From the conditions of lovers .. a notebook biography of love

We publish a critical article by novelist Mohamed Ali Ibrahim on the short story collection “From the Conditions of Lovers” by author Ahmed Helmy, and the article comes under the title “A Notebook Biography of Love”.

A revealing gift for the nature of the story group, to friends who formed shadows of writing, so a group of stories formed that formed a novel for a part of the storyteller’s life. Twenty-nine stories with a theoretical score. Practically, the story of “Mofattah” is inseparable from the stories of “sound, madness, mist, over try / return, warmth.” Sadness, divination, chain, regret, drug and a cigarette for the old man. ” These stories form the manifestations of the disciple who became an old man for the two lovers. He begins with the “Anana” alternating with the structure of the noble hadith. Each Sheikh has his shathas that are accepted by the experts or the deceived. This Sheikh decided to humanize him and remove the unreasonable dress a bit from him in the story “The Warmth of Sadness”: He listens to Warda and Souad Massi, (dressed) to the music of Al-Qasbaji, Al-Sunbati , eloquent, and the truth It was a clever detour from the narrator, so that this sheikh would be within the reach of the reader, to accompany him and sympathize with him.

In “Read the Fortune”, the storyteller’s surprise to the reader was that this sheik was a disciple of a woman, who taught him (how something is heavy and empty), and she speaks in a foreign language, as if she developed from the image of Rabaa al-Adawiya in the minds of the disciples.

However, the story that was worthy of opening the volume is the story of “a dusty soul in a box” through its opening sentence that carries all the threads of this book: “Why did you open the box”, here the narrator the box of his heart and withdraw from his stories with the women, to draw a form for his own world, perhaps The narrator believes here that writing is a potential way to free one from slavery, sadness and his old losses.

The narrator was clever when he left the poetic mystical language in stories that did not enter the circle of the opening, it became a street language without linguistic concavity, and its transitions between the knowing narrator and the co-narrator or the ego or even the addressee were artistic transitions and there is a lot of deception we will turn to if we move between those. The stories are consecutive, to discover that the narrator is the same in all respects, but he has shifted his position to allow a list of possibilities that the expert narrator’s technique could not endure, so that the questions of separation remain , and thus opens the door for the return of his wives if we only want it.

There is a basic sentence for writing the story “Mufttah” when he says “Circles of your time.” We are in front of circular lives, with neither a beginning nor an end, which gives the narrator the idea of ​​manipulating the arrangement of his narrative circularity. .

In the story “Crazy sun” there is a linguistic problem. I think the correct one here is “Crazy about the sun”. The problem is repeated in another way in the title “Eat in Hell” and the correct one is “Eat in Hell”.

We return to the madness of the sun to see a transition between the knowing narrator speaking to the first person and the ego narrator, but the knowing one is not fully proficient with the ego narrator in a structurally sound to identify artistic play, and the narrator. repeated it in other stories, but the most striking here is the transition from the present sentence to a sentence. Actually, that shift becomes the gateway for the narrator to receive the ego, the key to the story, and between the current first and second. sense takes place a graceful temporary transition, so that the young lover only grows in age while love is constant and does not change, then he reaches the “gate of the ancient end” as if he is complying with the sheikh who is in fact his ego. ..

In the story of “Hell’s Meal”, the artistic play here appears in the paradox between the sentences (she sat in front of him) and (he sat in her) in a sly game related to (his memories in the field ) and (her childhood in the city).

Ahmed Helmy

In his story “Without a Return Line” the narrator tries to keep a diary, each entry represents a story so short that these stories form the worlds of a complete short story.

One of the signs of the elders and the disciples is confusion, a condition that accompanies them, confusion gives them an important part of their personalities, confusion is manifested in the story of “the five or six degrees.” ), then (as if they were creatures), then (I asked for tea with milk or plain tea), this confusion confirms the fact that you are before the disciple who became an old man and wrote these narratives.

In that story he talks about a woman who smells like a mixture of mango and apple, the same smell that the reader will encounter in the story “When the Smells Died” to complete the story about that woman, but the elusive sheik has the two separate stories to test the reader’s memory, or perhaps his confused memory that contributed to the story. The distance between the two stories, just as he did with his beloved painter when he told her in two separate stories, “All Last Night” and “White Painting and Waiting.” At first he leaves her dancing hands to draw the painting until she leaves her world and breaks into his world, which he shortened by his embrace. After her absence, but with rain strikes waiting for her impossible presence.

In his story “This Situation” we are confronted with a story whose real title is “One man, one song and two women”. That song is the situation, and with a repeated lightness in the temporary transition, the woman changes, so his accumulated experiences allow him to interpret what happened before, but his emotional disappointments remain consecutive, as if The fate of the seeker until he reaches the state of Safa.

In the story “The Criminal”, the narrator’s ego controls all the stories, he starts with a disturbing and technically successful question (Is I a crime) and asks the reader to interact and even of him a judge and judge to begin his narrative in a news language and articles that are foreign to the space of that story group, the sentence “or so” “Antwi” naturally casts shadows of a central sentence in the life of Hosni Mubarak, despite of the absence of a blatant political or ideological presence in that group This is a sentence that worries me about changing the course of the narrative, to be confirmed by the narrator with the sentence “The interruption of communication for eighteen days . ” We are then faced with a text with a revolutionary centrality, but after that sentence you will not see a revolution, not even January, not even the military council. I find that removing the two sentences is in the interest of the whole group and not just this story. There are (Facebook) sentences in that story until another stage of interesting narrative control begins, beginning with the sentence (You live). , I know you say it in secret), and the sense of humor in some areas was good on a structural level.

In his story The Question, there is a good attempt to use the expert narrator with logic (imagine you are expert), to try to use an enchanted light to see the other and what he is doing, as it actions of wishful thinking, not of certainty.

In the “Professor” comes the female question of all his wives that was answered during those stories when the loved one asked him: (Is it helpful to write a story based on a real situation that happened to you).

Mohamed Ali Ibrahim and Ahmed Helmy

In the text “One Promise,” we are faced with a poetic text. The poetic outburst begins with a fixed word (I see it) and then begins to chase metaphors in the absence of a real narrative writing, just like me did not do so. as westernization in the use of cedar and snow trees, as if the land here had no trees of its own.And as if Nizar Qabbani was more poetic than Amal Dunqul and Abdel Rahman Al-Abnoudi, there was no justification for this alienation, and there was no reason to remember a poem in a narrative book.

The story of “First Hug”, a story that is apt to tell when time becomes zero and space becomes a point that is the whole universe, a story written in a good mood, and the use of the two objection sentences were very professional. The hug ended as soon as that extra sentence began.

I did not like the story of “The Fat Woman”, I read it in many stories, and watched it in more movies.

In “Fugitive Spectrum” the author uses italics to instruct me to write what happened in the dream, he adopted the reader’s naivety, and I do not like the guide or guide when I read.

In his latest story, “A Cigarette to the Old Man,” he meets the Sheikh himself on the circular journey of his time to conclude his first narrative, a narrative that writes love stories with colors of separation, all of these women’s relationships have made him nothing but a sheik who presents his experiences to new followers / lovers, through whom he sees his previous lives, until the painter returns To paint him an eternal picture.

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