Writing about Paris and the diaries to leave it is not a new trend in Arabic literature. The Arab Library has seen many books that present the views of their authors in Paris and convey their fascination. Perhaps the most prominent of them are “The Clearing of Al-Bariz fi Takhlees Baris” by Rifa’a Rafi ‘Al-Tahtawi and “The Hadith of Issa bin Hisham” by Muhammad Al-Muwailihi. It seems that this city could entice Arab writers to write about it constantly. Paris did not stop writing about Arab writers who maintained it as a social, cultural, and reform model.
And here she is again in the last narrative work “Luxembourg Garden” by the novelist Abdel Qader bin Haj Nasr, who writes it in another writing, not a writing of glorification, but a writing for himself and his suffering . Paris is not a lesson to be reckoned with in this work, but it is only a space for remembrance, after which he returns to write after she has tempted him in his collection of stories “Paris’s Stories” . This new work, which the author included only under the gender classification “novel” drawn on the cover, has been included in autobiographical literature, and it is a type of intimate literature, according to the expression of Al-Sadiq Qasouma.
It can be considered a fictional autobiography. This subcategorization within the biographical categories conforms to conformity and is dominated by reference and is consistent with the autobiographical charter drawn by Philippe Lejeune, similar to “A Difficult Mountain Journey and a Difficult Journey” by Fadwa Toukan and “The Days” by Taha Hussein. It is a return to memory and Nhl who received it stuck in it. This is what appears in this work where the author surrenders to his memory, reviews years of his life experience, specifically the years of emigration to France due to studies, the years of adventure and the powerful circumstances – what his struggle with life and his bitterness tells. struggling with bread and his search for bedrooms, talking about years of anxiety and restlessness that ended with his appearance. About a number of higher university degrees and lessons from senior researchers, including Mohamed Arkoun, meanwhile, referring to a local Tunisian memory, talking about the memories of his various return to the capital and to the village. So he books his experience and writes the secrets of it, in recognition of the many people who helped him in these stages and extended a helping hand to him.
The reference of this biography is reflected in the spaces that have circulated memory, some of which are in France, such as the St. Genevieve Library, the Dar al-Adab al-Arabiya Library and Dar Tunis in Paris, and some Parisian streets such as “Saint-Michel Street, how long and beautiful it is with its libraries, its shops, its cafes …” or Jordan Street. In addition to the famous garden in the French capital, which he took as his address, and he had previously lived in times of homelessness and departure … ». Luxembourg garden, trees lined up around paths, some grass and some paved, all in the garden as a line calculated and prepared in proportion. The large circular basin filled with clear and clear water, around which the children walked with their small boats. As for some of the other spaces associated with the homeland and Tunisia. The memory goes back to the Tunisian capital, and the novelist mentions many of his streets and cultural spaces of that headquarters he remembered while in Paris, “I remembered, and I felt a sense of tears. The Rome Road is the headquarters of the Labor newspaper and its literary supplement, the author also mentions some spaces of his village, Bir Al-Hafi, in the middle of the country.This biography carries the congruence of spaces with the external reference, which supports its affiliation with memory and not with imagination, which goes into the depth of naming the names of real-life personalities belonging to the cognitive, cultural or social field.
This biography goes through many personalities who have a historical presence and a symbolic position, and perhaps the most important of them come from the scientific, intellectual and cultural milieu, from that talk about his teachers, led by Muhammad Arkoun. This biography turns into testimonies about the Tunisian cultural situation Muhammad al-Arousi calls al-Matwi with great love, and indicates many of his characteristics. “I remembered. He showed me his kind. He quickly passed Laroussi’s folded eyes as he walked to Rome and ascended to the first floor where the Socialist Studies Department is. He opens the door to his office every morning. and sat down on the leather bench and wrote.He did not raise his head until one of the young writers knocked on the door.He received him with a broad smile.
He also talks about the poet Ahmed Laghmani, while on Tunisian National Radio, in which the novelist previously worked, and recounts facts about him with him. In fact, to talk about the radio experience leads us to the correlation of some of what was mentioned in this hadith with some of the author’s early works. There are echoes of “Her Majesty” and “A Lane that houses men and women.” Which means that the novelist experience of Abdel Qader bin Hajj Nasr embraces many biographies that reformed the novelist as a novelist.
It can be said that this narrative text writes for us a stage in the lives of many faces that played important roles in the scene. Benhaj Nasr appears to have been a writer of a kind of Tunisian literary diaspora in France at that time. Next to him were Amer Boutraa, Tayeb Riahi, Abdelhak Shatire, Ahmed Mamou and others. And it falls within this framework to meet the poet Amer Boutaraa.
“Surprisingly, I met the poet Amer Boutaraa Marha, who watched the exhibits through a storefront of ready-made clothes, moved forward cheerfully and procrastinated, tilting his head cheerfully to his right shoulder and then to his left shoulder … Oh God, I and Amer Boutaraa in the Latin Quarter … Light, lively, smiling … Between one shop and the other he reads. I have a poem, so I stop and ask him to read it again. “
Their lives have been overwhelmed by homelessness, poverty and unrest. They are all in a state of toil and struggle with the daily bread, which is evident from the narrator’s conversation with the late Amer Boutaraa:
“Did you meet the poet Souielmi Boudjemaa? Did you find Abdel Haq, the band of the former broadcaster with the loud voice, did you clash with the poet Tayeb Riahi?
I asked him in surprise:
What immediately made you name me?
He brushes his mustache and his eyes shine.
-Because they are like us from the gang of miserable … Tired and homeless … When one of us meets the other, he asks him a question. Will you give me coffee? Will you give me a loan to take back from me tomorrow? And we all know that we are liars and deceivers, but within the framework of pure brotherhood. ”
In the end, it can be said that the “Luxembourg Garden” is not a lesson on Western civilization, but rather a lesson in sacrifice and resistance to difficulties. The novelist writes his adventure and remembers his struggle for knowledge and science. But the referential character of this work does not obscure its literary nature. The novelist’s autobiography does not abandon his literary language and its aesthetics. This is what the reader records of this work. Abd al-Qadir ibn al-Haj Nasr formulates it in a literary form, where he gives descriptions, the aesthetics of language, and suspense an important place.