The Labyrinths of Writing by Abdel-Fattah Kilito | Ibrahim Mashara

About the publications of the Mediterranean in Milan The book by Abdel Fattah Kilito was published in 2020, entitled “In an Atmosphere of Intellectual Remorse” in 78 pages and no more.

A biography of the journey of writing and its labyrinths for this critic and creator who did not want to stretch and spread to the point of boredom and boredom on the habit of some writers to glorify and glorify the ego in order to have a narcissistic tendency satisfies who does not get tired of talking about his intellectual heroism and obsession with all the details that matter and what does not matter.

With a spirit of objectivity and humility of knowledge, the critic began his first articles with this quote by Gaston Bachelard: “If we are freed from mistakes of the past, we will encounter the truth in an atmosphere of intellectual remorse. In fact, we know against it prior knowledge and by eliminating and overcoming poorly constructed knowledge which in thought itself hinders the thought process. ”

Exciting titles for the chapters of the book in which the ego disappears into the labyrinths of writing and the books that shaped the mind and conscience of the author in the East and the West, as if writing forgets what we read and what we learned to put it all together in the self, so it reproduces and formulates it. The poet Abu Nawas is said to have come to Khalaf al-Ahmar to recite a poem he composed for him, but Khalaf al-Ahmar advised him to recite a thousand poetic stanzas between an argoza and a memorize poetic syllable. , authorized him to process poetry.

Before that, one of the poetry narrators pointed out to Al-Farazdaq, the boy, that his poetry would not be correct unless he memorized the Qur’an, so he tied himself to a mast until he memorized it, and thus the Koran ” merges with its wording, purposes and meanings into the poet’s conscience and mind and transforms into a purely creative process with Al-Farazdaq and close to what was told of Jarir. He said when he heard Omar bin Abi Rabia’s poem, “Amen Al-Yam, you left early.” This Qurashi was still crazy until he said poetry! That is, he was in a stage of formation, and the poetic queen did not yet settle for him until he melted in his mind and conscience a great deal of old poetry, so it formed the juice of creativity in him , that is, forget what he learned and what he memorized.

Interesting titles for this Kilito book as it tells his reading and writing journey, that journey that came over a few pages but is focused and intense and refers to many texts and writings in the East and West such as The Art of Error , on the sidelines of the vision, the blind, the point of separation, just a letter, for this we read classical literature ..and others

The author writes that he has loved reading since his childhood, according to the habit of writers in their early years, and it is these young readings that the author has forgotten along the way of contemplation, digestion and again.He inherited from it. and of Al-Jahiz and Montaigne the love of deviation and the game itself is exposed, so his writings are nothing but deviations that the pioneers of the maqam follow, just as the game was revealed by al-Jahiz before the reader when he said has that his compositions are nothing but deviations and a novel (write by jumping or leaping … I understand today why I spent years studying the maqam because the authors of it, who are imbued with the thought of al-Jahiz, followed the same method, and I may have been influenced by them, for my books consist of separate chapters, that is, deviations, counsels, or if we prefer shrines in all senses of the word).

In his other book, on literature and skepticism, the reader realizes the feeling of anxiety about writing and writing and around it He quotes the old people who say: “A man is still in a free state as long as he does not say poetry. or write a book. ” This is the regret that Kilito is talking about. It is not regret in the moral sense, but cognitive regret that Gaston Bachelard referred to in his aforementioned saying, as if error is the rule and right the exception. Abdul-Malik Murtad confirms: “I saw no one write a book in his day, but he says in his morning that if it were otherwise, it would have been better, and if it had been added, it would have been better, and if he had offered it, it would have been better, and if he had left it, it would have been more beautiful, and that is one of the greatest lessons and is proof of the seizure of the shortage of all mankind. ”

This repeated error in writing and this cognitive regret is what prompted Zuhair bin Abi Salma to wait with the recitation of his poetry and allow his narration. Accidentally and turned away from him to what he believes is the best, most useful and most correct, that is, the least remorse. The book should be careful and cautious, as Al-Jahiz recommends: “Whoever writes a book should not write it unless all people are enemies of it.” His writings are nothing but deviations, novels and quotes, and Kilito is not deviated. of which he wrote that his writings are like councils and shrines, and Mahmoud Darwish also did not deviate from them when he said: It is an extension of all poets and that poetry is a transparent fangs.

Abd al-Salam bin Abd al-Aali says: “The basic expropriation that Abd al-Fattah Kilito uses in his last book in an atmosphere of intellectual remorse is that a person seeks what is within his reach. It is no wonders that it Kafka’s phrase, which Kilito cherishes so much, is repeated in the book, so much so that he put it as the title of one of his books: What we seek is near us.

Belgian novelist Georges Simnon spoke about the key in one of his stories. The police chief, whenever they entered his apartment, lost his key in his pocket, but the woman would take the initiative to open the door. What we are looking for. is with us or near us, as Kafka says, and in a meaningful story by Borges, Kilito made her into a chapter Especially Borges was a fan of Arabic literature and learned Arabic at the end of his life, but unfortunately fate does not allow him to read it, as he died.He did not know Greek literature, especially not theater, and that is why the research is withdrawn from the context. What is the meaning of tragodia and kamodia without knowing the context in which these two words were mentioned, what is theater as a literary genre? Paradoxically, children played the role of worshipers in a childish game next to the philosopher’s house. Here is the knowledge that the philosopher is looking for. It’s close to him, but it’s blindness.

I have a secret that can not be mentioned

It’s hidden from Basra when it’s day

It is the epistemology of a priori quoted from Başlar, not moral repentance, but cognitive repentance. Did not Başlar say, “In the mind itself, what hinders the thought process?”

Writing is nothing but a series of intellectual regrets, as he calls them, regrets about what was said and regrets about what was not said or written, as if illness is the origin and well-being the exception. But he restrained himself under the pretext that he had nothing to add to French literature.The French had their critics and studied their literature, and he was on the other hand in vain.He says, but at a later stage he regretted that when he heard that the purpose of the Academy’s request was to give an Arab touch to studies, and how Arab intellectuals receive this novel and how They deal with it with their cultural and intellectual backgrounds, but do not regret it, as they say.

To be or not to be. This is the challenge that Kilito had to face and prove himself in the writing world. For many years he studied French literature and used French to speak to his students, and he refused to take part in the study of Gusav Flaubert because he thought he had nothing new, because his true place is in the Arabic literature, but it did not prevent strange contradictions and paradoxes. For example, he was tearing up the lecture papers he prepared for his students, and it was customary for academic professors to hold them, but Kilito’s insistence on tearing them up in a kind of denial or rejection and purification means the firm belief that he has nothing to add to French literature and o Paradoxically enough, when he published his book “The Absent”. ”In Arabic in 1987, and thinks that Arab academics in the West would praise its author and author, as he wrote directly in Arabic. Arabic poets and novelists send her their products so that she can be generous to them with a translation, as if their fate were in her hands. To be deprived of the right to write in Arabic and to enforce myself as an Arab writer facing a crazy difficult bet of not writing like Europeans and to differ at the moment from the Arab writers whose works I have seen. “

What does the author keep asking by intellectuals in the West, why did he write in French? This is a question that has always been asked of the Algerian novelist in French, Mohamed Dib, as the others want to assure him of his refusal to write in his own language. .

In the classical chapter, which is an interesting and interesting chapter, the author talks about the Arabic and Western classics.If the classical era in French literature is the seventeenth century, the matter is different with Arabic literature, as each literature has its literary eras het. Is the classic in Arabic literature the mu’allaqat, for example? Tammam, al-Buhturi and the prose of Badi ‘al-Zaman, al-Jahiz and Ibn al-Muqaffa’, and he does not fail to tell Ibn Khaldun’s. opinion in limiting the literary classics of his time into four titles: the statement, the explanation and the complete in literature, hope and the author’s literature, and with the different definitions of classicism
Italo Calvino quotes a number of definitions. Classical literature is what we say we reread and do not say we read it, or it is what we compare ourselves to and what we oppose, or it is what is taught in the classroom. Undoubtedly, the real creativity is the one in which we do not stop the dialogue of the ancestors and their opposition to the Philosophy of Al-Ma’arri.The poetry of the predecessors and a deviation from the norm in adopting more than one narrator and the departure of Abu Tammam and Muslim bin al-Walid on the poetry column A dialogue with poetic classics and al-Shidyaq Completed a dialogue with the prose of the predecessor and opposed it by leaving the rhyme that leads the way orbit for the rise of modern prose.

Nothing kills the ancestors like forgetting them, not talking to them and neglecting their output, and that is what Baudelaire meant by saying:

The dead, the poor dead suffer so much pain

The suffering is nothing but their neglect and lack of dialogue with them.

Abd al-Salam Bin Abd al-Aali says in his book “Readings for Oblivion” published by Dar Al-Mawadat 2021: “Among the corrections that Kilito attaches importance to in his book are those related to his latest book titles, a book with invisible ink where he writes.He reads with ink (al-Fath) and the ink is, as we know, the one that is well versed in the sciences.It is not surprising that reference is made to the sea in this regard not. It is enough to change the shape of a letter to change the meaning of the title, but rather the meaning of the whole book. Always on the lookout, waiting for the right opportunity and time to reveal the hidden meaning. “

This is a significant catch-up on the act of writing and writing, and another story he tells about a Western academy I reviewed about the story of the three sleepers, Shahrazad, Donia Zad and Shahryar in his book “Inform me of the vision. ” What he did not say. “

It is another cognitive regret and an acknowledgment of mistakes, as writing forgets about what we have read to merge into the depths of the self to the point that we no longer know who we have read and what we have read. .

Leave a Comment