Azhar Zarzis and Camera Narratives

The novel may be a mask of history, and a game to hide some of its symbolic loads, or its hidden secrets, but it remains a transcendent game, and a fraudulent writing of history, especially when it involves at political or social events and facts. To shape it by writing down the narratives of the camera, so that he connects it with the eye of the narrator, while she watches, captures and imagines, to make us a text in which juxtaposing the harsh and heartbreaking reality, with the imagination leading us through “sarcastic language” to reveal lives inhabited by isolation, and about conflicts, which are the same as the struggle of the world. The inner city of the city turns into a dystopian/hostile place, in which events and factors of violence intensify, as if what the eye of the camera/eye of the narrator perceives is a representation of the turbulent transformations of “what in that strange land happened”, as the publisher says on the cover of the novel.
The novel “The Stone of Happiness” by the novelist Azhar Zarzis, recently published by Dar Al-Rafidain / Baghdad 2022, reveals through its events and characters that narrative play through which it examines a proposed or imagined biography, in which it reveals clear facts in the history of the Iraqi city, and by invoking the game of photography as a working narrative, to be a space to approach those facts and events, from the beginning of the sixties of the last century, to the manifestations of what happened after 2003, such as the movement of the turbulent character of his hero who lives her inner phobia, and others bully her, seem to represent an imagined response to a “magic call” that has been fabricated. The novelist has a tragic environment analogous to the dystopian environment in which the protagonist, the tormented, displaced hero lives, who is subjected to the cruelty, stubbornness and horror of her diaries, until he is in the magic of the “Stone of Happiness” finds the code that drives him to adventure. and dreams, to get rid of his burdens and bully others.
The hero “Kamal” resembles Mark Twain’s characters, obsessed with a wild childhood, and with an incredible boyish curiosity, he escapes after his brother drowned in the river to the “Jinn Forest” to find the “Happiness Stone” to find his magical option, which he found buried in his mud, to help him carry out the work of jumping on his reality, To search for a life in which he faces his weakness, his stutter , and in an escapist way that is strengthened by the desire for redemption, as he finds in the big city his wider space, for adventure and to form a narrative environment that reflects his movement, transformations, the strangeness of his turbulent life and accommodates his dreams of owning a camera and being a photographer.
The narrative of photography in the novel is the play of the dream, and the temptation that accompanies it in the story of the diary of the place, while the camera records this presence, through captures that preserve the walk and the faces, and on a way that makes this recording the other face of the narrative of the hidden of the city, by evoking the identity of the transformed place / Rashid Street, and evoking the characters who live their transitions between the worlds of the margin with all their dystopia, and the worlds of his pleasure in the utopian / intimate place in the studio and the apartment, which are transitions that the author was skilled in telling, an expression of his representation of the idea of ​​redemption / purification, and his bias to the dream of the hero, and to justify the movement of characters in the context, as Narrative components, for which the author has created a narrative context, through which he reveals the inner world of the st ad wanted to mock and monitor its tragic struggle by following marginals. , but awake characters, who live their obsession with life through movement and search for their shattered selves, and their compensating places.

Camera technology is the narrative engine of events and characters, just like the game that determines the identity of the hero, as a codifier of what his teacher Khalil calls history, and perhaps that is what makes him cynical to look at this history, since he says, “I was happy to read what will become history, and to participate in His writing, without the need of a chain of narrators.”

Visual game as narrative

Camera technology is the narrative engine of events and characters, just like the game that determines the identity of the hero, as a codifier of what his teacher Khalil calls history, and perhaps that is what makes him cynical to look at this history, since he says, “I was happy to read what will become history, and to participate in His writing, without the need of a chain of narrators.” The irony of history does not mean mocking it, or banishing it, as much as turning it into a temptation that pushes the hero “Kamal” or “Kimo” to more curiosity, and to his existence. to seek, away from the pressure of the “identity” complex as a Christian, and he lives in a closed environment The novelist did not pay attention to this complex, and was content with the contract of his hero’s own personality, without to link it to any anthropological representation.. Also look at this history / the history of the city and the biography of the character does not appear except by what is suggested by the visual dimension that the novel employs, by the desire of the uncle Khalil ‘s concern for his photographs and their preservation, and his desire to transfer them to the “Fawzi Al-Motabaji” press to carry the name “Museum of Peace” as a witness to what the camera narrative records, and his invitation to “Kimo” to complete this task, which means that he refers to the narration of the document, and to the possibility of reading the history from Through the memory of the pictures, these are pictures from diaries, important events in the history of the city, places that represent its character, its symbolism express, and even his stories Uncle Khalil’s studio, to discover his humanity in the manner of “Enkidu” as it seems close A person who realizes that immortality is the effect, and that the image is the semiotic field that the idea of framing immortality, as well as the testimony examining the transformations of the city of Baghdad and its ether street.
The novel’s twenty-five chapters “reveal what my story is in the structure of the novel, and although the novel begins with a “paid killer”, it ends with the idea of ​​talking about murder and revenge, which Kimo talking to his girlfriend Nadia. This circular time signifies the intention of the novel in its narrative “composition”, and to make the “Metasard” technology present in the compositional context, to confirm its intention and to make the movement of the hero and his biography to pretend it was a story of the search for existence, and the search for freedom, by getting rid of the complex of the father and the woman. The father, and of the spiritual “Mawlana” in ” Khan al-Rahma” who steals and rapes children, in order to get rid of the “complex” of the assassin chasing him, and the “Knights of Baghdad” group and its leader “Taher al-Hanash” who of “Arbanji ” turned to the leader of the gang street control.

marginally and regain the championship

Moving to the city, through escapes and sequences that reveal deep transformations in the structural theme of the novel, where the transition from enmity to fame, and from weakness to strength, and from mythology to reality, the transformations of the city, are the same. transformations of contemporary Iraqi history, where violence, coups d’état, civil conflict and occupation, And where the gangs of Al-Hanash, which makes the narrative game more intrusive in controlling the hero’s movement, thereby portraying to the reader what in the stormy history happened of the city the city loses its glow due to the succession of conflicts, and the street turns into a ghost street due to its subversion as an important center for the city’s legends, and the filth of its cultural elite, but it does not mean her death, but rather the novelist leaves us a margin for dreaming, and for confrontation. The “Knights of Baghdad” group that burns the “Peace Museum” and tries to kill Kimo, steal his camera and kidnap the doctor fail to impose their will, after we confront the novelist with his counter-diaries, which embodied by The popular uprising, through which they tell new facts, by referring to the disposition of violent groups, and by the return of life to the museum, so that the novelist assures us of the effectiveness of the impact as a narrative of the code of existence and survival, as it is Usually the image of the “filmmaker who collects old images to reconstruct memory” as well as his destruction of the “lucky stone” with its mythological connotation, which he bequeathed submission and crawled, and held has to the magic of reality and memory. of the djinn and his myths..

Iraqi writer

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