The bosta roar that Fayrouz introduced to every Arab house as a superlative meaning of love does not look like the bosta pain that the Palestinian Juma al-Tayeh wrote and wrote about, who spent 25 years in Israeli prisons. The origin of the meaning of this word (bosta) dripping pain in the Palestinian context; Roman, according to some literature, means the place where postmen used to rest.
Contrary to the original meaning of the word, and the meaning sung by Fairuz, and in a meaning far removed from comfort and love, Al-Tayeh sheds light on the exceptional stories that took place with Palestinian prisoners during their transfer. in Al-Bosta. Juma’a, who has a master’s degree in Israeli studies and is involved in the production of more than 20 scientific studies, finally decided to go through the experience of “Prison Writer”. Within this space and constraints, our interview with him was to talk more about his collection of short stories than literary production, and in the broader context of “prison literature.” within which this group falls.
Mr. Jumaa, we are initially grateful that we gave our time to complete this interview, which came during Ramadan when time flies by. We start with you with the name of the story bundle, why especially the bosta, especially since the time the prisoner spends in the bosta is much less than the time he spends in cells or prison rooms?
Just as prison is the obsession of those in freedom, Busta is the obsession of those in prison. I believe that this area of geography, the geography of iron, and this distance of time or travel, which can be called the “Path of Pain”, did not find its right in the prison literature. Most of the prisoners focused in their writings on the investigation and living conditions, but they ignored an important prisoner’s journey that was not measured by his chronological age, but by its pain and impact. It is important to remember that the bosta is an iron cupboard in the shape of a bus, everything contains iron, in which prisoners are transferred from prison to prison or from prison to court.The court has additional sessions. Imagine that some prisoners gave up their right to treatment and surgery because of the bosta! For the record, even the group that has the task of managing the affairs of the bosta is different from the other groups as it is known to act as a gang outside the framework of the law and is not governed by any legislation not even those approved by the Prison Authority. In return for all this, the Palestinian prisoner was able to defeat the idea of Al Busta, and this is what I wanted to say by telling a few stories, including the story of the two martyrs Saleh and Noaman Tahaina, who were able to to deceive the Al Busta crew and release the first instead of the second, even though his judgment was high.And the prisoner, Muhammad Abu Jamous, who managed to cut the nets of the pole despite its thickness.
Some of the stories that appeared in the group have an intense human dimension, such as the story of the birth of the prisoner Fatima al-Zaq in al-Bosta. It was possible to focus on the feelings of female prisoners, for example while embracing a child for the first time, or build a hypothetical maternal relationship between him and another prisoner in the form of a novel, and of course on the feelings of His mother while traveling to court with her son for two years, and many angles, and it is likely that he will have to turn the story into a novel and thus be more firmly rooted in the reader’s memory than the dry youthful narrative, and it can be supported by an aesthetic and artistic world, whether imaginary or touching reality, why did you reduce it with this summary method?
What you said to me is an important note, but let me make it clear that I did not turn primarily to literary writing in prisons, but rather chose to focus on studies and research, and that is due to the fact that I spent an important period in Hadarim Prison, where the prisoner Marwan Barghouti is located, who managed an important scientific, research and academic case.In prison, I was affected by that environment. In fact, writing a novel requires an artistic, literary and imaginative sense, and it is well known that imagination is the opposite of fixed or court knowledge, which is one of its manifestations is scientific studies, and therefore it was difficult in two to live opposite worlds or to deviate from the surrounding environment. So in the story of the tough prisoner, I went to the idea of compensating fate. She wondered: Can Israel compensate the child Youssef al-Zaq for two years of detention and exchanges ?! And also about the balance of pains and pains, as Zionist propaganda abroad focuses on some stories that try to drown the world’s public opinion in an attempt to suppress the oppression on a daily and ongoing basis from the Holocaust to the present day. reproduce. Even after turning it into a country that possesses and kills nuclear weapons, confiscates, arrests and settles, it is still obsessed with the call of tragedy in its daily narrative of the world. This is political logic, and that is why, for example, in this story, in addition to the events, I got stuck with a political logic that I tried not to take out of the context of the story, at least technically.
To be honest, what motivated me to write this collection of stories was that I had previously done a scientific study on the investigation, and certainly when we talk about a study related to the investigation, we should have a bring to light some real stories of the prisoners. It caught my attention that scientific knowledge can be produced by borrowing and commenting on some stories, linking them to theories, analyzing them based on them, and finally coming to conclusions. So even in my brief definition of the collection of stories, I chose to talk about the defeat of the Israeli security mentality, as an important theoretical concept, by the stories of the prisoners.
You said writing is a need for a prisoner, and you have taken prisoners out of some of the crises they have suffered. How can this be understood from the entrance to your storybook, and in what context does this conclusion come? ?!
In fact, I would like to stay away from discussing this idea, but in summary I can point out that prisons have shifted from knowledge production in security and biased political issues to the broader knowledge production represented by literature, practical knowledge, and others. If you make a statistic of the most important knowledge productions of prisoners of war in the period before the last decade, you will find that it reflects a state of drowning in the security obsession and security concepts.This type of production was undertaken by the leaders of the organizations, and therefore, it was a binding knowledge and in fact caused a crisis of confidence and a crisis in the management of personal and organizational relationships. The entry of some smuggled smartphones opened new horizons for the prisoners and they even left a bit of their closed society, and they were also able to discover the extent of the street’s interest in the messages, phrases, slogans or stories told by them has been issued. , and their communication with some writers, journalists and poets, all of whom were motivating factors for them to start The production of literature that transcends the traditional foundations of knowledge production.
In your collection of stories, “The Aches of Al-Bosta,” you tell the details of 10 stories, while each prisoner must go through the experience of Al-Bosta in return. What are the elements that you think should be present in the story so that it can become writable and publishable, or in other words worthy of publishing?
You said it in your question, the bosta experience is a forced experience that every prisoner has to go through, and therefore it is a daily narrative in the lives of prisoners, and sometimes all the details are similar, and it was originally designed to design a united torture, and therefore is what you can focus the exceptional, and that’s what you did. Although I believe in the importance of every prisoner writing his story, whether in the mail or elsewhere. It is ultimately our history and part of our historical and liberating narrative. Once, the prisoner Marwan Barghouti told me that the leaders of the Israeli occupation write in their autobiographies about their dreams, hopes and aspirations, not just about the events that took place with them. But as a writer who wanted to shed light on the pain of the post, I could not tell a large amount of stories in this context, and I had to set certain criteria, the most important of which is exceptionality and outbreak of routine. Also, the difficulty of communicating with all the prisoners and listening to their stories with the Busta is another factor that can cause some important stories to be accidentally withheld, as well as the prisoner’s willingness to talk about what is happening to him has, for some details, the prisoner chooses to withhold from others and that is certainly his right, although my beliefs She says that everything that happens in prison is a real consequence of the colonial act of internment.
In the story of the two prisoners, Saleh Tahaineh and Nouman Tahaineh, I proposed a political position represented in opposition to Oslo and the effect of the agreement on the psyche of the prisoners who remained in prison, and the lack in hopes of their release. And it creates a specific audience for it, which means that it could be pointed out that freedom in itself is a motive to escape and not the Oslo Accords as a source of frustration for Saleh and therefore his thinking to escape ?
I told you in the context of the interview that my experience in prison literature was characterized by a mixture between the human story and the story of the people, which means projecting the general over the particular, or understanding the special By the general atmosphere, and I did not strive to be a novelist or writer, my goal was to link private experiences And the general experience of the Palestinian people with the occupation, and I have in all the stories that I told tried to draw theoretical conclusions, whether political, philosophical or social.
Regarding the point I made in the story of the two prisoners, Saleh and Numan, the partial frustration of the opposition prisoners and the fading of the idea or hope of freedom among the prisoners of the opposition through a political process, was it is the general atmosphere that prevails and not an impression or feeling specific to Saleh, may God have mercy on him, and therefore I have not stated a position Politically, as far as the effects of the agreement on the opposition prisoners in general and on the prisoner was observed. Saleh in particular, it’s a kind of recording of the broader environment of the story. As for the more general question, which relates to the question of the mixing of literature and politics, it has to do with the author and his social and political backgrounds, as well as the period in which the author wrote, for example the authors whose countries was liberated from colonialism but suffered under difficult living conditions in the post-colonial stage, focused on poverty slums, corruption … etc. But those of them who lived through the two stages wrote the revelation of the two stages. A person can politely distance himself from all meanings of politics, even if he is a Palestinian, but not if he is a prisoner. Because in prison you have no more information and knowledge than your experience, because you are surrounded by an observer, and you are in prison a political being par excellence who faces a system of political action par excellence .