Riyadh Newspaper | Abdel-Fattah Kilito, the maker of surprise..and questions

Abdel-Fattah Kilito, the maker of surprise..and questions

Abdelfattah Kilito

“I woke up one morning to a commotion in my head, not exactly music, as it sometimes happens, but a sentence or a fragment of a sentence. Then I remembered Mallarmé, who says that he was obsessed had with an absurd campaign: “The penultimate is dead…”

This paragraph by the Moroccan critic Abdel-Fattah Kilito in his book (From Ibn Rushd’s Balcony), stopped me, where I found myself in front of a creator who is passionate about the word and its subconscious worlds, a creator who with his dreams enter into conversation, and create critical situations of them that invite him to write an article in the book with the same title: (From Ibn Rushd’s balcony) It begins with the question: How do we dream? In what language do we dream? Then it rains on visions.

We know that criticism has its methodologies of which every critic is aware, but the uniqueness in it is not in the stereotype, but in the special vision that is obtained after experience and practice, and is created as a result of intelligence, depth, insight, and a creative spirit. For the above the spirit of creativity and uniqueness.

I see this exclusivity in Abdel-Fattah Kilito, as he does not follow a known or expected traditional approach, but his value is highlighted in the fact that he plows on familiar topics, but from other unknown angles, so he continues to subjects not by following the severity of opinion and its one-sidedness, but by discussing it and putting question after question into it.

He is the critic who drives thought, since he does not set before us the answers, but instills the questions, and confronts us with what we knew or forgot, or no longer think about, and then disperses us, to rethink and think, and collect our diaspora, but we break into other spaces in culture, literature and criticism, and here is the value of Inspirational critic.

In the titles of his books we may not find a new language, but we see new ideas and topics far from traditional, which drives us with a passion to know what this book is: writing and reincarnation, literature and suspicion , literature and strangeness , from the balcony of Ibn Rushd, you will not speak my language, Adam’s tongue. Speeches that instill in us the passion to see their contents, and to cross these new lands into which they are being plowed.

Kilito is not satisfied with literature and criticism, even if he comes from it. We see literature, criticism, culture, thought, philosophy, history, heritage and society, in a harmonious mixture, in which each element leads to the other element, thus that the critical article looks like a wonderful mosaic.

In his book (Literature and Suspicion) he talks about a strange and new idea, about the association of writing with suspicion, anxiety, caution and fear in many writers, and refers to the introductions of some books that simply write as a risk regard. : Therefore caution and caution must be exercised.Al-Jahiz opened the book (Al-Bayan wa Al-Tabeen) by seeking refuge from the temptation to say. The clarity with which we infer by reading the statement and explaining that speech and writing is associated with annoyance that can reach the point of fear and panic, as if the author is subject to explicit or ambiguous suspicion. He points us to the openings of old books which indicate that this book was written at the request of a friend, and he quotes Ibn Hazm’s collar of the dove: In spite of him and under pressure. We know that Ibn Hazm is a jurist, and his writings on love and spinning are an accusation and criticism.

In his book (The Language of Adam) he refers to what we know as each nation has its own literary book about it, such as the Iliad in Greece, and Don Quixote in the Spanish and others. And we keep circling with him in questions: Is it the Mu’allaqat or the Thousand and One Nights?!. To continue the questions without interruption.

Did Kilito say: We are at a stage where we have neglected our heritage?!

Or are we careful to choose a particular book to show us!

Or are we so burdened by Arab anxiety and chaos that we cannot identify a book that represents our Arab culture!

Speaking about Al-Nisaburi (the wise men of the insane), Kilito continues his vision of madness from another, more spacious and intelligent point of view, to say that the mad man has a free space of thought and boldness of has meaning, because he is freed from the restrictions that bind people, the first of which is the mind: “The mad man has cut ties and is freed from The pressure that a sane person puts on himself, and it should be mentioned here that the word “aql” includes the idea of ​​self-control and reason. Loss of reason means disconnection from reason and going nowhere. So, to show us how much wisdom Al-Nisaburi gathered from the healthy people when they were freed from the pressure that restricts the healthy person.

The disclosure of the different critical vision of Abdel-Fattah Kilito is not enough for an article, and the space of his thoughts does not contain words, and the meditation of his inspiring questions is not fulfilled by sentences, and it is only a vision of something from his soul, this time we rise (Kilito balcony) to try to reveal something of his visions.

Professor of Literature and Criticism

Princess Noura University

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