” which relies on the growing time structure in its description of a woman preparing to leave in the morning, and suddenly a bullet penetrates her window in the middle of her ordinary life. . Hassan Al-Judi presents in “Bay Al-Maqdis” a hunter chase of a stray deer, where “the hunter follows a broken blood thread. He shot an arrow at the deer and thought he had hit it”. Raafat Hikmat presents in “The Blood Sealant” a picture of the shroud tailor showing the large number of dead people and the description of the place is combined with this general meaning: “The door was open, rusty, iron, come to your hearing when you were approaching more than one sound from the inside – I mean a group of voices – you can if you focus on the whole. Distinguish the sound of a sewing machine. Suzan Al-Saabi describes the condition of a miserable family next to her on one of the buses. Adnan Kazara portrays his father’s absence and constant need for him in “His Father’s Seeker”. As for Ghufran Tahan, he deals with the amnesia crisis when he says: “I realized a long time ago that my upper memory could no longer hold my details and that it betrayed me, which made me obsessed with tattoos. . Lamis Zain imagined a strange case, which is the presence of a half-masked person who gave birth to a tribe of sons and grandsons, who all wear a mask on the left half of the face. Nour Al-Mawsili imagines the condition of the people when he asks: “Does anyone have the price of his daily food these days to buy a painting that adorns the walls of his house?” Wael Al-Qadri describes a marginalized person who collects cigarette butts from the floor with his broom, opens the wooden box and inserts what he has collected inside.
The general view of the above confirms the variety of poetic styles between pragmatic and figurative, the use of vertical, operative and prose forms, the frequency of war themes and the sense of nihilism, fear and marginalization, which we also find. in the short story to a large extent.